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I really enjoyed listening to a bunch of jazz greats (mostly) talking about a jazz masterpiece:
Making of Kind of Blue
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Cool! My obsessive deep-dive into audio recording and production over the past couple years was fueled by my obsession with how Miles' Columbia albums sound. Specifically E.S.P. and The Sorcerer, in my case, but Kind of Blue obviously sounds phenomenal as well.
I found this interesting article about the chief engineer at CBS' legendary 30th Street Studio ("The Church"), Frank Laico, and his techniques for recording Miles' groups in the late '50s through '60s. Frank hilariously missed the Kind of Blue session, so Fred Plaut engineered that one, which I'm sure Laico regretted. But the sounds of that studio room, its engineers, and its gear are the reasons why I tend to prefer the vibe of the Columbia records to the earlier Prestige dates. There's a haunting beauty to all the Columbia albums that makes them sound very special to me. The ones recorded by Rudy Van Gelder sound great in their own way too, and there's a raw immediacy to them that's really cool, but the CBS sessions engineered by Laico and Plaut are otherworldly, especially the ones between 1965 and 1967.
To have access to that priceless room, those incredible microphones, and those brilliant musicians must have been a recording engineer's dream.
I found this interesting article about the chief engineer at CBS' legendary 30th Street Studio ("The Church"), Frank Laico, and his techniques for recording Miles' groups in the late '50s through '60s. Frank hilariously missed the Kind of Blue session, so Fred Plaut engineered that one, which I'm sure Laico regretted. But the sounds of that studio room, its engineers, and its gear are the reasons why I tend to prefer the vibe of the Columbia records to the earlier Prestige dates. There's a haunting beauty to all the Columbia albums that makes them sound very special to me. The ones recorded by Rudy Van Gelder sound great in their own way too, and there's a raw immediacy to them that's really cool, but the CBS sessions engineered by Laico and Plaut are otherworldly, especially the ones between 1965 and 1967.
To have access to that priceless room, those incredible microphones, and those brilliant musicians must have been a recording engineer's dream.
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That kind of coincidence I don't need. Sad day.
Some death notices are referring to him as the "Kind of Blue Drummer" in the headline.
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I'm probably hallucinating but does Miles enter a half-bar early on the restatement of the Freddie Freeloader theme??
[email protected] on satb
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Never really counted, but yes, you must be right, beat 1 instead 3 ? As we used to say about some software: is it a bug, or is it a feature ?
Sax, Flute, Keyboard, Vocal
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When I hear this I can hear the exploration feeling. Not what I hear these days. THey were being themselves not "finding" themselves.
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