Kind of Blue

Some great examples, I had forgotten about, thanks for that.

I have been enjoying of late, Tord Gustaven Trio-The Other Side and Chet Baker-Chet.

@larsman 

 I don't much like 'jazz', but I do like Miles Davis's early 70's stuff, as it doesn't sound to me like 'jazz' and it's really interesting music to me. Much of it reminds me of Grateful Dead space jams (and I've seen Branford Marsalis and Ornette Coleman jam with the GD a few times in Oakland). I got that Vinyl Me Please box set of 'Miles Davis - The Electric Years', and that is perfect for me. Herbie Hancock's 'Crossings' is like that too; doesn't sound like 'jazz', just 'music'. 

I am gathering that the reason why you are saying you don't consider early 70's Miles and "Crossings" jazz, is because they don't sound like all those 50's post bop jazz recordings, that seem to have become the mainstream music listener's entire idea of what jazz sounds like. 

Jazz is not a "style" of music that has a certain sound. It is a way of thinking about music, using sophisticated musical vocabulary, spontaneous composition ability, amazing levels of musicianship, musical communication with musicians while playing, etc. 

Make no mistake, those early 70's Miles recordings and "Crossings", are most definitely jazz. The musicians are all using jazz techniques, the vocabulary of jazz, jazz improv, etc.

There are subgenres of jazz, that sound even less like the jazz most people think of when they think of the "way jazz sounds", than those 70's Miles recordings or Crossings. 

Chamber-jazz, M-Base, avant-garde, fusion, jazz noir, just to name a few.

@simonmoon This, “No, no, no!”  business, this “(Tubular Bells) is firmly in the prog-rock genre, or progressive music genre” business, is all a bit much.  
Tubular Bells sounds like Steve Reich, Phillip Glass, Terry Riley, etc., stuff typically referred to as “contemporary classical,” “minimalist,” etc.  
When we get into the ‘60s and up to today, the whole thing of “avant-garde,” “classical,” and “jazz” gets pretty well intertwined to where I think we can just avoid this “No, no, no!” genre-mongering ideation.  
If someone thinks something sounds like jazz, so what?
It’s music.  
We can listen to music on it’s own terms without bending over backwards to pigeonhole something with generic, over-simplified label-mongering, “genre”-mongering (i.e. ‘No, no, no! Tubular Bells is firmly in the prog-rock genre, or progressive music genre.”). 
How is it constructive to do that? Is it helpful for either the artist or the listener to have someone from the peanut gallery “telling” everyone what a piece of music “is” via a generic label of “genre?”  
If you poured your heart, mind, body and soul, blood, sweat and tears into creating something, would you appreciate it being summarily reduced to some generic label?  
Or would you rather your creation was taken on it’s own terms for the thing it is?

Walt Dickerson an underscored musical genius with Sun Ra as sideman... Sun Ra did not accept often to stay a sideman save with a genius...😊 ... But Sun Ra do it again as full  partner this time  with Dickerson in "Visions" album a less easy album to appreciate but my favorite...

Interesting article critic from amazon which i concur with :

Michael F. Hopkins

5.0 out of 5 stars Walt Dickerson: Struck From The Finest Mettle.

Reviewed in the United States on June 2, 2005

 

Of all the music presented by master vibraphonist Walt
Dickerson, 1965’s sadly rare IMPRESSIONS OF A PATCH OF
BLUE tends to be the album which many Dickerson
enthusiasts swear by the most. Small wonder. Its
chamber dynamics, multiharmonic precision, compelling
swing and iridescently free balladry mark this Jazz
variation of Jerry Goldsmith film themes as an
unforgettable tone poem to gentle fascinate the
cautious ear, and boldly stir the adventurous soul.

Here, Dickerson showcases his artistry in the midst
of kindred spirits who’ve been dismissed or taken
for granted for far too long. In particular, catch
the probing delicacy of the one-and-only Sun Ra on
piano and harpsichord. Chromatically jabbing with
focused glee, swirling the changes with nimble
poise, the Myth Realist strikes home with memorable
charm, class, and delight.
Bassist Bob Cunningham is steady on the tempo while
elusively dancing about the beat. Likewise for
drummer Roger Blank, boiling with rhythm, simmered
and stirred to a tempestuous tee. With the vibraphonist,
these men form a quartet for the ages.

For decades, Walt Dickerson has been recognized as
one of the most dynamic innovators in all of Music.
The measure of his instrumental orignality places
Dickerson on a par with the likes of Louis Armstrong,
Thelonious Monk, and John Coltrane; all of whom have
singularly redefiened the voice of their respective
instruments, and have richly nurtured the overall
conception of Music as a whole.
Time and again, albums such as PEACE (Steeplechase),
TO MY QUEEN (OJC/Prestige/New Jazz), and LIFE RAYS
(Soul Note) have showcased the malleteer’s seamless
ability to merge the straight-ahead, the avant-grade,
and the soulfully down-home into resurgent rhapsodies
of epic, highly motivational, incredibly unique Jazz.

Let there be no doubt that Walt Dickerson is a
hallmark of excellence which distinguishes the
legacy of African American musical achievement.
Classics such as IMPRESSIONS OF A PATCH OF BLUE
are more than momentary curios to titillate
merchantile hobbyists.
Exciting and inspiring, such work resounds with
deep passion, sharp pertinence, and resilient
life in the Here and Now; touching all who
listen, and dare to hear.

Despite the odds.

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