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Miles Davis had a very interesting year. In September of 1968, he married a 23-year-old model Betty Mabry, and divorced her a year later, accusing her of having an affair with Jimi Hendrix. Imagine that? In February of 1969 he got into the studio and in a single session recorded "In a Silent Way," which subsequently was spliced and edited into two single 'sonata form' tracks by Teo Macero [who, as a result, enraged the jazz community with this unorthodox technical approach]. The rock fans loved it and saw Davis give the nod towards their genre, and the jazz fans hated it, for precisely the same reasons. Nevertheless, the album ended up topping the Billboard charts and became the de facto 'fusion' recording, because of its elements of soul and funk, and because of its use of an electric guitar and electric piano, thus labeling the beginning of an 'electric period' for Miles. But beyond its backdrop story, the record is an ambient meditation of trumpet's loneliness, over repeating bass lines, shuffling drums, and walking piano scales [so flawlessly executed by Chick Corea and Herbie Hancock]. It's a beautiful album that can be played on a repeat in the background, or deconstructed to a minute for all the genius it represents.

Another one from The Beatles, folks. The songs are getting a lot more experimental and interesting now, both in their composition and lyrical content alike, such as the opener "The Taxman" with its hard panned stereo, lo-fi recording, and guitar riffs. Some new and sophisticated usage of studio technology on here as well, like the spliced up tape loops (inspired by musique concrète from Stockhausen!), vari-speed pitching, ADT (this later became "chorus" effect), close-miked drums, and even some reverse playback of Harrison's guitar, plus a full-on string octet on "Eleanor Rigby" and Indian sounds from tambura and tabla. These are all pointing to the fact that this seventh album was intended more for the bedroom listening experience rather than the group's live performances (from which they shortly retired). We are also clearly in the era of psychedelia now, with themes of death, transcendence, and other metaphysical manifestations brought on by LSD (is "Yellow Submarine" a nonsensical children's song or a post-drug-induced euphoria with many social and political implications?). Acid was clearly affecting Lennon's synapses now, although McCartney [reportedly] refused to try LSD, while Harrison (who else experimented with the drug) has been influenced by the Hindustani classical music started coming out as a composer. It's easy to dismiss some of the production values invented on The Revolver by the modern ears, but it's important to acknowledge that the album has changed the way studio records were being made, introducing at least nine newly devised techniques. It's more than special.

What a rocker! I've got nothing bad to say about this one! Okay, I could have used a little bit less flute and harpsichord in some places, but overall, In the Court of the Crimson King is a pretty banging first record. Of course, others already know the English band from its one and only constant member, Robert Fripp, but for me, it was a brand new listening experience. Even the digression into the experimental free-form improvisation of "Moonchild," which is a bit out there, is a refreshing "space jam" for the art-rock scene. It's jazzy, it's grimy, it's all things at once, and the opening track "21st Century Schizoid Man" says it all. The distorted vocals, the screaming lead, the complex rhythms, all flawlessly executed within the context of evolving genres, like heavy metal, jazz-rock, and, of course, progressive rock. And what a memorable album cover! It was painted by a computer programmer Barry Godber, who, sadly, died of a heart attack shortly after the album was released. I'm already looking forward to the next King Crimson, although I've already read that it took them a while to beat this debut.

I'm on my fifth listening of this album, just before I submit this review, attempting to find the right flow for the river of words which were not said before. Perhaps words just can't float in the way that the sound streams from "Trane", which is precisely why the fourth part of his best-selling album is a "musical narration" of a devotional poem entitled "Psalm". This was a very spiritual work for Coltrane, as a four-part ode to his love for God (he was posthumously canonized by the African Orthodox Church and indeed became Saint John William Coltrane). There is plenty to peel apart on "A Love Supreme", ranging from avant-garde jazz to free jazz along the modal scale, with a recognizable motif that will lift and embrace you before it lets go. The music channels an emotional roller-coaster of liberation from an addiction to the embodiment of faith, and although I may not be sharing his beliefs, this is indeed a religious experience as the celebration of all that's simply divine in music.

Twenty albums into my #1001Albums journey and I come upon a record that I actually already own. Okay, not the original pressing, but a 180-gram reissue from 2010. Still, though I may be heavily invested in ambient, instrumental and experimental music, I know my jazz. Yes, this is more about me, then it is about Davis, because what more could be said about this trumpeter, and more importantly, about an album that has sustained its accessibility for nearly sixty years now, nevermind the fact that it basically redefined the genre? Centered mostly on modal approach to jazz, where, instead of repeating chords of a familiar tune, that serve as the base to improvise upon, the composer employs a linear walk up and down the intervals, as opposed to the major/minor harmonies and their associated chords. Just listen to "So What", the de facto standard of modal jazz, and pay attention to the lightness, space, and relaxed structure within which an improvising instrument can breathe (hear Coltrane move effortlessly with that tenor sax). That's the framework that is the genius of Miles Davis. And let's not forget the exquisite performance by Bill Evans on piano! Plus, the five pieces on the album were recorded in only six takes! If you have the record, read the liner notes, where Evans basically describes the scales, measures and modal changes of each piece.

If you need a fun afternoon with the 60s there's no better choice than Frank Zappa! And with a discography of over 62 albums, where does one begin? Well, you start at the beginning, of course, with Freak Out!, the début studio album by The Mothers of Invention [not technically by Zappa and not the actual first album by Zappa himself - he's done film soundtracks, and even was arrested on "conspiracy to commit pornography" when an undercover vice squad cop engaged him in producing a score for a stag party]. Often billed as a satirical concept album on American pop culture [and the "freak scene" of LA], in my opinion, it's actually a well-executed distortion of popular music at the time as well [there are plenty of stylistic and even lyrical references there], which makes this experimental rock release a very enjoyable listen. It was also the very first 2x12" release [beat Dylan by a month], clocking in at an hour in length, with fifteen tracks of mixed R&B, doo-wop, experimental rock, and, more importantly, some musique concrète [Zappa was a big fan of modern classical and avant-garde composers, such as Igor Stravinsky and Edgard Varèse]. I love that, although The Mothers are definitely serious about their music [all that dissonance and shifting time signatures are not an easy feat], the approach appears to be tongue-in-cheek, with off-tune vocals, ridiculous lyrics, and playful themes - an "antithesis of teen-idol bands" if you will. I think the mid-60s are finally ripe for truly free expression in alt/art rock - and it all started with Zappa!

And here I thought that the Beatles were the most innovative band of the late 60s with their studio experimentation. Frank Zappa and his Mothers of Invention pretty much blow them out of the water. Ranging from psychedelia to doo-wop, to experimental rock, and unusual textures explored through musique concrète, Zappa takes the concept album to a brand new height, by satirizing politicians, the hippie culture, and the commercialization of music [as the title suggests]. Let's face it - Zappa doesn't give a rock! Just look at the cover [which originally only appeared only as an interior artwork], with Cal Schenkel photographing the members [and Jimi Hendrix!] as a parody of Sgt. Pepper's Lonely Hearts Club Band. And is that Eric Clapton whispering on "Are You Hung Up?" [yep!]. Before being pressed the label has censored some lyrics by editing them out, and subsequently, Zappa refused to accept the award for the album, saying "I prefer that the award be presented to the guy who modified this record because what you're hearing is more reflective of his work than mine." Bravo! There's plenty of themes hating on "flower power" on here, on which Zappa commented that "hippies were pretty stupid. [...] the people involved in [youth] processes [...] are very sensitive to criticism. They always take themselves too seriously." And yeah, it's funny! Perhaps not for its musical or lyrical content [although, there is some serious complexity on rhythmic patterns on here], this is the album that will certainly dislodge you and keep you on your toes for the years to come!!!

And here is an example of an album that I'm absolutely grateful to have heard thanks to this list! Who are The United States of America and what exactly am I listening to? It's like a deranged version of Sgt. Pepper's mixed with even more psychedelia and experimentation from the likes of Zappa, Pink Floyd, and Jefferson Airplane! The music is whimsical, hallucinatory, and super groovy. There are even electronic "devices" on the album, such as custom-made oscillators and "variable wave shape generators modulating one another." The band was founded by Joseph Byrd and Dorothy Moskowitz and went on to get signed to Columbia through their friend David Rubinson for this one and only record! Byrd, by the way, studied composition in Stanford in the 60s, where he met La Monte Young, Terry Riley and Steve Reich. Later on, he relocated to New York City and continued his studies with Morton Feldman and John Cage, reportedly becoming Cage's last student. Byrd became a member of the Communist Party and started focusing on concept art forms. In 1967 he aimed to form "an avant-garde political/musical rock group with the idea of combining electronic sound (not electronic music)... musical/political radicalism... [and] performance art." All this, and much more, on this amazing record! I just may have to seek it out on vinyl after all!

Live music from the 60s has a very special place in my heart. There is just something in those recordings from beginning to the end. Hearing the audience whistle, cheer and shriek, capturing the overall vibe of the venue and the performance really puts me into the entire setting with just a little bit of imagination. It's difficult to even sit here and type these words without moving. Blues Boy King (that's where B.B. came from) is indeed "The King of the Blues" on this one, singing and playing his black electric Gibson guitar (named Lucille) in this ultimate performance of American blues recorded in November 1964 at the Regal Theater in Chicago, Illinois. His preaching over the congregation of blues becomes nearly an evangelist movement. A de facto standard in the history of live blues performances and albums.

Well, well, well... if it isn't one of my all-time favorite albums appearing on this #1001Albums list (and I'm still in 1963). I think that I first heard "The Girl from Ipanema" sometime in high school, and then I bought the "Nova Bossa: Red Hot On Verve" compilation with plenty of appearances by Getz and Gilberto, until I finally settled on this Getz/Gilberto release (my other all-time favorite is Giblerto's "Amoroso", but that's a 1977 release). Without a doubt, and equally lauded by many critics, this fusion of American and Brazilian jazz, with Stan Getz on the saxophone and João Gilberto on the guitar, is more than representative of the genre. Here, besides the silky musings of Gilberto on the pieces by Antônio Carlos Jobim and Vinicius de Moraes, we also hear the appearance by Astrud Gilberto, who... as the fun story is told, was the then wife of João, and arrived to US to accompany him on the recording sessions for this album. She wasn't even meant to be singing here, ladies and gentlemen, but Stan loved her voice so much, he has talked her husband to perform on the album (against his wishes, may I add). What an amazing story. Oh, then she divorced João and married Stan, who in turn quit Bossa Nova, and, hey, whatever... another femme fatale to add to my collection. So "Getz/Gilberto" and "Jazz Samba" are both top hits, and I'm curious if and how Jobim has benefited from this massive popularity in the US.