When learning to play jazz, one option is to practice using pre-recorded generic/commercially available backing tracks. They're alright for for practicing changes or just noodling a solo, but they also get old fast; nothing substitutes jamming with other musicians. The middle ground is using a well-known classic with enough room in the music to develop your own ideas, and for me Kind of Blue was (and remains) the stand-out stellar joy to play along to; damn if Miles doesn't leave a ton of space for others to fill in, and his collaborators were polite enough not to take all of it.
For a group where we talk often about frameworks and architecture, and ponder the dividing line between a platform and an application, perhaps it's worth seeing parallels in the field of music. Miles Davis wasn't just one of the greatest musicians of all time, he was also one of the great architects of music, and Kind of Blue a shining example.
That's a far cry from "overplayed and overrated", which upon investigation appears to be a misquotation/misparaphrase of a disposable observation made for the purposes of debate during an economics professor's podcast (no, really). If that's the standard of evidence, I suggest taking the more subjective assessments in this article with a huge grain of salt, notwithstanding that it's otherwise a decent overview for those not overly familiar with the jazz canon.
For a group where we talk often about frameworks and architecture, and ponder the dividing line between a platform and an application, perhaps it's worth seeing parallels in the field of music. Miles Davis wasn't just one of the greatest musicians of all time, he was also one of the great architects of music, and Kind of Blue a shining example.
That's a far cry from "overplayed and overrated", which upon investigation appears to be a misquotation/misparaphrase of a disposable observation made for the purposes of debate during an economics professor's podcast (no, really). If that's the standard of evidence, I suggest taking the more subjective assessments in this article with a huge grain of salt, notwithstanding that it's otherwise a decent overview for those not overly familiar with the jazz canon.