One of the great things about my recent journey into new for me music has been Miles Davis. Unrelentingly good stuff. This is different than Jack Johnson or Kind of Blue, maybe the psychedelic 60’s had an influence, I’ll let the experts say. One thing I can say, It’s great, no caveats, 40 minutes worth the time. 
His first fusion album.
Moved on to this and the list of players on these 2 cd’s are a who’s who of the era, an astonishing number of players who go on to great careers. 
Even I can see the diff as you point out it’s a new genre or sub genre I guess he’s moving into as the times change.
Great editing work by Teo Macero to make an album out of sparse material that doesn’t feel like a collage. Macero did a similar amazing job weaving the tapestry that is Bitches Brew 2 LP.
Not really in my opinion. He fused rock elements in Miles in the Sky and then Filles de Kilimanjaro.
Qobuz. CD. I have this 7 CD set on NAS, but am listening from Qobuz because I am too lazy to change source. 
I am bearing with the first CD , Missa Salisburgensis - possibly my least favourite Biber composition, and waiting for CD2 where the good stuff starts, including a touch of Muffat and Schmelzer. I am finding the sound slightly deficient, since I associate a sung mass with an echoing abbey. This set should keep me out of mischief for a while.
RE: The Shaggs. So terrible it’s great!
Yes. The shift had started in those two albums. I was curious when @aiki14 posted it and looked up Wikipedia. Here’s the excerpt from Wikipedia.
"Although Davis’ live performances and recent albums Miles in the Sky (1968) and Filles de Kilimanjaro (1968) had indicated his stylistic shift towards electric instruments and jazz fusion, In a Silent Way featured a full-blown electric approach by Davis. It has been regarded by music writers as the first of Davis’s fusion recordings, while marking the beginning of his “electric” period.
Well, I personally don’t agree with that. I believe that the two albums I cited are the real beginnings as far as studio released albums go. There were contemporaneous sessions that were not released that I also see as fusion predecessors to IASW. If I were a musical writer that is what my writings would say. 
Fair enough.
Have had this on as background whilst enjoying the latest issue of Copper. Pretty good, inoffensive stuff, but didn’t listen closely as I get engrossed in the magazine which just gets better with every issue. I will admit to some bias as the new, relatively, editor is one of my oldest friends
The Miners’ Hymns (OST) - Jóhann Jóhannsson on Spotify. Quite beautiful. The same composer did the soundtrack for Arrival.
Pretty interesting stuff, from smooth Piano lounge to a Jazz ELP! I like it for what that’s worth.
