Duane Allman then starts quietly rephrasing the first theme, gradually building to a high-pitched climax, Berry Oakley's bass guitar playing a strong counterpoint against the band's trademark percussion. Allman cools into a reverie, then starts again, finding an even more furious peak. Parts of this solo would draw comparison to John Coltrane and his sheets of sound, other parts to Miles Davis' classic "Kind of Blue" album. Duane Allman biographer Randy Poe wrote that "playing jazz in a rock context" reflected the emerging jazz fusion movement, only in reverse. Allman himself told writer Robert Palmer at that time, "that kind of playing comes from Miles and Coltrane, and particularly "Kind of Blue". I've listened to that album so many times that for the past couple of years, I haven't hardly listened to anything else." Almost two decades later, Palmer would write of the Allmans, "that if the musicians hadn't quite scaled Coltrane-like heights, they had come as close as any rock band was likely to get." "Rolling Stone" would say in 2002 that the composition's performance found the musicians "lock[ed together ... with the grace and passion of the tightest jazz musicians," while in 2008, it said the trills, crawls, and sustain of the guitar work represented "the language of jazz charged with electric R&B futurism."