Kind of Blue

Product Information

Canada's Top 200 R&B; albums of 2002". Jam!. Archived from the original on October 12, 2003 . Retrieved March 27, 2022. The RS 500 Greatest Albums of All Time: 12) Kind of Blue". Rolling Stone. Archived from the original on March 17, 2011 . Retrieved August 11, 2008. Kind of Blue is more than Miles Davis’s most enduring recording, it’s a testament to Miles’ experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time.

Colin Larkin, ed. (2000). All Time Top 1000 Albums (3rded.). Virgin Books. p.40. ISBN 0-7535-0493-6. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley with Wyton Kelly playing piano on “Freddy the Freeloader.” Cwik, Greg (September 25, 2015). "Understanding Miles Davis, in 9 Parts". Vulture . Retrieved June 15, 2020. If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis’ Kind of Blue. Andy Mabbett (1995). The Complete Guide to the Music of Pink Floyd. Omnibus Press, 14/15 Berners Street, London. pp.178–179. ISBN 0-7119-4301-X.Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. In 1959, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP in 1959, muted the initial impact of Kind of Blue, a happenstance that irritated Davis greatly. [44] Though Davis and Coleman both offered alternatives to the rigid rules of bebop, Davis would never reconcile himself to Coleman's free jazz innovations, although he would incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own version of "free" playing with his jazz fusion outfits in the 1970s. [45] The influence of Kind of Blue did build, and all of the sidemen from the album went on to achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley fronted popular bands with his brother Nat; Kelly, Chambers and Cobb continued as a touring unit, recording under Kelly's name as well as in support of Coltrane and Wes Montgomery, among others; and Coltrane went on to become one of the most revered and innovative of all jazz musicians. Even more than Davis, Coltrane took the modal approach and ran with it during his career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed. [46] Fisher, Tyler (June 30, 2006). "Miles Davis – Kind of Blue". Sputnikmusic . Retrieved September 10, 2023. No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically innovative you can be. When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them. [3]

The Davis band played a mixture of pop standards, blues, and bebop originals by composers such as Charlie Parker, Thelonious Monk, Dizzy Gillespie, Davis, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song. [1] Davis was one of many jazz musicians growing dissatisfied with bebop, however, and saw its increasingly complex chord changes as hindering creativity. [3] a b c d e The speed error is explained in the booklet with the post-1997 remaster: the off-speed master was used for all prior releases. When Shirley Horn insisted, in 1990, that Davis reconsider playing the gentle ballads and modal tunes of his Kind of Blue period, he demurred: "Nah, it hurts my lip." [76] Release history [ edit ] 1986 Columbia Jazz Masterpieces compact disc reissue cover Kind of Blue is arguably Miles’ greatest hit, the one album with which he is most associated. It is still one of the most popular jazz albums of all time, outselling most contemporary recordings and prized as a harbinger of modal jazz and revered as a paradigm of improvisation over reduced harmony—creating a perfect balance of sound and space. Outside the jazz realm, it is consistently chosen by music historians and critics as one of the best albums of all time, alongside evergreen classics by The Beatles, Elvis Presley, and others.

Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record. Bill Evans wrote in the LP liner notes, "Miles conceived these settings only hours before the recording dates." [8] Evans continued with an introduction concerning the modes used in each composition on the album. " So What" consists of two modes: sixteen measures of the first, followed by eight measures of the second, and then eight again of the first. [8] " Freddie Freeloader" is a standard twelve-bar blues form. " Blue in Green" consists of a ten-measure cycle following a short four-measure introduction. [8] " All Blues" is a twelve-bar blues form in 6 All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment. ARIA Charts – Accreditations – 2016 Albums" (PDF). Australian Recording Industry Association . Retrieved September 19, 2008. Davis, Miles; Jeff Sultanof (2002). Miles Davis – Birth of the Cool Complete Score Book. US: Hal Leonard. pp.2–3. ISBN 0634006827. Archived from the original on November 6, 2012 . Retrieved February 22, 2011.

Italian album certifications – Miles Davis – Kind of Blue" (in Italian). Federazione Industria Musicale Italiana . Retrieved January 10, 2022. Select "2022" in the "Anno" drop-down menu. Select "Kind of Blue" in the "Filtra" field. Select "Album e Compilation" under "Sezione".Top 50 jazz albums of 2001 in Canada". Jam!. Archived from the original on November 21, 2002 . Retrieved March 27, 2022. MiniDisc, Columbia CM 40579 (US) from a master prior to 1997, but not the Jazz Masterpiece remaster. It was unavailable by the end of the 1990s when production of Jazz Masterpiece series had ceased. It was not issued at the correct speed. [82] Cook, Richard; Morton, Brian (2002). The Penguin Guide to Jazz on CD. 6th edition. Penguin. ISBN 0-14-051521-6. Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Bluewhere it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley with Wyton Kelly playing piano on “Freddy the Freeloader.”History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). Simmons, Ted (February 26, 2013). "Bilal's 25 Favorite Albums". Complex . Retrieved August 28, 2020. George Russell's Lydian Chromatic Concept of Tonal Organization". Concept Publishing . Retrieved September 10, 2012. Williams, Richard (2010). The Blue Moment: Miles Davis's Kind of Blue and the Remaking of Modern Music. Norton. W. W. Norton & Company. ISBN 978-0-393-07663-9. Barber, Geoff (October 27, 2004). "1959: A Great Year in Jazz". All About Jazz . Retrieved September 10, 2023.