Kind of Blue

Product Information

Palmer, Robert (1997). "Liner Notes to 1997 Reissue". Kind of Blue (CD). New York, NY: Sony Music Entertainment Inc. / Columbia Records. 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). 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. 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. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer’s stylus to play truly perpendicular to the grooves from edge to center.

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.” Second, there is another version ( Miles Davis - Kind Of Blue) with "Kind Of Blue" printed on one line on the side B label. 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.” 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] 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

Notes

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]

All-in-all this edition of Kind of Blue meets the highest audiophile standards and offers the truest sound for the most enjoyment. Simmons, Ted (February 26, 2013). "Bilal's 25 Favorite Albums". Complex . Retrieved August 28, 2020.

Tracklist

Miles Davis' 'Kind of Blue' Remains a Fixture on Vinyl Albums Chart, 58 Years Later". Yahoo!. September 20, 2016 . Retrieved May 6, 2022. Kind of Blue is based entirely on modality, diverging from Davis's earlier hard bop style of jazz with its complex chord progression and improvisation. [6] The entire album was a series of modal sketches, with each performer given a set of scales that encompassed the parameters of their improvisation and style. [22] This recording style contrasted with the typical preparation of providing musicians with the complete score or, for improvisational jazz, providing the musicians with a chord progression or series of harmonies. [3] a b c d e Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; p. 111. 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.

Porter, Lewis (1999). John Coltrane: His Life and Music. University of Michigan Press. pp.281–283. ISBN 0-472-08643-X. Bernstein, Adam (May 25, 2020). "Jimmy Cobb, consummate jazz drummer for Miles Davis, dies at 91". The Washington Post . Retrieved April 17, 2022. 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 Tingen, Paul (1999). "The Making of the Complete Bitches Brew Sessions". Miles Beyond . Retrieved September 10, 2023.National Recording Preservation Board: Recording Registry: 2002". Library of Congress . Retrieved September 10, 2023. 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.