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Kind Of Blue
 
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Kind Of Blue [SACD, Extra tracks]

Miles Davis Audio CD
4.5 out of 5 stars  See all reviews (48 customer reviews)

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From Amazon.com essential recording

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

Product Description

This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed

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Customer Reviews

48 Reviews
5 star:
 (38)
4 star:
 (2)
3 star:
 (3)
2 star:
 (2)
1 star:
 (3)
 
 
 
 
 
Average Customer Review
4.5 out of 5 stars (48 customer reviews)
 
 
 
 
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1.0 out of 5 stars Low Quality Vinyl edtion - Miles Davis - Kind Of Blue, Jan 13 2012
By 
Marius Constantinescu (Toronto, Ontario Canada) - See all my reviews
This review is from: Kind of Blue (Vinyl) (LP Record)
This review is for the Vinyl edition - Miles Davis - Kind Of Blue. The quality is so bad, I got it replaced by Amazon 3 times without success: the lp was warped or it had with visible surface defects that result in bad hiss, or in one case both defects were present... In the end I had to I sent it back as this kind of quality is not not acceptable! I realy hope though that there will be a high quality release of this album on vinyl!
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5.0 out of 5 stars THIS IS THE BIG ONE!, Oct 14 2003
By 
Patrik Lemberg (Tammisaari Finland) - See all my reviews
This review is from: Kind Of Blue (Audio CD)
This is probably the most revolutionary album in modern jazz, and probably always will be. Miles Davis introduces a new way of improvising, a new way of thinking, and this album will make you find a new way of listening to music.
"So What" is of course a classic. It had a form like no other song at the time. Only two chords: D-7 for 16 bars, Eb-7 for 8 bars, and then 8 bars of D-7 again. No one had done such a thing in jazz before (Coltrane later recorded an up-tempo song with a different melody, but with this very form, called "Impressions"...also worth looking into).
"Freddie Freeloader" is a blues. The melody is played for 24 bars, but what makes this blues different from a normal rock-progression-blues is bar no.11&12. Listen!
Then there is the extremely soft ballad "Blue In Green", which, again has a wierd form; 10 bars that repeat throughout the whole thing with a not-so-logical-but-very-beutiful-chord-progression. It's kind of hard keeping track where the form starts over again, but it doesn't matter when you're listening to musicians like this.
"All Blues", again a classic...well, they all are...this blues is played in 3/4, which hadn't been done a lot in jazz either. Charles Mingus did it in 1959 (the song "Better git it in your soul"), but I don't know if it was Miles or Mingus who first recorded a 3/4-blues. Anyway, they were only a couple of weeks apart (recorded in the same studio)!
"Flamenco Sketches" is a very nice, smooth piece, but rarely played as a cover by other musicians, unlike all the other songs on the album...maybe because it's hard to find it as sheet music, I don't know, and I don't understand why it's never gotten as much attention as the rest of the songs, since it fits in nicely with the feeling of all the other tracks. The bonus track is a second take of the song.
On this album plays (one of my favorite sax-players of all time) John Coltrane, who in 1959, had not YET developed anything revolutionary on his instrument, but still played very nice solos.
Cannonball Adderley plays alto sax. He has a very different way of thinking than Coltrane, when it comes to solo playing. He plays long lines with a lot of variation. Hats off!
Paul Chambers plays bass throughout the record. Listen to the walking bass-line on the first 16 bars of Miles' solo on "So What". Chambers plays a repeated figure with a little variation every time, which sounds like a separate melody underneath the solo; Quite unusual in walking-bass at the time.
I believe this is the first time that Bill Evans recorded with Miles. He was not a very famous piano player at the time, unlike now that he has played on this album. Bill Evans plays on all tracks but "Freddie Freeloader" (Wynton Kelly).
And Miles himself, a genius in modern jazz to say the least...I don't know where I'd start...just listen. Get yourself at least one copy of this album. More highly recommended than any other album by Miles Davis. Now, if you haven't heard this music - do yourself a favour and order this disc. No regrets...
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3 of 3 people found the following review helpful:
5.0 out of 5 stars The place to start for Jazz., April 1 2004
By A Customer
This review is from: Kind Of Blue (Audio CD)
About 6 months ago, I was a newcomer into the ridiculously large realm of Jazz music, and I needed a place to start. So I bought this album hearing from many that it was a classic. Needless to say, they were right!

Miles Davis is a truly amazing trumpet player, and his jazz ensemble doesn't fall short of him either. With people like John Coltrane wailing on sax and Bill Evans' great piano (the first piano break on Freddie Freeloader is my favorite part of the album), its truly a masterpiece. I'll break it down track-by-track.

So What- A good slow piano-bass intro, that eventually moves into an improv section with a catchy tune.

Freddie Freeloader- Almost 12-bar, but jazzed up quite a bit. Just a good swinging song to sit back and relax listening to.

Blue in Green- beautiful horn on this one, whatever it is (I'm not exactly the horn master myself), and good piano playing from Evans. A slow one.

All Blues- A lengthy intro before the improv begins, but nevertheless very good, with a dynamic horn part, sounds like it had a little bit of classical influence.

Flamenco Sketches- A nice closing track, soothing yet articulate, one to fall asleep to.

All in all, this CD has a great song for every kind of mood. And hey, for 10 bucks, its a good price for a classic album you'll treasure for a long time.

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