Kind of Blue

Product Information

In this release, his third album for Reference Recordings, Doug MacLeod continues to explore the breadth and depth of the human condition. It was captured on January 14, 1961, at Hibiya Public Hall in Tokyo during the band’s first-ever tour of Japan.

TLDR: Yes, the more you spend the better it sounds but fuck it do whatever sounds good to you and isn't lost on your system. This speed issue affected the album’s first three tracks, “So What,” “Freddie Freeloader” and “Blue in Green,” making them a barely perceptible quarter-tone sharp. The five completed tracks from that session with producer Cal Lampley – “On Green Dolphin Street,” “Fran-Dance” (with an alternate take), “Stella by Starlight,” and “Love for Sale” – are the only other studio recordings of the sextet with Adderley, Coltrane, Evans, Chambers, and Cobb (though live recordings exist on other Columbia/ Legacy album releases from the Newport Jazz Festival in July, and New York’s Plaza Hotel in September). The 200-gram records will feature the same flat profile that helped to make the original UHQR so desirable. Kind of blue , due to its commercial success is sometimes given a wide berth by jazz purists who insist there is better stuff out there.The soundstage is intimate and inviting, Webster’s horn beautifully captured with sweet, rich overtornes, the bass liquid, chugging, and textured, piano and drums easy and natural. Long held as the jazz album that even non-jazz fans will own, 'Kind Of Blue' not only changed the way people regarded Miles, it changed the very face of music itself. Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release.

Long held as the jazz album that even non-jazz fans will own, Kind Of Blue not only changed the way people regarded Miles, it changed the very face of music itself. Although this session is not as structured as the three-horn efforts of the Jazztet, there is a balance between blowing and Golson's writing that makes for a felicitous blend, whether on Golson's own "My Blues House," Gene Krupa's old burner, "Drum/Boogie," or Jerome Kern's "Yesterdays. The trumpet is shrill, the piano is present and adding some flavor, the percussion percusses, the bass is timely and chill.In 1949/1950, he recorded The Birth of the Cool, a turning point in the history of jazz as this record established the new jazz of downtown clubs as ballroom jazz then lost its appeal. In the edit page, go to the 'Metadata' tab and add your Juno artist, label or release page for listeners to purchase your release / releases. In 1969, he recorded Bitches Brew, a blend of rock, funk and jazz music, often taking the name “Fusion”. 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 fabled acoustics of Boston’s Symphony Hall and the magnificent tonal hues of the Boston Pops are on full display on this fanciful and festive recording.

Now, for the first time, the five 1958 studio tracks are rightfully coupled – at last –- with the five sextet tracks of Kind of Blue. Honestly this sounds great, and if it was my only experience of this album, I would be perfectly content. Each song is extremely personal and at the same time, universal; covering subjects topical, humorous, and soulful; from the satirical to the sublime.

The user is informed that they have the possibility of configuring their browser so that they are informed of the receipt of cookies, and may, if they wish, prevent them from being installed on their hard drive. It's why the label's engineers took every available measure to transport listeners to the March and April 1959 sessions that parlayed modal jazz into mainstream language. It’s one of those that just hangs in your head when you’re trying to sleep after a night of drinking and is still hanging when you have a hangover.

To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process. We use cookies to give you the best possible experience on our site, provide personalised content and advertising, analyse our traffic, and ensure you see more of what you love.

Like Citizen Kane in film and Fitzgerald’s Gatsby in literature, this album is up there right at the very top. It may seem ironic that the biggest-selling album in jazz history is such a subtle and understated beast - perhaps less so when you consider it as a sublime masterpiece of subtlety and understatement. Improvisation is an enigmatic and elusive thing, especially at the envelope-pushing level captured here, with Miles and sidemen forging ahead and abandoning the strictures of hard bop for the relative freedom of a modal approach. Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album.