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*Super Audio CD* |
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| 1. | So What
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| 2. | Freddie Freeloader
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| 3. | Blue in Green
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| 4. | All Blues
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| 5. | Flamenco Sketches
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| 6. | Flamenco Sketches*
Alternate Take
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Jazz
Recorded: March 2 - April 22, 1959, Columbia 30th Street Studios, New York, New York
Miles Davis - trumpet
Julian "Cannonball" Adderley - alto saxophone (except #3)
John Coltrane - tenor saxophone
Wynton Kelly - - piano (#2)
Bill Evans - piano, liner notes
Paul Chambers - double bass
Jimmy Cobb - drums
Why another reissue of Kind of Blue?
More than a milestone in jazz, Kind of Blue is a defining moment of twentieth century music, one of those incredibly rare works of art that achieve equal popularity among musicians, critics, and the public at large. The rest of us might tend to agree with Jimmy Cobb, the drummer on the album, who commented on Kind of Blue that it must have been made in heaven. Don't we all enjoy a taste of heaven now and then?
If this is your first encounter with Kind of Blue, be forewarned that it's likely to become an indispensable part of your life. But chances are you've encountered Kind of Blue before, and are wondering why you're holding yet another reissue. One reason is the discover and release of an additional performance from the sessions, an alternate Flamenco Sketches. Another reason is much improved sound. Earlier digital remasterings, on LP and later on CD, sounded thin and piping to these ears; this reissue was remixed on all-tube-three-track-machine, an onld Presto much like the one used for the orginal recording. Now the instruments sound rich and full, like real instruments rather than tiny simulacra. And finally, if you happen to be a musician, you may have already noticed another problem when you tried to play along with earlier versions of Kind of Blue. Three tunes were in the wrong key, which means that the original album and all subsequent reissues (except for the recent gold Mastersound edition, which lacks the alternate Flamenco Sketches) were recorded at the wrong speed? making all the pitches slightly sharper than in real life. Here, for the first time is Kind of Blue complete, sounding big and rich and true to life and right on key. If you're going to heaven might as well go first-class all the way.
* Cozbi Sanchez-Cabrera - Art Direction, Reissue Art Director
* Don Hunstein - Photography
* Fred Plaut - Engineer
* Irving Townsend - Original Recording Producer
* Jay Maisel - Cover Photo, Photography
* Jennifer Ebert - Packaging Manager
* Kevin Gore - Reissue Series
* Larry Keyes - Producer
* Mark Wilder - Engineer, Remixing
* Michael Cuscuna - Reissue Producer
* Patti Matheny - A&R, Artist Coordination
* Randall Martin - Design, Reissue Design
* Rene Arsenault - Assistant Producer, Production Assistant
* Robert Palmer - Liner Notes
* Seth Rothstein - Project Director
* Steven Berkowitz - Reissue Series
* Teo Macero - Producer
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, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection.
---Stephen Thomas Erlewine, All Music Guide
With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.
Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the childish blues "Freddie Freeloader." Often credited to Davis, "Blue In Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Miles fascination with the earthy melodies and brooding metaphors of the Iberian peninsula...a harbinger of his next masterpiece, SKETCHES OF SPAIN. KIND OF BLUE remains Miles Davis' most evocative piece of musical haiku.
*Bonus track not on original LP |
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