Miles Davis - Kind Of Blue

[img]http://img196.imageshack.us/img196/5438/frontresizev.jpg[/img]
[img]http://img32.imageshack.us/img32/5946/backresize.jpg[/img]
Artist Miles Davis
Title Kind Of Blue
Record Label Columbia Legacy Recordings CK 64935 01-0649935-10
Genre Jazz Instrument
Subgenre Modal/Jazz
Release Date
March 25, 1997
Album Duration 55m:16s
Number of Discs 1
Source: Original CD
Size Torrent: 361 Mb
Scan Book Included
Extractor: EAC 0.99 prebeta 4
Read mode
: Secure
Utilize accurate stream : Yes
Defeat audio cache
: Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue (Noncompliant)
Accurately ripped (confidence 200 )

The people Miles Davis asked for the recording sessions are:
Trumpet: Miles Davis;
Piano: Bill Evans (all others);
Piano: Wynton Kelly (Track 2);
Tenor saxophone: John Coltrane;
Alto saxophone: Julian Cannonball Adderley (except track3);
Bass: Paul Chambers;
Drums: Jimmy Cobb.
Track list
1.
2.
3.
4.
5.
6.

So What
Freddie Freeloader
Blue in Green
All Blues
Flamenco Sketches
Flamenco Sketches - (alternate take)

Listen to all
http://www.amazon.com/gp/recsradio/radio/B000002ADT/ref=pd_krex_dp_a
Kind of Blue recording sessions (5 of 5) - (miles davis)
http://www.goear.com/listen.php?v=b5751d7

http://www.goear.com/listen.php?v=d0b2643
http://www.goear.com/listen.php?v=aaaea8a
http://www.goear.com/listen.php?v=31491e6
http://www.goear.com/listen.php?v=21d8e86
Listen complete track
http://www.goear.com/listen.php?v=eb03367
http://www.goear.com/listen.php?v=b8c911e
http://www.goear.com/listen.php?v=eb41bff
http://www.goear.com/listen.php?v=8f3ab5b
http://www.goear.com/listen.php?v=e1f6bc4
video
http://www.youtube.com/watch?v=RjwVwASlVn4
review
The Bottom Line: One of the best recordings ever made by one of the true legends
of jazz.
When I first began to explore jazz music, one of the first musicians I discovere
d was Miles Davis. This was partly owed to his documented affection for the musi
c of Hendrix. It gave him name notoriety for a rock fan like myself. I was first
blown away by B!tches Brew and In a Silent Way. Then I worked my way back to th
is one: Kind of Blue. Finding this disc led to this giant of jazz becoming a sta
ple in my everyday musical diet.
This is one of the finest recordings ever made both musically and sonically. Ori
ginally released in 1959, it remains vital over four decades later. Many jazz bu
ffs view this as the zenith of Miles career. It is an extraordinary document of
musical history. One music magazine cited this as the most sonically perfect alb
um ever recorded given technology available for the era.
The concept behind this album was for the soloists to work out on a scale or a s
et of scales instead of chords. Bill Evans in the liner notes likened Miles Davi
s music to a Japanese visual art that forced the artist to be spontaneous. That
was part of the agenda for Miles when he developed this concept. This modal styl
e was an ingenious concept that required great musicians. That didn't prove to b
e a problem as Miles was always surrounded by great musicians who enabled him to
execute his visions. These sessions were no exception.
The sextet for this album was Miles on trumpet, Julian 'Cannonball' Adderly on a
lto sax, John Coltrane on tenor sax, Bill Evans on piano, Paul Chambers on bass
and James Cobb on drums. Wyn Kelly provided the piano on Freddie Freeloader.
So What opens the set with a bang. This is now a jazz standard that continues to
inspire young players. So What works out of a simple melody which allows the pl
ayers to easily work in their solos. It's nine minutes long so even then Miles h

ad an affection for allowing his bandmates to play. Coltrane and Adderly are ste
llar in their contributions to this track.
Freddie Freeloader; keeps the ball rolling in fine style. Miles playing achieves
a piercing precision here. This song also has a great swing to it. This may be
the finest jazz sextet in history. Wyn Kelly does not miss a beat here. I love t
he simplicity of the track. The soloing also attains amazing levels.
The remaining three tracks continue with great verve. Blue in Green is a lovely
ballad. Miles always had the ability to play beautiful music when he chose. His
playing here is downright pretty. All Blue and Flamenco Sketches are both blues
numbers. They show Miles had an ability to tackle the blues. They both work out
of a slow melody and allow the musicians to take solos along the way. Bill Evans
especially shines on these blues numbers. Those with the re-mastered version ge
t a bonus alternate take on Flamenco Sketches.
This spontaneous jazz became a landmark. Coltrane and Adderly provide a remarkab
le impetus to scaling new heights. They sustain the mood with great skill. Paul
Chambers and James Cobb lend a splendid rhythm backdrop to the music. The playin
g of Bill Evans also deserves special note here. His playing and personality see
med to push Miles to another level.
Miles, who continually changed his setting and sound throughout his career, reac
hed a phoenix on this album. It is unbelievable how good this is considering tha
t Miles conceived the pieces only hours before each session. The other musicians
never saw the music before they played it in the studio. The end result is a ma
sterful set of jazz. It represents all that is great about this music form.
This is a CD that I absolutely recommend for anyone interested in jazz. It is an
essential. It will appeal to fans of other styles who would like to branch out
into jazz. For all the brilliance of this set the songs themselves are worked ou
t of very simple structures. Miles Davis was one of the most significant musicia
ns of the 20th Century. This one is one of his finest moments.
________________________________________________________________________________
______________________________________
Kind Of Blue is probably the most influential jazz album ever released. This bes
t-selling record has been remastered for re-release in 1997. It`s the album ever
y jazz-loving person must have in his/her collection. Made by the best musicians
of that day and more important, recorded in one take, except the first renditio
n of Flamenco sketches. But that`s the beauty of this re-release, the first take
of that song is added on the album. So it wasn`t previously released.
And that`s one of the remarkable things about this album. It`s the way they reco
rded it. Every musician was given a set of scales, appropriate for the song and
he was to improvise on that. It`s not uncommon for jazz musicians to improvise,
but taking in consideration the nature of the music being played, it put the ban
d for a special challenge. It`s easier to play at the best of your technical abi
lities with fast finger action (because mistakes and false chords are obscured a
nd too short in length to be heard) then slow, long notes and chords. But Davis
knew what to expect when he asked these particular musicians for this session.
1. So what (9:22)
A simple figure based on 16 measures of one scale, 8 of another and 8 more of th
e first, following a piano and bass introduction in free rhythm style. The openi
ng of this song is very smooth. It lasts for about a minute and a half, strength
ened by saxophone after one minute, but it is never boring, because of the fine
tone setting of Evans. Then Davis starts his play. Sharp, marcato notes, woven t

ogether with musical phrases. Taken over by saxophone with more technical play.
Al these solo`s last for several minutes. Finally the ending is like the beginni
ng. Piano, together with saxophone playing some short chords in scale.
2. Freddie Freeloader (9:46)
A 12-measure blues given new personality by effective melodic and rhythmic simpl
icity. On this piece Wynton Kelly takes the piano. Through light fingering, he t
akes us through several stages of the blues . Then Davis, with some very pure yet f
oggy melody. Toward the end he changes the style to accommodate the saxophones t
hat follow him. Yet again very technical as opposed to the other players. But st
ill maintaining that bluesy feel. For the ending, Kelly takes over again with li
ght play and short chords. For the finale, saxophone plays along for two simple
phrases.
3. Blue in green (5:37)
A 10-measure circular form following a 4-measure introduction and played by solo
ists in various augmentation and dimunition of time values. Davis starts out wit
h long notes, cup mute. Then the piano takes over, followed by saxophone. Piano,
trumpet and piano close the piece. Especially the saxophone grasps your attenti
on with soft and pure tones.
4. All blues (11:33)
A 6/8 12-measure blues form that produces its mood through only a few modal chan
ges and Miles Davis` free melodic conception. After a brief introduction by the
band to set the mood, Davis takes the spotlight with a series of variations on t
he same theme. Saxophones gives him some help with own interpretations. Then pia
no takes control, but only shortly. Davis closes with a last solo, lasting for t
wo minutes, accompanied by band playing the same rhythm that opened the piece.
5. Flamenco sketches (9:26)
A series of five scales, each to be played as long as the soloists wishes until
he has completed the series. Davis kicks of with his 5 scales, followed by saxop
hones and later piano. Of course, Davis is given the privilege to end the song.
6. Flamenco sketches [alternate take] (9:32)
This is the first take they played. Not very different from the first one. But s
omewhat different in mood, because of the solos.
The remastered Kind Of Blue is a delight to listen to. Especially the sound of t
he brass instruments (saxophones included) is extra clear through the use of a 2
0-bit mastering technique. That and the extra track gives the album its edge ove
r other remasters of this album. The CD comes with the original liner notes by p
ianist Bill Evans and notes by critic Robert Palmer (former chief pop critic for
the New York Times).
This is what the covernotes say about the reissue of Kind Of Blue.
[More than a milestone in jazz, Kind Of Blue is a defining moment of twentieth c
entury music, one of those incredibly rare works of art that achieve equal popul
arity among musicians, critics and the public at large. The rest of us might ten
d to agree with Jimmy Cobb, the drummer on the album, who commented of Kind Of B
lue that it must have been made in heaven . Don`t we all enjoy a taste of heaven no
w and then?]
And I couldn`t have said it better myself.