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Kind of Blue

Kind of Blue

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A previously unreleased live recording of drum legend Art Blakey with a classic line-up of the Jazz Messengers, featuring trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, and bassist Jymie Merritt.

Consistently rated not just as one of the greatest jazz albums but as one of The greatest musical statements of the 20th century, its 46 minutes of improvisation and sophistication remain peerless. It’s not registering as any louder on the db-o-meter but it feels louder, I don’t know how to explain it.

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. We also share information about your use of our site with our social media, advertising and analytics partners. Some 1959 stereo pressings had the title "Kind of Blue" occupying one line only on both sides (like in the promo; I assume these are the earlier 1959 pressings), others had Side A with the title on two lines while Side B has it on one line but the track listing sequence corrected (like the one pictured on this page), while others have both sides with the title on two lines.

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. Existe una versión remasterizada y en vinilo de 180 gr, con dos discos con piezas añadidas y tomas alternativas que merece la pena; yo la poseo en CD y está muy bien. com/Miles-Davis-Kind-Of-Blue/release/5795305), with the tracks on Side B wrongly interchanged, but red in color instead of white, would be the earliest pressings. You can change your choices at any time by visiting Cookie preferences, as described in the Cookie notice.Davis led a sextet which included pianist Bill Evans, and saxophonists John Coltrane and ‘Cannonball’ Adderley.

The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. On Disc One, the five titles are presented intact: the first three numbers (“So What,” “Freddie Freeloader,” “Blue in Green”) that were cut on the first day of recording, two three-hour sessions on Monday, March 2, 1959; and the last two numbers (“All Blues,” “Flamenco Sketches”) recorded at the final three-hour session, Wednesday, April 22, 1959. Miles remained proud of the album, performing at least two of its tracks — “So What” and “All Blues” — for years after, until his musical path took him in a different direction. This cookie includes no personal data and simply indicates the post ID of the article you just edited.

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. Long held as the jazz album that even non-jazz fans might own, ‘Kind Of Blue’ changed the way Jazz was perceived. Miles Davis Kind of Blue on numbered limited edition 180-gram 45 RPM double LP box set from Mobile Fidelity.

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