Kind of Blue

See Larger Image	List Price: £9.99 Our Price: £4.98 Availability: Usually dispatched within 24 hours Manufacturer: Sony Jazz Average Customer Rating:


Binding: Audio CD EAN: 5099706493525 Label: Sony Jazz Manufacturer: Sony Jazz Number Of Discs: 1 Publisher: Sony Jazz Release Date: 1997-04-07 Studio: Sony Jazz
Related Items Birth of The Cool Sketches of Spain A Love Supreme Somethin' Else: Remastered Blue Train: Rudy Van Gelder Remaster
Editorial Reviews: 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
Spotlight customer reviews: Customer Rating: Summary: Check the version..... Comment: At first hearing you think the CD is good. Repeated listening makes you realise it is exceptionally good! Make sure though that you get the post 1997 remastered speed correct version made from the studio backup tape if you want it to do justice on a modern hi fi system - eg the Sony CK 64935 CD. Thoroughly recommend it - not just for Miles Davis but the excellent sensitivity of the accompanying musicians too. Customer Rating: Summary: Estate Agents and other coffee-tablists: This is not the be-all and end-all of jazz! Comment: It has already been said here that this album is usually found in non-jazz fans' collections alongside Bob Marley's greatest hits and most probably David Gray's entire ouvre. Perhaps it stands sentry there unplayed, just so its spine can be read, head tilted sideways, begging to impress upon whoever it is browsing through their collection some ill-gotten measure of sophistication? Perhaps they did play it once then decided no, they were right about jazz all along? Modal, understated, and (aaargh!) cool, or tedious, cicuitous and under-cooked? Amongst aficionados, the most fiercely debated issue with the session is whether you are appreciating it at the correct pitch (an issue with the tape playback speed when it was mastered). That sums up the excitement levels for you. Hardly a dynamic recording to bolster enthusiasm for a novice jazz listener. Personally, I feel sad for Bobby Timmons. Who? The pianist in Art Blakey's Jazz Messengers who wrote 'Moanin'' the year previous to this release. If he had had the temerity to just repeat the head to that tune up a semitone and then back down again as Miles practically does here (on 'So What'), it would be that album redundantly nestling in millions of style magazine-reading cretins' cd collections rather than this (somehow I picture Robert Elms owning 2 dozen copies). I find modal jazz to be a device that is prone to being abused as a way to stretch out lame ideas for twice as long as they need to be, and Miles was always fond of waiting until the cab ride to the studio to write the material. Just saying. Just so this is not completely written off as a Davis-hating rant, here are my pointers for a few other jazz albums (from the exact same time frame as this: 1958-9) for the uninitiated to peruse rather than this stultifyingly obvious choice. Beware neophytes; no one musical genre can be defined by (and thus written off by) one album and I really do want to encourage more people to listen to jazz. These just strike me as being as accessible as Kind Of Blue. Art Blakey & The Jazz Messengers - Moanin' Horace Silver - Blowin' The Blues Away Sonny Clark - Cool Struttin' Lou Donaldson - Gravy Train Gil Evans - The Complete Pacific Jazz Sessions Bennie Green - Soul Stirrin' My noted Blue Note bias is definitely a factor in this list. But from my own experience, being compelled to study this album as a rock-loving music student, I was put off jazz for several years by its meandering pace and lack of excitement. It took me another 5 years to discover there was more to jazz than Miles. Customer Rating: Summary: Before he went funny Comment: I can understand why fans of Davis' jazz fusion, jazz rock and electric stuff may find this bland since it was recorded before he decided to explore that newer territory (which I find weird and disappointing). It represents just one part of his journey from the Rhumboogie Orchestra in 1944, via bop and Gill Evans, to the synthesizer-enhanced(?) din he was making towards the end of his career. Only a few days after this session was recorded Coltrane cut "Giant Steps", which is a fair indication of the direction he was taking. However, for me and thousands of others this is a beautiful record, with all the musicians performing at their (then) peak. Even Coltrane makes a beautiful sound and they all swing mightily when that is appropriate to the mood of the number. Yes, it is cool (although there is warmth, too) but that was what the mood required. Incidentally, in his autobiography, Davis denies that Bill Evans composed (or co-composed) any of the pieces in "Kind of Blue" although he admits Evans' influence on his approach to the work. Whether it is "the best jazz record ever" I am not qualified to judge although it is surely among the best. But how do you compare it with King Oliver, Bechet's "Out of the Galleon" or with Bird at his best? Such comparisons are pointless as well as impossible. Just enjoy it for what it is. Customer Rating: Summary: Modal Jazz begginings Comment: Miles Davis and his band ( and what a band ) explore modes in this record beggining a new era in jazz improvisation previously based in chord changes. That was quite a big step .First , it gave greater freedom.Second, you must knew what to do with the freedom to avoid a musical disaster. The truth is that this is one of this exceptional albums that you can listen to 1000 times and discover new layers and rewarding musical moments. I mean , if you want to understand Jazz after 1950 buy this and if you want to listen to exceptional music buy it too. Customer Rating: Summary: The Master Comment: Don't waste your time reading anymore reviews -just buy the album. Better jazz than this is hard to imagine! Put it on, listen and relax. More Reviews