Kind of Blue

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a b c d e The speed error is explained in the booklet with the post-1997 remaster: the off-speed master was used for all prior releases. When Shirley Horn insisted, in 1990, that Davis reconsider playing the gentle ballads and modal tunes of his Kind of Blue period, he demurred: "Nah, it hurts my lip." [76] Release history [ edit ] 1986 Columbia Jazz Masterpieces compact disc reissue cover

George Russell's Lydian Chromatic Concept of Tonal Organization". Concept Publishing . Retrieved September 10, 2012. Williams, Richard (2010). The Blue Moment: Miles Davis's Kind of Blue and the Remaking of Modern Music. Norton. W. W. Norton & Company. ISBN 978-0-393-07663-9.

Recommendations

a b c d Kahn, Ashley (2002). Kind of Blue: The Making of the Miles Davis Masterpiece. Granta Books. ISBN 9781862075412. Barber, Geoff (October 27, 2004). "1959: A Great Year in Jazz". All About Jazz . Retrieved September 10, 2023. time. "Flamenco Sketches" consists of five scales, which are each played "as long as the soloist wishes until he has completed the series". [8]

French album certifications – Miles Davis – Kind of Blue" (in French). Syndicat National de l'Édition Phonographique . Retrieved January 5, 2014.Now Analogue Productions, together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.

a b "Liner note reprint: Miles Davis— Kind of Blue (FLAC— Master Sound— Super Bit Mapping)". Stupid and Contagious . Retrieved July 27, 2008. The lasting value of a recorded masterpiece lies not only in the notion of reaching and grasping the music itself, but in using it as a doorway to other pathways. Kind of Blue, it can be argued, earns its accolades less for its continuing sales or critical popularity, and more for its long-serving role as the portal for so many who come to jazz for the first time. Danish album certifications – Miles Davis – Kind Of Blue". IFPI Danmark . Retrieved February 12, 2020. a b "American album certifications – Miles Davis – Kind of Blue". Recording Industry Association of America.

a b c d e Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. foreword by Jimmy Cobb. Da Capo Press. pp. 67–68. ISBN 0-306-81067-0. The Making of Kind of Blue: Miles Davis and His Masterpiece bebop. Influenced in part by Evans, who had joined the ensemble in 1958, Davis departed further from his early hard bop style in favor of greater experimentation with musical modes, as on his previous album Milestones (1958). Basing Kind of Blue entirely on modality, he gave each performer a set of scales that encompassed the parameters of their improvisation and style, and consequently more creative freedom with melodies; Coltrane later expanded on this modal approach in his own solo career.

How did Miles himself feel about Kind of Blue? Ironically, he described it as a “failed experiment” in his autobiography, explaining that the album did not fully realize the sounds he had been hearing in his head before the session. Nonetheless, in an 1986 interview, when pianist/journalist Ben Sidran remarked that Kind of Blue is probably the number one jazz record on virtually all the jazz critics’ lists, his sincere answer was short but held a palpable sense of pride: “Isn’t that something.”If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis’ Kind of Blue. Kind of Blue was produced by Columbia staff producer Irving Townsend. [11] : 195 However, over the years there has been confusion, with Davis's subsequent producer Teo Macero getting partial or full credit. "In the case of Kind of Blue there were two producers: Teo Macero and Irving Townsend", said jazz historian Eric Nisenson. "Macero's role, however, was clearly that of an apprentice and observer." The recording session was also cited by Nisenson as Macero's first experience with "the highs and lows of working with Miles." From Macero's own recollection, his involvement in the recording included "box[ing] everyone in so that there would be a physical closeness among the musicians, not like today when the musicians are spread all over the place." [12] According to High Fidelity, "though his role in Kind of Blue has been disputed", the recording was "made under the auspices" of Macero. [13] However, it is Townsend's voice heard on the session tapes, who became Davis's producer after the departures of George Avakian and Cal Lampley. Macero did not produce Davis until after Townsend took over West Coast production duties for Columbia Records, when Macero took his place. [11] : 90 Macero's first Davis production was his next record, Sketches of Spain. [11] : 166