Kind of Blue

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The expressive warmth, imaging clarity, frequency extension, and window-on-the-world breadth afforded by this new edition places music lovers right in the studio with the sextet. Miles also stuck to his old recording procedure of having virtually no rehearsal and only one take for each tune.

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. There's also the matter of its status as the most-referenced, and arguably, most important, jazz recording of all-time. Co-produced by Zev Feldman and David Weiss, the audio was newly transferred from the original 1/4″ tape reels. At the core of Kind of Blue: Legacy Edition is the original 45-minute album program, whose five titles – “So What,” “Freddie Freeloader,” “Blue in Green,” “All Blues,” and “Flamenco Sketches” – are indelibly etched in our contemporary musical DNA, be it jazz, rock, third through fifth stream classical, or beyond. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian “Cannonball” Adderley with Wyton Kelly playing piano on “Freddy the Freeloader.It may seem ironic that the biggest-selling album in jazz history is such a subtle and understated beast - perhaps less so when you consider it as a sublime masterpiece of subtlety and understatement. In 1969, he recorded Bitches Brew, a blend of rock, funk and jazz music, often taking the name “Fusion”. Kind of blue , due to its commercial success is sometimes given a wide berth by jazz purists who insist there is better stuff out there. D) – Concert of Saturday, April 9, 1960: MD, CA, JC, WK, PC, JCB (at the Kurhaus, Den Haag, Holland). In away, the story of Ben Webster's saxophone career is the story of jazz music itself through decades of experience.

Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley with Wyton Kelly playing piano on 'Freddy the Freeloader. It was captured on January 14, 1961, at Hibiya Public Hall in Tokyo during the band’s first-ever tour of Japan. 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.These are for your convenience so that you do not have to fill in your details again when you leave another comment. Recorded back in 1959 on 3 - track tape and remastered for this edition by Mark Wilder, who was clearly on a mission to produce not only the best quality of sound but also an authenticity of the sound at that time, the result is stunningly good. Such is the illuminating transparency, reference dynamics, organic warmth, and instrumental detail exposed by the thoroughly scrupulous mastering process.