Kind of Blue is a studio album by American jazz trumpet player Miles Davis. It is considered by many critics as the biggest jazz record, Davis masterpiece, and one of the best albums of all time. His influence on music, including jazz, rock, and classical genre, has led to the authors also regarding it as one of the most influential albums ever recorded. This album is one of 50 records selected in 2002 by the Library of Congress to be added to the National Recording Registry, and in 2003 was ranked 12th on the magazine's list of the 500 greatest albums of Rolling Stone. all the time.
Kind of Blue was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and was released later that year on August 17 by Columbia Records. The album features a Davis ensemble sextet consisting of saxophonist John Coltrane and Julian "Cannonball" Adderley, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, with former band pianist Bill Evans appearing on most tracks at Kelly's venue. Partly because of Evans's entry into sextet during 1958, Davis followed up on the Milestones capital experiment by basing Blue Type entirely on modalities, in contrast to his previous work with jazz hard bop styles.
Although the exact numbers have been disputed, the Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, the Recording Industry Association of America (RIAA) certified it four times platinum, showing sales of at least four million copies.
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At the end of 1958, Davis hired one of the most recognized and profitable bands to pursue the hard bop style. Chambers bassist who has been around since the beginning of 1955; alto saxophonist Adderley joined in the fall of 1957 with the saxophonist tenure of Coltrane back in early 1958; pianist Evans had replaced the Red Garland in April 1958 but quit in November to be replaced by Kelly; and Cobb's drummer was employed in May 1958. The band Davis plays a mix of the original pop and bebop standards by Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron. Like all bebop-based jazz, Davis's group improvised on chord changes from a given song. Davis is one of many jazz musicians who grew dissatisfied with bebop, and saw an increasingly complex root change as a barrier to creativity.
In 1953, pianist George Russell published the Lydian Chromatic Concept of Tonal Organization, which offers an alternative to improvisational practices based on chords and chord changes. Abandoning traditional minor and minor relationships, Lydian Chromatic Concept introduces the idea of ​​chord/scale unity and is the first theory to explore vertical relationships between chords and scales, as well as the only original theory derived from jazz. This insight helps lead the way to the "capital" approach in jazz. Influenced by Russell's ideas, Davis applied his first capital composition to the title track from his studio album Milestones (1958). Satisfied with the results, Davis prepared the entire album based on the modalities. Pianist Evans, who had studied with Russell but had left Davis group to pursue his own career, was recruited back to a new recording project, a session that would become Kind of Blue.
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Recording
Kind of Blue was recorded on a three-track tape in two sessions at 30th Street Studio at The Records in New York City. On March 2, 1959, the songs "So What", "Freddie Freeloader", and "Blue in Green" were recorded for the side of one of the original LP, and on April 22 the songs "All Blues" and "Flamenco Sketches" were recorded,. Production is handled by Teo Macero, who has produced two previous Davis LPs, and Irving Townsend.
As with Davis's tendency, he asked for almost no practice and the musicians did not know what to record. As explained in the original liner notes by pianist Bill Evans, Davis only gives sketches of band scale and melody lines to improvise. After the musicians gathered, Davis gave brief instructions to each section and then arranged to knock sextet in the studio. While the results are impressive with so little preparation, the constant legend that the entire album is recorded in one pass is incorrect. Only "Flamenco Sketches" resulted in a complete take on the first try. It took, not masters, issued in 1997 as a bonus taking alternative. However, the five masters issued, are the only other complete ones; inserts for ending to "Freddie Freeloader" were recorded, but not used for releases or on the Blue Type issues before the 1997 publication. Wynton Kelly's pianist may not be happy to see the man he replaced, Bill Evans, back to his old chair. Perhaps to appease the pianist's feelings, Davis has Kelly playing instead of Evans at the most blues-oriented album number, "Freddie Freeloader". Miles Davis live album in Newport 1958 documenting the band. However, the recording of the Newport Jazz Festival on 3 July 1958, reflecting the band in a loud bop concept, the presence of Bill Evans only six weeks into his brief tenure in the Davis band though, rather than the capital approach of the Blue Kind of the Blue.
Composition
The Kind of Blue is entirely based on modality, in contrast to Davis's earlier work with a harsh jazz style and complicated progression and improvisation. The entire album is composed as a series of capital sketches , in which each player is assigned a series of scales that define their improvisation parameters and styles. This style is different from the more general way of writing, such as giving a musician with a complete score or, as is more common for improvised jazz, providing musicians with chords or harmony sequences.
This type of capital Jazz is not unique for this album. Davis himself previously used the same method on his 1958 Milestones , '58 Sessions and Porgy and Bess (1958) albums, where he using the influence of capital for the composition of the third fl ow of the work of colleague Gil Evans. Capital composition, with dependence on scale and fashion, is represented, as Davis calls it, "back to melody." In a 1958 interview with Nat Hentoff from The Jazz Review, Davis describes the shape of this composition as distinct from the main chord in bebop, stating "No chord... gives you more freedom and space to hear things When you go this way, you can go on forever.You do not have to worry about changes and you can do more with the [melody] line.It's a challenge to see how innovative your melody can be When you use chords, you know at the end of the 32 bars the chords are gone and nothing can be done other than repeating what you just did - with variations I think a movement in jazz starts away from conventional string strings... there will be fewer chords but unlimited possibilities like what to do with them. "
As Bill Evans noted in the LP liner notes, "Miles arranged this arrangement just hours before the listing date." Evans continued with an introduction to the modes used in each composition on the album. "So What" consists of two modes: the first sixteen sizes, followed by the eight sizes of the second, and then eight again from the first. "Freddie Freeloader" is a standard twelve-blues bar. "Blue in Green" consists of a ten-step cycle after a short four-step introduction. "All Blues" is a twelve-bar blues form within 6/8. "Flamenco Sketches" consists of five scales, each of which is played "as long as the soloist hopes until he finishes the series".
Liner lists Davis as the author of all compositions, but many scholars and fans believe that Bill Evans wrote some or all of the "Blue in Green" and "Flamenco Sketches". Bill Evans assumed a co-credit with Davis for "Blue in Green" while recording it on the Portrait in Jazz album. The Davis real recognizes Evans's authorship in 2002. The practice of a band leader who fits the mastery of a song written by a sideman often takes place in the jazz world, as the legendary saxophonist Charlie Parker did it for Davis when Parker took the songwriting credit for the song "Donna Lee" , written by Davis when hired as a sideman in quintet Charlie Parker in the late 1940s. This composition then became a popular jazz standard. Another example is the introduction of "So What", associated with Gil Evans, which is based on the opening steps of French composer Claude Debussy Voiles (1910), the second introduction of his first preludin collection.
Reception and inheritance
Since its release on August 17, 1959, the Kind of Blue has been regarded by many critics as Davis's greatest work; this is his most famous album, and has been hailed as the best-selling jazz album released, although later claiming to attribute that achievement to Davis's first official gold record Bitches Brew (1970). Music writer Chris Morris calls Kind of Blue as a "Davis art distillation." Kind of Blue is also noted as one of the most influential albums in jazz history. One reviewer referred to it as "the twentieth century's decisive moment of music." Some of the songs from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all time. In the album's review, AllMusic senior editor Stephen Thomas Erlewine stated:
Kind of Blue is not just an artistic spotlight for Miles Davis, it is a looming album on top of his peers, a record generally regarded as a definitive jazz album, a universally recognized standard of excellence. Why does the Kind of Blue have such a mystique? Perhaps because this music never showed off its genius.... This is the culmination of capital jazz - the tone of voice and solo build up of the whole lock, not the chord changes, giving the music a smooth shift quality.... It might stretch to say that if you do not like Kind of Blue , you do not like jazzà ¢ â,‰ "¢ à ¢ â,‰ € Å"but it's hard to imagine it as anything other than the cornerstone of any jazz collection.
In 1958, however, Ornette Coleman's arrival in the jazz scene through his residency at the Five Spot club, consolidated with the 1959 release of The Shape of Jazz to Come LP, silenced the initial impact of Kind of Blue , an event that irritates Davis. Although Davis and Coleman offer an alternative to bebop rigid rules, Davis will never make peace with Coleman's free jazz innovation, although he will include musicians who agree with Coleman's ideas with his great quintet in the mid-1960s, and offer his own version. "free" played with his jazz fusion outfit in the 1970s. The Blue Type Effect is indeed build, and all sidemen from the album continue to achieve their own success. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley formed popular bands with his brother Nat; Kelly, Chambers and Cobb continued as tour units, recording under Kelly's name as well as supporting Coltrane and Wes Montgomery, among others; and Coltrane went on to become one of the most respected and innovative jazz musicians. Even more than Davis, Coltrane took a capital approach and ran with him during his career as a leader in the 1960s, relaxing his music with Coleman's ideas during the decade.
According to Acclaimed Music, Kind of Blue is ranked 49th on the critics list of all time. In 1994, the album was ranked number one on Colin Larkin's Top 100 Jazz Albums . Larkin described it as "the greatest jazz album in the world". It has been ranked or near the top of the list of "best albums" in different genres. In 2002, the Kind of Blue was one of 50 records selected that year by the Library of Congress to be added to the National Recording Registry. In selecting the album as number 12 on the 2003 list of the 500 greatest albums of all time, Rolling Stone magazine states: "This painting masterpiece is one of the most important, influential and popular albums in jazz." On December 16, 2009, the United States House of Representatives passed a resolution in honor of the 50th Birthday Blue Type and "reaffirming jazz as a national treasure". It is included in the 2005 book 1001 Album You Should List Before You Die , described by reviewers Seth Jacobson as "the defining moment of the genre in the music of the twentieth century, period."
Influence
The album's influence has gone beyond jazz, as musicians from genres like rock and classic have been influenced by it, while critics have written about it as one of the most influential albums of all time. Many rock musicians improvised in the 1960s referring to the Kind of Blue for inspiration, along with other Davis albums, as well as Coltrane's My Favorite Things (1961) and A Love Supreme (1965). Guitarist Duane Allman of the Allman Brothers Band says his solo in songs like "In Memory of Elizabeth Reed" "comes from Miles and Coltrane, and especially Kind of Blue I've listened to the album so many times over the last few years, I hardly ever listen to any other. "Keyboardist Pink Floyd Richard Wright says that the chords progress on the album affects the chord introduction structure to the song" Breathe "on The Dark Side of the Moon (< 1973). In his book Kind of Blue: The Making of a Miles Davis Masterpiece, author Ashley Kahn writes "still acknowledged as a hip top, four decades after it was recorded, Kind of Blue is the debut album of his time, jazz or other. The introduction of a vapory piano is universally acknowledged. "Producer Quincy Jones, one of Davis's old friends, wrote:" That Kind of Blue will always be my music, man. I play Kind of Blue every day - that's my orange juice. It still sounds like it was made yesterday. "Chick Corea's pianist, one of Miles's assistants, was also surprised by his majesty, then stated" It's one thing to just play a song, or play a music program, but it's another thing to practically create a new language of music, the Blue Type do. "
Gary Burton, of Berklee College of Music, notes the presence of consistent innovation throughout the album, stating: "It's not just one song that is a breakthrough, it's an entire record.When new jazz styles come, some of the first attempts to do so are usually a bit wobbly. Charlie Parker's initial entry is like this, but with the Kind of Blue all the sounds like they really love it. "Along with Dave Brubeck Quartet's Time Out (1959) ) and the Coltrane's
The Kind of Blue musician appeared together in a further recording effort through the 1960s. Davis had made a rare post-1953 sideman appearance in 1958 on Adderley's album Somethin 'Else ; Evans and Adderley collaborate with this last LP Know What I Am? from 1961. Kelly and Chambers supported Hank Mobley at Soul Station in 1960, and Evans and Chambers played in sessions for The Blues and the Abstract Truth by Oliver Nelson in 1961. The rhythm section of Kelly, Chambers, and Cobb supports Coltrane for Coltrane Jazz and a song on his monument Giant Steps, which features Chambers all over. The trio lived with Davis for the recording. One day Prince My Will Will Come and live performances at Blackhawk and at Carnegie Hall.
Davis in retrospection
At the end of his life, from the time of electricity, Davis repeatedly ignored previous works, such as music of Birth of the Cool or Kind of Blue. In Davis's view, the remaining static force is the wrong choice.
"So What" or Kind of Blue , they finished in that era, the right hour, the right day, and it happened. It is over [...]. What I use to play with Bill Evans, all the different modes, and replacement chords, we have that energy and we love it. But I do not feel it anymore - it's more like a warm turkey.
When Shirley Horn insisted, in 1990, that Davis reconsidered playing soft ballads and his capital tones in the Kind of Blue period, he objected: "No, it hurts my lips."
Releasing history
Kind of Blue was originally released as a 12-inch record, in stereo and mono. There are some re-publications of Blue Type , including additional prints throughout the vinyl era. In some editions, the label redirects the sequence for two songs on the two side, "All Blues" and "Flamenco Sketches". This record has been remastered many times during the compact disc era, including the reissue of the 1986 Columbia Jazz Masterpiece and, in particular, the 1992 remastering that corrects the speed for the side one, which has been released slightly off-pitch initially, and the 1997 issue that adds alternatives takes "Flamenco Sketches". In 2005, DualDisc releases include original albums, digital remastering in 5.1 Surround Sound and LPCM Stereo, and a 25 minute documentary Made in Heaven about the making and effect of Kind of Blue > Kind of Blue has also been re-released on collectors of rare 24-carat gold CDs.
The album is also released in many other formats, many of which can only be found second hand.
- A two-track (US only) rolling tape, Columbia GCB 60, where "Freddie Freeloader" and "Flamenco Sketches" are removed to keep costs down. This release was on the market for less than a year and was stopped sometime after July 1961, after Spanish sketch was released for only four lines. Sonically most often better than the four-track counterpart that replaces it. Reports that the two-track version is the only one that was issued at the right speed for the track from the side of the first album was wrong. Nothing is issued at the correct speed.
- Open four-way (US only) open shield, Columbia CQ 379, as a full five-track album. This release replaces the two-track release and remains in the Columbia catalog for several years. Several tracks are available on other reel bands that are published today at or after the original release of the album, such as by Artists Various. Nothing is issued at the correct speed. "All Blues" is included in the album Greatest Hits .
- Radio and Television Services Armed Forces 16-inch transcription. Notice this is monophonic and the tone on the P-6925 side marked "Flamenco Sketches" actually holds the "All Blues". Nothing is issued at the correct speed.
- Philips Compact Case. Both as the original album before the remaster Masterpiece Jazz, and as a remaster of Jazz Masterpiece 1987. Not at the correct speed.
- MiniDisc, Columbia CM 40579 (USA). Just as a master before 1997, but not as a Masterpiece Jazz remaster. It was not available in the late 1990s when the production of the Jazz Masterpiece series had stopped. Nothing is issued at the correct speed.
- The two-disc box set of "50th Anniversary Collector Edition", was released on September 30, 2008 by Columbia and Legacy.
Track list
Personnel
Per liner notes.
Musician
- Miles Davis - trumpet
- Julian "Cannonball" Adderley - alto saxophone (except for "Blue in Green")
- John Coltrane - tenor saxophone
- Bill Evans - piano (except for "Freddie Freeloader")
- Wynton Kelly - the piano (in "Freddie Freeloader")
- Paul Chambers - double bass
- Jimmy Cobb - drums
Production
- Irving Townsend - producer
- Fred Plaut - technique
- Don Hunstein - photography
- Bill Evans - original liner notes
- Michael Cuscuna - republish production
- Mark Wilder - remix engineering
- Jay Maisel - 2009 republishing the photography booklet
- Nat Hentoff - 1997 re-publishes liner notes
- Francis Davis - 2009 resend note
Diagram
Billboard (North America)
Certification
References
Bibliography
- Blumenthal, Bob (2001). "Liner Notes". Miles Davis in Newport 1958 . Columbia/Legacy CK85202.
- Brackett, Nathan; Hoarding, Christian (2004). New Rolling Stone Album Guide . Fully Revised and Updated Fourth Edition. Simon and Schuster. ISBNÃ, 0-7432-0169-8.
- Cook, Richard; Morton, Brian (2002). Penguin's Guide to Jazz on CD . 6th Edition. Penguin. ISBN: 0-14-051521-6. CS1 maint: Many names: list of authors (links)
- Kahn, Ashley (2001). Blue Type: Miles Davis Masterpiece . preface by Cobb, Jimmy, Da Capo Press. ISBN: 0-306-81067-0.
- Palmer, Robert (1997). "Liner Notes to 1997 Reissue". Kind of Blue (CD) . New York, NY: Sony Music Entertainment, Inc./Columbia Records.
External links
- Miles Davis: 'Kind of Blue' program in National Public Radio Jazz Profiles series
- Blue Type in MILESTONES: Collector's Site Miles Davis
Source of the article : Wikipedia
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