ARIA Charts – Accreditations – 2016 Albums" (PDF). Australian Recording Industry Association . Retrieved September 19, 2008. Danish album certifications – Miles Davis – Kind Of Blue". IFPI Danmark . Retrieved February 12, 2020. 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.”

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. None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. In fact Miles had written out the settings for most of them only a few hours before the session. The Davis band played a mixture of pop standards, blues, and bebop originals by composers such as Charlie Parker, Thelonious Monk, Dizzy Gillespie, Davis, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song. [1] Davis was one of many jazz musicians growing dissatisfied with bebop, however, and saw its increasingly complex chord changes as hindering creativity. [3]Now Analogue Productions, the audiophile in-house reissue label of Acoustic Sounds, Inc., together with Quality Record Pressings, is putting Kind of Bluewhere 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. In 1959, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP in 1959, muted the initial impact of Kind of Blue, a happenstance that irritated Davis greatly. [44] Though Davis and Coleman both offered alternatives to the rigid rules of bebop, Davis would never reconcile himself to Coleman's free jazz innovations, although he would incorporate musicians amenable to Coleman's ideas with his great quintet of the mid-1960s, and offer his own version of "free" playing with his jazz fusion outfits in the 1970s. [45] The influence of Kind of Blue did build, and all of the sidemen from the album went on to achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; "Cannonball" Adderley fronted popular bands with his brother Nat; Kelly, Chambers and Cobb continued as a touring unit, recording under Kelly's name as well as in support of Coltrane and Wes Montgomery, among others; and Coltrane went on to become one of the most revered and innovative of all jazz musicians. Even more than Davis, Coltrane took the modal approach and ran with it during his career as a leader in the 1960s, leavening his music with Coleman's ideas as the decade progressed. [46]

The RS 500 Greatest Albums of All Time: 12) Kind of Blue". Rolling Stone. Archived from the original on March 17, 2011 . Retrieved August 11, 2008.

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a b "Kind of Blue". Acclaimed Music. Archived from the original on April 21, 2017 . Retrieved September 19, 2015.

Kind of Blue is arguably Miles’ greatest hit, the one album with which he is most associated. It is still one of the most popular jazz albums of all time, outselling most contemporary recordings and prized as a harbinger of modal jazz and revered as a paradigm of improvisation over reduced harmony—creating a perfect balance of sound and space. Outside the jazz realm, it is consistently chosen by music historians and critics as one of the best albums of all time, alongside evergreen classics by The Beatles, Elvis Presley, and others. Andy Mabbett (1995). The Complete Guide to the Music of Pink Floyd. Omnibus Press, 14/15 Berners Street, London. pp.178–179. ISBN 0-7119-4301-X.Philips Compact Cassette versions of the original album prior to the Jazz Masterpiece remaster, and of the 1987 Jazz Masterpiece remaster. Neither are at the correct speed. [82] No chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don't have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically innovative you can be. When you're based on chords, you know at the end of 32 bars that the chords have run out and there's nothing to do but repeat what you've just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them. [3] Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Colin Larkin, ed. (2000). All Time Top 1000 Albums (3rded.). Virgin Books. p.40. ISBN 0-7535-0493-6. 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.”