Kind Of Blue is probably the most influential jazz album ever released. This best-selling record has been remastered for re-release in 1997. It’s the album every jazz-loving person must have in his/her collection. Made by the best musicians of that day and more important, recorded in one take, except the first rendition of Flamenco sketches. But that’s the beauty of this re-release, the first take of that song is added on the album. So it wasn’t previously released.
And that’s one of the remarkable things about this album. It’s the way they recorded it. Every musician was given a set of scales, appropriate for the song and he was to improvise on that. It’s not uncommon for jazz musicians to improvise, but taking in consideration the nature of the music being played, it put the band for a special challenge. It’s easier to play at the best of your technical abilities with fast finger action (because mistakes and false chords are obscured and too short in length to be heard) then slow, long notes and chords. But Davis knew what to expect when he asked these particular musicians for this session.

The people Miles Davis asked for the recording sessions are:
Alto saxophone: Julian “Cannonball” Adderley (except #3);
Tenor saxophone: John Coltrane;
Piano: Wynton Kelly (#2);
Piano: Bill Evans (all others);
Bass: Paul Chambers;
Drums: Jimmy Cobb;
Trumpet: Miles Davis.

1. So what (9:22)
A simple figure based on 16 measures of one scale, 8 of another and 8 more of the first, following a piano and bass introduction in free rhythm style. The opening of this song is very smooth. It lasts for about a minute and a half, strengthened by saxophone after one minute, but it is never boring, because of the fine tone setting of Evans. Then Davis starts his play. Sharp, marcato notes, woven together with musical phrases. Taken over by saxophone with more technical play. Al these solo’s last for several minutes. Finally the ending is like the beginning. Piano, together with saxophone playing some short chords in scale.

2. Freddie Freeloader (9:46)
A 12-measure blues given new personality by effective melodic and rhythmic simplicity. On this piece Wynton Kelly takes the piano. Through light fingering, he takes us through several stages of the “blues”. Then Davis, with some very pure yet foggy melody. Toward the end he changes the style to accommodate the saxophones that follow him. Yet again very technical as opposed to the other players. But still maintaining that bluesy feel. For the ending, Kelly takes over again with light play and short chords. For the finale, saxophone plays along for two simple phrases.

3. Blue in green (5:37)
A 10-measure circular form following a 4-measure introduction and played by soloists in various augmentation and dimunition of time values. Davis starts out with long notes, cup mute. Then the piano takes over, followed by saxophone. Piano, trumpet and piano close the piece. Especially the saxophone grasps your attention with soft and pure tones.

4. All blues (11:33)
A 6/8 12-measure blues form that produces its mood through only a few modal changes and Miles Davis’free melodic conception. After a brief introduction by the band to set the mood, Davis takes the spotlight with a series of variations on the same theme. Saxophones gives him some help with own interpretations. Then piano takes control, but only shortly. Davis closes with a last solo, lasting for two minutes, accompanied by band playing the same rhythm that opened the piece.

5. Flamenco sketches (9:26)
A series of five scales, each to be played as long as the soloists wishes until he has completed the series. Davis kicks of with his 5 scales, followed by saxophones and later piano. Of course, Davis is given the privilege to end the song.

6. Flamenco sketches [alternate take] (9:32)
This is the first take they played. Not very different from the first one. But somewhat different in mood, because of the solos.

The remastered Kind Of Blue is a delight to listen to. Especially the sound of the brass instruments (saxophones included) is extra clear through the use of a 20-bit mastering technique. That and the extra track gives the album its edge over other remasters of this album. The CD comes with the original liner notes by pianist Bill Evans and notes by critic Robert Palmer (former chief pop critic for the New York Times).

This is what the covernotes say about the reissue of Kind Of Blue.
[More than a milestone in jazz, Kind Of Blue is a defining moment of twentieth century music, one of those incredibly rare works of art that achieve equal popularity among musicians, critics and the public at large. The rest of us might tend to agree with Jimmy Cobb, the drummer on the album, who commented of Kind Of Blue that it “must have been made in heaven.” Don’t we all enjoy a taste of heaven now and then?]

And I couldn’t have said it better myself.

So I’ll leave you with some more info about this album:
Miles Davis
Kind Of Blue
Columbia / Legacy CK 64935, Sony music 01-064935-10


Recommended: Yes

Great Music to Play While: Reading or Studying