Kind of Blue

Product Information

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. 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.

Late in his life, from the electric period on, Davis repeatedly disregarded his earlier work, such as the music of Birth of the Cool or Kind of Blue. In Davis's view, remaining static stylistically was the wrong option. [74] Light, Alan (November 13, 2006). "The All-TIME 100 Albums: Kind of Blue: Miles Davis". Time Inc. Archived from the original on February 18, 2007 . Retrieved September 10, 2023. Simmons, Ted (February 26, 2013). "Bilal's 25 Favorite Albums". Complex . Retrieved August 28, 2020. Larkin, Colin (1994). Guinness Book of Top 1000 Albums (1ed.). Gullane Children's Books. p.91. ISBN 978-0-85112-786-6. a b c d e Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; p. 111.

Barcode and Other Identifiers

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. Palmer, Robert (1997). "Liner Notes to 1997 Reissue". Kind of Blue (CD). New York, NY: Sony Music Entertainment Inc. / Columbia Records. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer’s stylus to play truly perpendicular to the grooves from edge to center. Kahn, Ashley (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. foreword by Cobb, Jimmy, Da Capo Press. ISBN 0-306-81067-0. Kind of Blue is more than Miles Davis’s most enduring recording, it’s a testament to Miles’ experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time.

Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. foreword by Jimmy Cobb. Da Capo Press, USA. p. 83. ISBN 0-306-81067-0. The Making of Kind of Blue: Miles Davis and His Masterpiece bebop. Myers, Marc (October 7, 2014). "Miles Davis's Jazz Masterpiece 'Kind of Blue' Is Redone". The Wall Street Journal . Retrieved January 31, 2023. 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] 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]Tingen, Paul (1999). "The Making of the Complete Bitches Brew Sessions". Miles Beyond . Retrieved September 10, 2023. a b c d Kahn, Ashley (2002). Kind of Blue: The Making of the Miles Davis Masterpiece. Granta Books. ISBN 9781862075412.