Miles Davis: Kind of Blue

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Kunstner	Miles Davis
Titel	Kind of Blue
Label	Columbia Records
Format	LP
Udgivelsesår	1959
Katalognummer	CS 8163 Stereo
Pris	3000 kr. / 400 €
Beskrivelse	Scarce Orig. U.S 1st. Stereo Press/6-eye Label - in great condition. Personnel: Julian Adderley, Paul Chambers, Jimmy Cobb, Bill Evans, Wynton Kelly, John Coltrane. Miles Davis. Tracklist: So What Freddie Freeloader Blue In Green All Blues Flamenco Sketches By late 1958, Davis employed one of the best and most profitable working bands pursuing the hard bop style; his personnel stabilized to alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Wynton Kelly, long-serving bassist Paul Chambers, and drummer Jimmy Cobb. His band played a mixture of pop standards and bebop originals by the likes of Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron; as with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song. However, Davis was one of many jazz musicians growing dissatisfied with bebop, seeing its increasingly complex chord changes as hindering creativity. In 1953, pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords. Abandoning the traditional major and minor key relationships of Western music, Russell developed a new formulation using scales or a series of scales for improvisations; this approach came to be known as modal in jazz. Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his 1958 album Milestones. Satisfied with the results, Davis now prepared an entire album based on modality. Pianist Bill Evans, also an enthusiast of Russell, but recently departed from the Davis band to pursue his own career, was successfully drafted in to the new recording project - the sessions that would become Kind of Blue. Sessions It must have been made in heaven. Jimmy Cobb The album was recorded in two sessions, on March 2 for the tracks "So What," "Freddie Freeloader," and "Blue in Green," composing side one of the original LP, and April 22 for the tracks "All Blues," "Flamenco Sketches," making up side two. As was Davis' penchant, he called for almost no rehearsal and the musicians had little idea what they were to record; as described in the original liner notes by Evans, the band had only sketches of scales and melody lines to go on. Once the musicians were assembled, Davis gave brief instructions for each piece, then set to taping. While the results are impressive with so little preparation, the persistent legend of the entire album being recorded in one pass is untrue. Only "All Blues" was completed in a single take, with the other tracks being finalized after 3-6 takes each, including a piano solo insert for "Freddie Freeloader". Kelly may not have been happy to see the man he replaced back in his old seat. Perhaps to assuage the pianist's feelings, and also to take advantage of Kelly's superior skills as both bluesman and accompanist, Davis had Kelly play instead of Evans on the album's most blues-oriented number, "Freddie Freeloader." All compositions were listed as being written by Davis, but many scholars and fans believe that Bill Evans wrote many of the compositions. Bill Evans himself assumed co-credit, with Davis, for "Blue In Green" when recording it on his Portrait in Jazz album. This appropriation of publishing by the bandleader was far from an unknown occurrence in the jazz world, Davis having been on the receiving end of such practice himself; while employed as a sideman in Charlie Parker's quintet in the late 1940s, Parker took credit for the Davis-penned tune "Donna Lee," which later became a popular jazz standard. Additionally, the introduction to "So What", attributed to Gil Evans, is actually very closely based on the opening measures of Claude Debussy's Voiles, the second prelude from his first collection of preludes. The live album Miles & Monk at Newport documents this band. However, the recording, from the previous year, 1958, reflects the band in a late bebop conception, rather that than the modal framework. Composition The entire album was composed as a series modal sketches, in which each performer was given a set of scales that defined the parameters of their improvisation. This was in contrast to more typical means of composing, such as providing musicians with a complete score or, as was more common for improvisational jazz, providing the musicians with a chord progression or series of harmonies. Modal jazz of this type was not new to this album. Davis himself had previously used the method on his album Milestones, and the method had been developed in 1953 by noted jazz music theorist George Russell. Davis saw Russell's methods of composition as a means of getting away from the dense chord-laden compositions of his time, which Davis had labeled "thick". Modal composition, with its reliance on scales and modes, represented "a return to melody." As noted by Bill Evans in his liner notes for the original 1959 LP release, "Miles conceived these settings only hours before the recording dates."Evans gives a general introduction as to the modes used in each composition on the album. "So What" consists of a mode based on two scales: sixteen measures of the first, followed by eight measures of the second, and then eight again of the first. "Freddie Freeloader" is a standard twelve bar blues form. "Blue in Green" consists of a ten-measure cycle following a short four-measure introduction. "All Blues" is a twelve bar blues form in 6/8 time. "Flamenco Sketches" consists of five scales, each to be played "as long as the soloist wishes until he has completed the series". Reference: Wikipedia
Genre	jazz, hard-bop, cool-jazz,
Pladens stand	Excellent(EX)
Coverets stand	Excellent(EX)
Label stand	Excellent(EX)
Internt nummer	H101327