Why does posses such a mystique? The end results were wondrous and still crackle with vitality. As said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Now, you can hear it as if you were right there in the recording studio with the musicians! Perhaps it's that this music never flaunts its genius. It is advanced music that is extraordinarily enjoyable. .
As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. It's the pinnacle of modal jazz -- tonality and solos build from chords, not the overall key, giving the music a subtly shifting quality. It can be played as background music, yet it amply rewards close listening. Not only does this put us at the original session as a starting point, but it also allows us to deal with the pitch issue as well. There are countless think pieces exploring the idea, a devoted to the subject and even a documentary film, 1959: The Year That Changed Jazz.
All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. To be reductive, it's the Citizen Kane of jazz -- an accepted work of greatness that's innovative and entertaining. But with this album, he really makes a concerted effort to move in a different direction, and so he brings all this space and openness and these kind of languid tempos, and creates a mood. The end results were wondrous, filled with performances that still crackle with vitality. Why does Kind of Blue possess such a mystique? Davis, Composer, Lyricist - Patti Matheny - Bill Evans, Piano - Darren Salmieri - Seth Foster, Mastering Engineer - Paul Chambers, Bass - Fred Plaut, Recording Engineer - John Coltrane, Tenor Saxophone Copyright : Originally released 1959.
Yet Kind of Blue is more than easy listening. It is advanced music that is extraordinarily enjoyable. It can be played as background music, yet it amply rewards close listening. All rights reserved by Columbia Records, a division of Sony Music Entertainment. Chinen joined host to explain; hear their conversation at the audio link, and read on for highlights. This allowed us to gently guide the tape against the playback head to get optimal contact and fidelity. Yet is more than easy listening.
An upside to working from the archive files was the ability to chase the original fader moves done during the mix in 1959. It was much more popular in its day than Kind of Blue or Giant Steps. We constantly compared to an early pressing — mono and stereo — and worked bar by bar to duplicate the level moves on the three tracks to match as well as possible. They return because this is an exceptional band — Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb — one of the greatest in history, playing at the peak of its power. Perhaps because this music never flaunts its genius.
They return because this is an exceptional band - , , , , , , and -- one of the greatest in history, playing at the peak of its power. That may not mean it's the greatest jazz album ever made, but it certainly is a universally acknowledged standard of excellence. But it was not the only milestone recorded that year. It may be a stretch to say that if you don't like , you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection. This changed the initial focus from mixing from the originals to archiving them before mixing and working from the archive files. Kind of Blue works on many different levels. Few albums of any genre manage to work on so many different levels, but does.
And bebop is all about frenetic tempos and this real sort of virtuosic mastery; Miles Davis cut his teeth on bebop. Davis laid out the themes before the tape rolled, and then the band improvised. The quality of sound on this recording is unparalleled—listening to this release is like being in the studio with Miles. . .
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