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(JazzPlanet) Miles Davis - Kind of Blue (1997 Remaster) (Eac S Flac Cue) (UF)

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Miles Davis - Kind Of Blue













Artist Miles Davis

Title  Kind Of Blue

Record Label Columbia Legacy Recordings CK 64935 01-0649935-10

Genre 	Jazz Instrument

Subgenre Modal/Jazz

Release Date 	March 25, 1997

Album Duration 	55m:16s

Number of Discs 1 

Source: Original CD 

Size Torrent: 362 Mb

Scan Book Included





Extractor: EAC 0.99 prebeta 4 

Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1;  Level 8  

Single File.flac, Eac.log, 

File.cue (Noncompliant)

Accurately ripped (confidence 200 )





 

The people Miles Davis asked for the recording sessions are:

Trumpet: Miles Davis;

Piano: Bill Evans (all others);

Piano: Wynton Kelly (Track 2);

Tenor saxophone: John Coltrane; 

Alto saxophone: Julian “Cannonball” Adderley (except track3); 

Bass: Paul Chambers; 

Drums: Jimmy Cobb.





Track list



 1. So What   

 2. Freddie Freeloader 

 3. Blue in Green   

 4. All Blues   

 5. Flamenco Sketches 

 6. Flamenco Sketches - (alternate take) 



Listen to all



http://www.amazon.com/gp/recsradio/radio/B000002ADT/ref=pd_krex_dp_a





Kind of Blue recording sessions (5 of 5) - (miles davis)



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Listen complete track



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video



http://www.youtube.com/watch?v=RjwVwASlVn4





review



The Bottom Line: One of the best recordings ever made by one of the true legends of jazz.



When I first began to explore jazz music, one of the first musicians I discovered was Miles Davis. This was partly owed
to his documented affection for the music of Hendrix. It gave him name notoriety for a rock fan like myself. I was first
blown away by B!tches Brew and In a Silent Way. Then I worked my way back to this one: Kind of Blue. Finding this disc
led to this giant of jazz becoming a staple in my everyday musical diet.



This is one of the finest recordings ever made both musically and sonically. Originally released in 1959, it remains
vital over four decades later. Many jazz buffs view this as the zenith of Miles career. It is an extraordinary document
of musical history. One music magazine cited this as the most sonically perfect album ever recorded given technology
available for the era.



The concept behind this album was for the soloists to work out on a scale or a set of scales instead of chords. Bill
Evans in the liner notes likened Miles Davis music to a Japanese visual art that forced the artist to be spontaneous.
That was part of the agenda for Miles when he developed this concept. This modal style was an ingenious concept that
required great musicians. That didn't prove to be a problem as Miles was always surrounded by great musicians who
enabled him to execute his visions. These sessions were no exception.



The sextet for this album was Miles on trumpet, Julian 'Cannonball' Adderly on alto sax, John Coltrane on tenor sax,
Bill Evans on piano, Paul Chambers on bass and James Cobb on drums. Wyn Kelly provided the piano on Freddie
Freeloader.



So What opens the set with a bang. This is now a jazz standard that continues to inspire young players. So What works
out of a simple melody which allows the players to easily work in their solos. It's nine minutes long so even then Miles
had an affection for allowing his bandmates to play. Coltrane and Adderly are stellar in their contributions to this
track.



Freddie Freeloader; keeps the ball rolling in fine style. Miles playing achieves a piercing precision here. This song
also has a great swing to it. This may be the finest jazz sextet in history. Wyn Kelly does not miss a beat here. I love
the simplicity of the track. The soloing also attains amazing levels.



The remaining three tracks continue with great verve. Blue in Green is a lovely ballad. Miles always had the ability to
play beautiful music when he chose. His playing here is downright pretty. All Blue and Flamenco Sketches are both blues
numbers. They show Miles had an ability to tackle the blues. They both work out of a slow melody and allow the musicians
to take solos along the way. Bill Evans especially shines on these blues numbers. Those with the re-mastered version get
a bonus alternate take on Flamenco Sketches.



This spontaneous jazz became a landmark. Coltrane and Adderly provide a remarkable impetus to scaling new heights. They
sustain the mood with great skill. Paul Chambers and James Cobb lend a splendid rhythm backdrop to the music. The
playing of Bill Evans also deserves special note here. His playing and personality seemed to push Miles to another
level.



Miles, who continually changed his setting and sound throughout his career, reached a phoenix on this album. It is
unbelievable how good this is considering that Miles conceived the pieces only hours before each session. The other
musicians never saw the music before they played it in the studio. The end result is a masterful set of jazz. It
represents all that is great about this music form.



This is a CD that I absolutely recommend for anyone interested in jazz. It is an essential. It will appeal to fans of
other styles who would like to branch out into jazz. For all the brilliance of this set the songs themselves are worked
out of very simple structures. Miles Davis was one of the most significant musicians of the 20th Century. This one is
one of his finest moments. 





______________________________________________________________________________________________________________________





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. 



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.

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