Revered as one of the most influential jazz albums of all time, Kind of Blue is kinda slippery to get a handle on. Not a frustrating kind of slippery like soap in the bath, nor the dodgy kind of slippery of a pub deal too good to be true; what Kind of Blue offers is the intense and liquid smoothness of Guinness or the finest satin sheets. If this classic was the only masterpiece Miles Davis produced (and it most certainly is not) he would still be remembered as long as jazz continues to weave its sinuous spell on music lovers the world over.
Recorded in the huge reverberant space of Columbia’s 30th Street studio in New York—once an Armenian church—this sensual album delivered a new and deceptively simple sound that moved jazz further away from the structures of popular song toward improvisations following scales rather than chords: the “modal” approach.
Of course the 50th Anniversary re-issue had all the bells and whistles, including very blue vinyl.
The way Miles Davis gathered a group of musicians who were capable of realising his vision says as much about his reputation and charisma as about his restless and enigmatic artistry. Chief amongst these were John Coltrane—already admired and imitated by tenor saxophone players across the USA—and a young, introverted and little known pianist named Bill Evans.
Miles and Bill worked closely during (and in between) the two sessions that produced Kind of Blue. The trumpeter was entranced by the spare yet intricate shadow-lightness of Evans’ piano playing. Together, their goal was to present sketches or ideas that the musicians would then develop spontaneously in the studio.
Miles’ trust was well rewarded; the players produced a luminous and beautiful album composed almost entirely of complete first takes.
Miles and Bill Evans. From the classy hardback book in the 50th Anniversary re-issue.
Although a restrained intensity characterises the LP—Miles described the band as having a “quiet fire”—there is much variety. The album opens with “So what” where, after a misty, almost uncertain opening, bassist Paul Chambers introduces a memorable tune. “Freddie Freeloader” is another great tune; upbeat and fun. This is the only piece featuring Wynton Kelly on piano; he brings a swinging energy to the bluesy piece. “Blue in green” is a breathtaking collaboration between Davis and Evans with delicate, floating brush-work from drummer Jimmy Cobb. Jazz to swoon to? Try “Blue in green”.
Side two has the extended loping groove of “All blues”; accessible yet with an unflagging momentum.
Finally we have the impressionistic beauty of “Flamenco sketches” evoking the paintings of Matisse as much as the music of Debussy. Coltrane soars like a troubled angel while Cannonball Adderley’s solo is like standing in a field of daffodils—you just smile. The ability of Davis to create a space where such different voices work so wonderfully together is a huge part of his legacy. Bill Evans is superb too, drawing single-note lines and adding brush strokes of harmony that seem like colour slides of exotic yet familiar locations. Then there’s Miles himself; entering late, almost apologetically, yet tying the music together with muted fervour.
In the background, a wonderful poster from the boxed set. The LP is a later re-issue.
Although it might seem like coming back to earth with a resounding thump, a word on pressings is needed. There are literally hundreds of different versions of Kind of Blue, from budget CDs to limited edition high-end vinyl pressings. Some research is advised.
We must finish with the music, so let’s give the final word on Kind of Blue to jazz legend Herbie Hancock:
“It’s a cornerstone record, not only for jazz… it’s a cornerstone record for music.”
The DVD is an informative and enjoyable doco. The bonus CD an excellent live set.
*
Originally published at Discrepancy Records.
Photos of the 50th Anniversary boxed set [2008] taken for this post.
vinylconnection.com.au 
In an Armenian church, of course! That is incredible that a lot of those songs are first takes. Some of the most beautiful music, I have ever heard. .
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Isn’t that a marvellous piece of lost history? Such an amazing space for such transcendent music.
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Well and at that time, and the culture that could just birth that, and how it would go on to influence music as like an entity, really cool. I am not very good at guitar, but I think of the brass, like trumpets and horns as being “simple” but then those guys just do things with it, and its otherworldly.
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Yeah it synchronizes nicely with a piece I just wrote on the Mississippi River, as Miles Davis was born twenty miles North of St. Louis, Illinois side, 1926!
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I reserve the same admiration for jazz listeners as I do for chess players. These are entertainment that I don’t understand and feel beyond me, but I oh so want to join the club. I’ll give kind of blue a chance while walking home from work when I can give it some solid attention.
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Walking and Kind of Blue could work beautifully. So long as the ambulation is performed in a non-competitive way, of course. Some people find this one a gateway, others prefer Coltrane’s Blue Train. Do report back, Jeff.
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Hi Bruce, I’m sensitive to the fact that I’m ‘letting you down’ and also, I really didn’t follow instructions. I decided to listen to a podcast from my friends at Discord and Rhyme about Miles and Bitches Brew. What I found was my Tourette tics went nuts. Walking with a podcast is usually one of the most relaxing parts of my day, and this wasn’t the case here. I have to assume it’s the music that set me off. I know that through repeated listening I would probably get ‘used to’ the music and I might begin to like it (I had that issue a bit with the Clash’s Sandinista and now it’s one of my favorite albums), but I already don’t like brass/wind instruments in music (for classical, I much prefer a string quartet or octet), I think there are just too many barriers. As much as I want to crack open the world of jazz, I think I’m not willing to put in the time.
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Jeff, pardon me for giggling just a little. Entering jazz via Bitches Brew is rather like starting out Mountain Biking in the Himalayas. 🤣
The most famous critic response to the album was the African American jazz writer who said he’d rather have his hands nailed to the table than listen to Bitches.
I can assure you that Kind of Blue is an altogether less crucifying experience.
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ah, ok, take two then
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or take five
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🙂
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So I went for a walk this evening listening to Kind of Blue. I see the difference, This was really enjoyable. At one point I was so lost in the music I almost got run over by a car backing out of their driveway.
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Hooray! The well-known “Almost totalled by a car because I was lost in music” test! Marvellous, Jeff.
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Nice review. Naturally I popped a CD into a player and chose the LG all-in-one to see how the album might sound now it sports a Polk subwoofer. Thus I find that Paul Chambers is more obviously walking me through these familiar tunes – and it is a pleasure. Jimmy Cobb is so delicate on the drums and Bill Evans really does provide ‘brush strokes of harmony’ as a stage for the headline heroes. What a ‘rythm section’. And what selfless, magnificent brass stars.
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It is easy to imagine the subbie enriching the space around Chambers’ bass, DD. And those delicate touches you mention, they really are lighter than air.
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It was not necessarily a revelation but breathed new life into something familiar. I thoroughly enjoyed it (and I wish Jeff C could have been there to listen to it with me).
Years ago I took your advice about listening to more challenging albums a few times to give your brain a chance to work on it. Some, like Jack Johnson, made it through from WTF to genuine appreciation/ admiration, or in the case of A Love Supreme: awe. Occasionally overly challenging albums don’t get a reprise, and boring ones never do.
My twist on the repeat method is to use three different players as they do reveal different aspects of a performance.
Thanks Bruce,
DD
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I like the twist (and it goes like this). Kind of inviting your ears to note sonic changes.
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This surely sounds great. And very accessible I should add, which I think is fair to note cannot be said about all Miles Davis albums. I might “steal” a track for a future installment of my Sunday feature!
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Go for it!
(Part of what is daunting about the Miles Davis catalogue is the breath and depth of it. Largest single artist section of my catalogue, Christian!)
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We’re on vacation at the moment in the south island and we have a very democratic family playlist with forty songs each. Mine are after my eight year old daughter’s selections – she favours high energy music and always complains mine are boring in comparison. She liked So What though- she liked singing along to the titular phrase
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That’s a cool story. I think that, in your shoes, I’d be sorely tempted to choose forty Tangerine Dream ‘songs’. That would cover about 12 hours.
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I think I would get in trouble with the girls. My songs are generally way longer than the kids though- Autobahn especially.
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I’ll have to check this Miles guy out. .U have a pretty good track record for good stuff. Something you might be interested in, Ron Carter (who might have recorded with this Miles guy) has a documentary coming out on PBS. I dont know how that translates where you are. I have a feeling it will be good.
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Ron played with, well, everyone for, well, forever. So lots of material, eh? Yeah, I think you’d enjoy Miles, CB. Surname Davis. 🤣
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My favorite jazz album of all time, and obviously I’m not alone in that opinion. The cast of supporting musicians is a veritable who’s who! I’m jealous of the anniversary edition you have. – Marty
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It is lovely, Marty. Though the pressing isn’t quite as super as the packaging!
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Ah, yes. The pressing. 😉
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Precisely. I’d be terrified to let that guy loose on my collection! 🤣
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I love this Bruce. The first jazz LP I ever truly fell for, ‘On The Corner’ was my first Miles – bought for the LP cover. It fits my definition of a perfect album, you couldn’t add or take away anything to make it any better.
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I’m positive Billy Joel copped his song idea from your neat and highly effective definition, Joe. Just the way you are.
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Looks like I DID start that fire, after all.
I only recently discovered Cannonball Adderley’s ‘Something Else’, which is in some ways a perfect sequel to KOB.
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Fine album!
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