Columbia, 1959
This painterly masterpiece would become one of the a lot of important, affecting and accepted albums in jazz. But at the time it was made, Kind of Blue was a anarchy all its own, a abolitionist breach from aggregate traveling on. Turning his aback on accepted ambit progressions, trumpeter Miles Davis acclimated modal scales as a starting point for agreement and architecture – breaking new arena with warmth, subtlety and adumbration in the blubbery of harder bop. Davis and his aces bandage – bassist Paul Chambers, bagman Jimmy Cobb, pianist Bill Evans, and the titanic sax aggregation of John Coltrane and Cannonball Adderley – soloed in aerial settings, embodied by "melodic rather than harmonic variation," as Davis put it. Two numbers, "All Blues" and "Freddie Freeloader" (the closing featured Wynton Kelly at the ivories in abode of Evans), were in 12-bar form, but Davis' access accustomed his players a cool, new, calm freedom. Evans wrote in his aboriginal liner notes, "Miles conceived these settings alone hours afore the recording dates and accustomed with sketches which adumbrated to the accumulation what was to be played. Therefore, you will apprehend something abutting to authentic carelessness in these performances." Or as the backward analyzer Robert Palmer wrote, "Kind of Blue is, in a sense, all melody – and atmosphere." The bass band in "So What" is now a part of the a lot of accustomed obbligatos in jazz, and there is no bigger abstraction of the late-night admiration of applesauce than the aerial horns in "All Blues."
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