Philip B. Pape. "All About Jazz: Kind of Blue— Review". All About Jazz . Retrieved September 19, 2008. Every UHQR will be hand inspected upon pressing completion, and only the truly flawless will be allowed to go to market. National Recording Preservation Board: Recording Registry: 2002". Library of Congress . Retrieved September 10, 2023. Myers, Marc (October 7, 2014). "Miles Davis's Jazz Masterpiece 'Kind of Blue' Is Redone". The Wall Street Journal . Retrieved January 31, 2023.

By late 1958, trumpeter Miles Davis employed one of the most acclaimed and profitable hard bop bands. Bassist Paul Chambers had been with the band from its beginning in 1955; alto saxophonist Julian "Cannonball" Adderley joined in late 1957, and tenor saxophonist John Coltrane returned in early 1958. [1] Drummer Jimmy Cobb replaced Philly Joe Jones in May 1958, [2] and pianist Wynton Kelly replaced Bill Evans in November 1958. [1] Influenced in part by Evans, who had joined the ensemble in 1958, Davis departed further from his early hard bop style in favor of greater experimentation with musical modes, as on his previous album Milestones (1958). Basing Kind of Blue entirely on modality, he gave each performer a set of scales that encompassed the parameters of their improvisation and style, and consequently more creative freedom with melodies; Coltrane later expanded on this modal approach in his own solo career.

ProAc K10

Dutch album certifications – Miles Davis – Kind of Blue" (in Dutch). Nederlandse Vereniging van Producenten en Importeurs van beeld- en geluidsdragers . Retrieved February 7, 2015. Enter Kind of Blue in the "Artiest of titel" box. Select 1996 in the drop-down menu saying "Alle jaargangen". a b c d Kahn, Ashley (2002). Kind of Blue: The Making of the Miles Davis Masterpiece. Granta Books. ISBN 9781862075412. French album certifications – Miles Davis – Kind of Blue" (in French). Syndicat National de l'Édition Phonographique . Retrieved January 5, 2014. Tingen, Paul (1999). "The Making of the Complete Bitches Brew Sessions". Miles Beyond . Retrieved September 10, 2023.

Canada's Top 200 R&B; albums of 2002". Jam!. Archived from the original on October 12, 2003 . Retrieved March 27, 2022. Offiziellecharts.de – Miles Davis – Kind Of Blue" (in German). GfK Entertainment Charts. Retrieved March 29, 2022.

Modal jazz was not unique to this album. Davis himself had previously used the same method on his 1958 Milestones album, the '58 Sessions, and Porgy and Bess (1958), on which he used modal influences for collaborator Gil Evans's third stream compositions. [3] Modal composition, with its reliance on scales and modes, represented, as Davis called it, [3] "a return to melody". [22] In a 1958 interview with Nat Hentoff of The Jazz Review, Davis elaborated on this form of composition in contrast to the chord progression predominant in bebop, stating Fisher, Tyler (June 30, 2006). "Miles Davis – Kind of Blue". Sputnikmusic . Retrieved September 10, 2023. Ashley Kahn (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. foreword by Jimmy Cobb. Da Capo Press, USA. p. 83. ISBN 0-306-81067-0. The Making of Kind of Blue: Miles Davis and His Masterpiece bebop.

Danish album certifications – Miles Davis – Kind Of Blue". IFPI Danmark . Retrieved February 12, 2020.Late in his life, from the electric period on, Davis repeatedly disregarded his earlier work, such as the music of Birth of the Cool or Kind of Blue. In Davis's view, remaining static stylistically was the wrong option. [74] The original LP did not credit a producer. [14] The first release with a producer credit was the 1987 CD, which credited only Macero. [15] However, this was in error; Macero only produced that reissue, not the sessions for the original album. [11] : 195 The 1997 MiniDisc reissue credited both Townsend and Macero, [16] but the subsequent 1997, [17] 1999, [18] 2004, [19] 2008, [20] and 2015 [21] reissues all correctly credit only Townsend. It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded. Andy Mabbett (1995). The Complete Guide to the Music of Pink Floyd. Omnibus Press, 14/15 Berners Street, London. pp.178–179. ISBN 0-7119-4301-X. The Davis band played a mixture of pop standards, blues, and bebop originals by composers such as Charlie Parker, Thelonious Monk, Dizzy Gillespie, Davis, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song. [1] Davis was one of many jazz musicians growing dissatisfied with bebop, however, and saw its increasingly complex chord changes as hindering creativity. [3]

a b "Kind of Blue". Acclaimed Music. Archived from the original on April 21, 2017 . Retrieved September 19, 2015. Kind of Blue was produced by Columbia staff producer Irving Townsend. [11] : 195 However, over the years there has been confusion, with Davis's subsequent producer Teo Macero getting partial or full credit. "In the case of Kind of Blue there were two producers: Teo Macero and Irving Townsend", said jazz historian Eric Nisenson. "Macero's role, however, was clearly that of an apprentice and observer." The recording session was also cited by Nisenson as Macero's first experience with "the highs and lows of working with Miles." From Macero's own recollection, his involvement in the recording included "box[ing] everyone in so that there would be a physical closeness among the musicians, not like today when the musicians are spread all over the place." [12] According to High Fidelity, "though his role in Kind of Blue has been disputed", the recording was "made under the auspices" of Macero. [13] However, it is Townsend's voice heard on the session tapes, who became Davis's producer after the departures of George Avakian and Cal Lampley. Macero did not produce Davis until after Townsend took over West Coast production duties for Columbia Records, when Macero took his place. [11] : 90 Macero's first Davis production was his next record, Sketches of Spain. [11] : 166 Selected items are only available for delivery via the Royal Mail 48® service and other items are available for delivery using this service for a charge. Kind of Blue is based entirely on modality, diverging from Davis's earlier hard bop style of jazz with its complex chord progression and improvisation. [6] The entire album was a series of modal sketches, with each performer given a set of scales that encompassed the parameters of their improvisation and style. [22] This recording style contrasted with the typical preparation of providing musicians with the complete score or, for improvisational jazz, providing the musicians with a chord progression or series of harmonies. [3]How did Miles himself feel about Kind of Blue? Ironically, he described it as a “failed experiment” in his autobiography, explaining that the album did not fully realize the sounds he had been hearing in his head before the session. Nonetheless, in an 1986 interview, when pianist/journalist Ben Sidran remarked that Kind of Blue is probably the number one jazz record on virtually all the jazz critics’ lists, his sincere answer was short but held a palpable sense of pride: “Isn’t that something.” Barber, Geoff (October 27, 2004). "1959: A Great Year in Jazz". All About Jazz . Retrieved September 10, 2023. Kind of Blue also benefited from Miles’ being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Columbia had the means and wisdom to invest in cutting edge recording technology, and their own professional recording studio. Teo Macero: Forever Blue". High Fidelity News and Record Review. Vol.53, no.7–12. 2008. These two amazing productions, the biggest and the second-biggest selling jazz albums ever, were both recorded in 1959 and both - though his role in Kind of Blue has been disputed - were made under the auspices of the great producer Teo Macero.