Nisenson, Eric (2013). The Making of Kind of Blue: Miles Davis and His Masterpiece. St. Martin's Press. ISBN 978-1466852259. Larkin, Colin (1994). Guinness Book of Top 1000 Albums (1ed.). Gullane Children's Books. p.91. ISBN 978-0-85112-786-6. I have multiple versions of this album - all stereo. This is now the 2nd best version I have. The best version is still the 2007 SACD.

Best Sounding Version of Kind of Blue | Steve Hoffman Music Best Sounding Version of Kind of Blue | Steve Hoffman Music

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This totally (and I say totally) blew the doors off my MOFI 45. Miles trumpet sounds so sweet oh my god it really is something you have to hear. I also would say this is by far the best of the three UHQR's I own and perhaps this is the best album I own to date. Danish album certifications – Miles Davis – Kind Of Blue". IFPI Danmark . Retrieved February 12, 2020. From the lead-in groove to the run-out groove, there is no pitch to the profile, allowing the customer’s stylus to play truly perpendicular to the grooves from edge to center. George Russell's Lydian Chromatic Concept of Tonal Organization". Concept Publishing . Retrieved September 10, 2012.

Miles Davis-Kind Of Blue-UHQR Vinyl Record|Acoustic Sounds Miles Davis-Kind Of Blue-UHQR Vinyl Record|Acoustic Sounds

DVD & CD DVD 24/96 DVD Audio DVD Audio & CD DVD Audio/Video DVD Video DVD Video & CD HDAD 24/96 24/192 HRx Laser Disc SuperDisc Video• Reel to Reel Colin Larkin, ed. (2000). All Time Top 1000 Albums (3rded.). Virgin Books. p.40. ISBN 0-7535-0493-6. 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]Kind of Blue is more than Miles Davis’s most enduring recording, it’s a testament to Miles’ experimental approach, drastically simplifying modern jazz by returning to melody unlike the chord complexity more often heard at the time.