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Posted 20 hours ago

Kind of Blue

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This is a follow-up to a post I made all the way back in July about the best available HiFi copy of Bill Evans's Portrait in Jazz. To my ears, even at 45rpm, the UHQR lacks the dynamics, detail and all-round excitement of the best of US Columbia pressings, but to my wife's ears, it makes up for it with a round, relaxed and well-balanced presentation, with silent backgrounds. In 1969, he recorded Bitches Brew, a blend of rock, funk and jazz music, often taking the name “Fusion”. No voy a hablar de algo que es un hito en la cultura contemporánea y que ha sido sobradamente comentado. Davis played trumpet sublime with his ensemble sextet featuring pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian 'Cannonball' Adderley with Wyton Kelly playing piano on 'Freddy the Freeloader.

In the edit page, go to the 'Metadata' tab and add your Juno artist, label or release page for listeners to purchase your release / releases. A previously unreleased live recording of drum legend Art Blakey with a classic line-up of the Jazz Messengers, featuring trumpeter Lee Morgan, tenor saxophonist Wayne Shorter, pianist Bobby Timmons, and bassist Jymie Merritt. The soundstage is intimate and inviting, Webster’s horn beautifully captured with sweet, rich overtornes, the bass liquid, chugging, and textured, piano and drums easy and natural.Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album.

Long held as the jazz album that even non-jazz fans will own, 'Kind Of Blue' not only changed the way people regarded Miles, it changed the very face of music itself. All sessions took place at Columbia’s old 30th Street Studio, supervised by Columbia staff producer Irving Townsend, and recording engineer Fred Plaut. This album showcases Cooper’s theatricality, storytelling prowess, and ability to create an immersive world of horror and fantasy.Miles remained proud of the album, performing at least two of its tracks — “So What” and “All Blues” — for years after, until his musical path took him in a different direction. To calculate the overall star rating and percentage breakdown by star, we don’t use a simple average.

If there are indeed only a handful of albums that marked their own times in the way that Kind of Blue did, there are even less which, 60 years later, continue to bear the same importance. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb.If there was ever an album awaiting a high-fidelity, custom-pressed vinyl treatment of the level you now hold in your hands, it is Miles Davis’ Kind of Blue. This speed issue affected the album’s first three tracks, “So What,” “Freddie Freeloader” and “Blue in Green,” making them a barely perceptible quarter-tone sharp. It’s not registering as any louder on the db-o-meter but it feels louder, I don’t know how to explain it.

In late 1958, after some eight months, Bill Evans – the only white member of Miles’ group – left the lineup and was replaced by Wynton Kelly. Fiedler’s performance of Offenbach’s Gaite Parisienne combines delightfully lyrical music with spectacular sonics to create an unforgettable listening experience.The album features Davis's ensemble sextet consisting of saxophonists John Coltrane and Julian 'Cannonball' Adderley, pianist Bill Evans, bassist Paul Chambers, and drummer Jimmy Cobb, with new band pianist Wynton Kelly appearing on one track in place of Evans. A first rate orchestra (The Boston Pops), a distinguished conductor (Arthur Fiedler), and a superb pianist (Earl Wild) combine to make this landmark recording something to be treasured.

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