Magazine article IAJRC Journal

Kind of Blue : 50th Anniversary Collector's Edition

Magazine article IAJRC Journal

Kind of Blue : 50th Anniversary Collector's Edition

Article excerpt

Miles Davis

Kind of Blue : 50th Anniversary Collector's Edition

Columbia Legacy 88697 33552 2

Miles Davis (tp); Julian "Cannonball" Adderley (as); John Coltrane (ts); Bill Evans or Wynton Kelly* (p); Paul Chambers (b); Jimmy Cobb (d).

So What/ Freddie Freeloader*/ Blue In Green/ All Blues/ Flamenco Sketches/ Flamenco Sketches (alternate Take)/ Freddie Freeloader - Studio Sequence 1/ Freddie Freeloader - false start/ Freddie Freeloader - studio sequence 2/ So What - studio sequence 1/ So What - studio sequence 2/ Blue In Green - studio sequence/ Flameneo Sketches - studio sequence 1/ Flamenco Sketches - studio sequence 2/ All Blues - studio sequence (New York, March 2 & April 29, 1959); TT 65:43.

On Green Dolphin Street / Fran-Dance/ Stella By Starlight/ Love For Sale/ Fran-Dance (alternate take) (New York, May 26, 1958)/ So What* (Adderley out; live, Den Haag, Netherlands, April 9, 1960.) TT 55:38. DVD: Robert Herridge Theatre: So What/ The Duke/ Blues for Pablo/ New Rhumba (New York , 1969) and documentary : Celebrating A Masterpiece : Kind of Blue; TT 1:21.

Miles Davis went through as many changes as Bob Dylan. He first appeared as a somewhat uncertain bopper acolyte of Charlie Parker, then found his own voice and leadership skills with his superb 1948-49 Birth of the Cool band, based in part on the harmonies of the Claude Thornhill arrangements of Gil Evans, and with the collaboration of Thornhill alumni Evans, Gerry Mulligan, and Lee Konitz. In the mid-fifties, he led his classic quintet with John Coltrane, Red Garland, Paul Chambers, and Philly Joe Jones, influenced by Davis's appreciation of the phrasing of the Ahmad Jamal Trio. A continued association with Gil Evans produced albums in which he soloed beautifully with Evans' orchestrations, and where his artful use of pauses had become normal for him. In 1968, he replaced Red Garland with Bill Evans, who brought to the fore Davis's interest in modal and other 'classical' harmonies, and with the addition of Cannonball Adderley, his new but short-lived sextet recorded the brilliant tracks in this box which have influenced jazz- and other music- ever since.

About his last incarnation, I have little to say. He fused his music with rock- long aimless tracks converted into released recordings by clever tape editing. …

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