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Columbia Records>Columbia| producer = Irving Townsend| prev_title = Miles Davis and the Modern Jazz Giants| prev_year = 1959| next_title = Jazz Track| next_year = 1959}}Kind of Blue is a studio album by the American jazz trumpeter and composer Miles Davis. It was released on August{{nbsp}}17,{{nbsp}}1959 through Columbia Records. For the recording, Davis led a sextet featuring 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 – “Freddie Freeloader” – in place of Evans. The recording took place on March{{nbsp}}2 and April{{nbsp}}22,{{nbsp}}1959 at Columbia’s 30th Street Studio in New York City. 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. Kind of Blue is regarded by many critics as Davis’s masterpiece, the greatest jazz album ever recorded, and one of the best albums of all time. Its impact on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever made. The LP was one of fifty recordings chosen in 2002 by the Library of Congress for the inaugural year of the National Recording Registry, and in 2003 it was ranked number 12 on Rolling Stone magazine’s list of the 500 greatest albums of all time. In 2019, Kind of Blue was certified 5× Platinum by the Recording Industry Association of America (RIAA) for shipments of at least five million copies in the United States.

Background

(File:Miles Davis by Palumbo.jpg|thumb|Davis in 1955)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. Drummer Jimmy Cobb replaced Philly Joe Jones in May 1958,NEWS,www.washingtonpost.com/local/obituaries/jimmy-cobb-consummate-jazz-drummer-for-miles-davis-dies-at-91/2020/05/25/d258a134-9e92-11ea-9590-1858a893bd59_story.html, Jimmy Cobb, consummate jazz drummer for Miles Davis, dies at 91, Bernstein, Adam, May 25, 2020, The Washington Post, April 17, 2022, and pianist Wynton Kelly replaced Bill Evans in November 1958.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.Kahn, pp. 86–87. Davis was one of many jazz musicians growing dissatisfied with bebop, however, and saw its increasingly complex chord changes as hindering creativity.BOOK, Ashley Kahn, Kind of Blue: The Making of the Miles Davis Masterpiece,archive.org/details/kindofblue00kahn, registration, The Making of Kind of Blue: Miles Davis and His Masterpiece bebop., foreword by Jimmy Cobb, 2001, 67–68, Da Capo Press, 0-306-81067-0, Ashley Kahn, In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization,BOOK, George, Russell, George Russell (composer), Lydian Chromatic Concept of Tonal Organization, Russ-Hix Music Pub., New York, 1953, Library of Congress Catalog Record available at{{spaces|2}}lccn.loc.gov/2014471652.WEB,www.lydianchromaticconcept.com/, George Russell’s Lydian Chromatic Concept of Tonal Organization, Concept Publishing, September 10, 2012, WEB,www.georgerussell.com/, George Russell, Concept Publishing, September 10, 2012, which offered an alternative to improvisation based on chords. Abandoning the traditional major and minor key relationships, his concept introduced the idea of chord/scale unity and was the first theory to explore the vertical relationship between chords and scales. These insights helped lead the way to modal jazz.WEB,www.georgerussell.com/gr.html, George Russell â€” About George, Concept Publishing, July 27, 2008, Influenced by Russell’s ideas, Davis implemented his first modal composition with the title track of his studio album Milestones (1958). Satisfied with the results, Davis prepared an entire album based on modality. Evans, who had studied with Russell but had left the Davis group to pursue his career, was drafted back into the project.BOOK, Ashley Kahn, Kind of Blue: The Making of the Miles Davis Masterpiece,archive.org/details/kindofblue00kahn, registration, The Making of Kind of Blue: Miles Davis and His Masterpiece bebop., foreword by Jimmy Cobb, 2001, 83, Da Capo Press, USA, 0-306-81067-0, Ashley Kahn,

Recording

Kind of Blue was recorded on three-track tape in two sessions at Columbia Records’ 30th Street Studio in New York City. On March 2, 1959, the tracks “So What”, “Freddie Freeloader”, and “Blue in Green” were recorded for side one of the original LP, and on April 22 the tracks “All Blues” and “Flamenco Sketches” were recorded, making up side two.As was Davis’s penchant, he called for almost no rehearsal and the musicians had little idea what they were to record. As described in the original liner notes by pianist Bill Evans, Davis had only given the band sketches of scales and melody lines on which to improvise. Once the musicians were assembled, Davis gave brief instructions for each piece and then set to taping the sextet in studio. While the results were impressive with so little preparation, the persistent legend that the entire album was recorded in one pass is untrue. Only “Flamenco Sketches” yielded a complete take on the first try. That take, which is not the master, was added to the 1997 CD reissue of the album as a bonus track. The five master takes issued were the only other complete takes; an insert for the ending to “Freddie Freeloader” was recorded, but was not used for release or on the issues of Kind of Blue prior to the 1997 reissue.Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; p. 111.Pianist Wynton Kelly may not have been happy to see the man he replaced, Bill Evans, back in his old seat. Perhaps to assuage the pianist’s feelings, Davis had Kelly play instead of Evans on the album’s most blues-oriented number, “Freddie Freeloader”. The live album Miles Davis at Newport 1958 documents this band. However, the Newport Jazz Festival recording on July 3, 1958, reflects the band in its hard bop conception, the presence of Bill Evans only six weeks into his brief tenure in the Davis band notwithstanding, rather than the modal approach of Kind of Blue.Blumenthal, Bob. Liner Notes, Miles Davis at Newport 1958; Columbia/Legacy CK85202, 2001, p. 4.

Production credit

Kind of Blue was produced by Columbia staff producer Irving Townsend.BOOK, Kahn, Ashley, Ashley Kahn, 2002, Kind of Blue : The Making of the Miles Davis Masterpiece, Granta Books,books.google.com/books?id=Y2YPnQyT93MC&q=ashley+%22Kind+of+Blue%22+2000+heaven+111, 9781862075412, {{rp|195|quote=the most recent CD edition of Kind Of Blue is the first to accurately note: “Original Recording Produced by Irving Townsend.“}} 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.“BOOK, Nisenson, Eric, Eric Nisenson, 2013, The Making of Kind of Blue: Miles Davis and His Masterpiece, St. Martin’s Press, 978-1466852259, According to High Fidelity, “though his role in Kind of Blue has been disputed”, the recording was “made under the auspices” of Macero.MAGAZINE, High Fidelity News and Record Review, Teo Macero: Forever Blue, 2008, 53, 7–12, 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., 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.{{rp|90|quote=The initial sound heard on the master tape of the first Kind Of Blue session is producer Irving Townsend’s Massachusetts twang. Townsend had inherited the role of producer for Miles after the successive departures of George Avakian (to Warner Brothers Records) and Cal Lampley (to RCA Records) the year before. In a few months, he would take over West Coast production duties for Columbia Records, passing the baton to Teo Macero, the newcomer who would remain Davis’s primary producer at Columbia for many years.}} Macero’s first Davis production was his next record, Sketches of Spain.{{rp|166|quote=The recording of Sketches was the extreme opposite of the spontaneous, one-take approach of Kind Of Blue. The lightness of the former session, evident in Miles’s studio chatter, disappeared under the perfectionism of the producer (Teo Macero, helming a Davis session for the first time) and the arranger.}}The original LP did not credit a producer.Kind of Blue. Columbia LP CL 1355, 1959. The first release with a producer credit was the 1987 CD, which credited only Macero.Kind of Blue. Columbia CD CK 40579, 1987 However, this was in error; Macero only produced that reissue, not the sessions for the original album.{{rp|195|quote=One other point regarding that edition: the back cover credits Teo Macero as “Producer.” As confusing as that may be, the listing is actually half correct -- Macero was indeed producer of that reissue. However, the most recent CD edition of Kind Of Blue is the first to accurately note: “Original Recording Produced by Irving Townsend.“}} The 1997 MiniDisc reissue credited both Townsend and Macero,Kind of Blue. Columbia MiniDisc CM 40579, 1997 but the subsequent 1997,Kind of Blue. Columbia CD CK 64935, 1997 1999,Kind of Blue. Columbia SACD CS 64935, 1999 2004,Kind of Blue. Columbia DualDisc CN 90887, 2004 2008,Kind of Blue. Columbia CD/LP/DVD 88697 33552 2, 2008 and 2015Kind of Blue. Mobile Fidelity Sound Lab SACD UDSACD 2085, 2015 reissues all correctly credit only Townsend.

Composition

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.WEB,stupidd.blogspot.com/2008/02/miles-davis-kind-of-blue-flac-master.html, Liner note reprint: Miles Davis â€” Kind of Blue (FLAC â€” Master Sound â€” Super Bit Mapping), Stupid and Contagious, July 27, 2008, 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.JOURNAL, Palmer, Robert, Robert Palmer (American writer), Liner Notes to 1997 Reissue, Kind of Blue (CD),stupidd.blogspot.com/2008/02/miles-davis-kind-of-blue-flac-master.html, Sony Music Entertainment, Inc./Columbia Records, New York, NY, 1997, 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.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. Modal composition, with its reliance on scales and modes, represented, as Davis called it, “a return to melody”. 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, statingNo chords ... gives you a lot more freedom and space to hear things. When you go this way, you can go on forever. You don’t have to worry about changes and you can do more with the [melody] line. It becomes a challenge to see how melodically innovative you can be. When you’re based on chords, you know at the end of 32 bars that the chords have run out and there’s nothing to do but repeat what you’ve just done—with variations. I think a movement in jazz is beginning away from the conventional string of chords ... there will be fewer chords but infinite possibilities as to what to do with them.Bill Evans wrote in the LP liner notes, “Miles conceived these settings only hours before the recording dates.“Palmer (1997), pp. 4–7. Evans continued with an introduction concerning the modes used in each composition on the album. “So What” consists of two modes: sixteen measures of the first, followed by eight measures of the second, and then eight again of the first. “Freddie Freeloader” is a standard twelve-bar blues form. “Blue in Green” consists of a ten-measure cycle following a short four-measure introduction. “All Blues” is a twelve-bar blues form in {{music|time|6|8}} time. “Flamenco Sketches” consists of five scales, which are each played “as long as the soloist wishes until he has completed the series”.The liner notes list Davis as author of all compositions, but many scholars and fans believe that Bill Evans wrote part or the whole of “Blue in Green” and “Flamenco Sketches”.Kahn, p. 299a. Bill Evans assumed co-credit with Davis for “Blue in Green” when recording it on his Portrait in Jazz album and the Davis estate acknowledged Evans’ authorship in 2002.Kahn, p. 299b.

Reception and legacy

{{Album ratings| title = Retrospective professional reviews| rev1 = AllMusic5class=albumpure_url=yes}} Review: Kind of Blue]. AllMusic. Retrieved July 21, 2009.| rev2 = The Encyclopedia of Popular Music5AUTHOR-LINK=COLIN LARKINTITLE=THE ENCYCLOPEDIA OF POPULAR MUSICPUBLISHER=OMNIBUS PRESSEDITION=5TH CONCISECHAPTER-URL=HTTPS://ARCHIVE.ORG/DETAILS/ENCYCLOPEDIAOFPO0000UNSE_V3U2/PAGE/400VIA=INTERNET ARCHIVE, 401, | rev3 = Entertainment WeeklyReview: Kind of Blue {{Webarchive>url=https://web.archive.org/web/20141223131622www.ew.com/ew/article/0,,315776_3,00.html |date=December 23, 2014 }}. Entertainment Weekly. Retrieved July 20, 2009.MusicHound>MusicHound JazzEDITOR-LAST2=LEETITLE=MUSICHOUND JAZZ: THE ESSENTIAL ALBUM GUIDEURL=HTTPS://ARCHIVE.ORG/DETAILS/MUSICHOUNDJAZZES0000UNSE/PAGE/308VIA=INTERNET ARCHIVEPUBLISHER=SCHIRMER TRADE BOOKSPAGE=309, |rev5 = The Penguin Guide to Jazz Recordings4AUTHOR-LINK1=RICHARD COOK (JOURNALIST) FIRST2=BRIAN TITLE=THE PENGUIN GUIDE TO JAZZ >YEAR=2008 PUBLISHER=PENGUIN BOOKS >ISBN=978-0-141-03401-0, 343, Pitchfork (website)>PitchforkWEBSITE=PITCHFORK MEDIA ARCHIVE-DATE=NOVEMBER 15, 1999, Q (magazine)>Q5Review: Kind of Blue {{webarchive>url=https://web.archive.org/web/20080227113055www.tower.com/details/details.cfm?wapi=106692819 Q (magazine)>Q: 116. March 1995.| rev8 = The Rolling Stone Album Guide5EDITOR-FIRST1=NATHAN EDITOR-FIRST2=CHRISTIAN LOCATION=NEW YORK URL=HTTPS://BOOKS.GOOGLE.COM/BOOKS?ID=LRGTYCC6OUWC&PG=PA214 PAGE=214 LANGUAGE=EN, | rev9 = SputnikmusicFIRST=TYLER WEBSITE=SPUTNIKMUSIC ACCESS-DATE=SEPTEMBER 10, 2023, Tom Hull (critic)>Tom Hull – on the WebAUTHOR-LINK=TOM HULL (CRITIC)URL=HTTP://TOMHULL.COM/OCSTON/NM/JNOTES/EJ1950S.PHPWEBSITE=TOMHULL.COM, March 23, 2020, }}Since its release on August 17, 1959,BOOK,books.google.com/books?id=eRCnjsk-LhoC&pg=PA3, Kind of Blue, 2000, Hal Leonard Corporation, 9780634011696, 3, en, Kind of Blue has been regarded by critics as Davis’s greatest work. It is his most acclaimed album, and became, along with Davis’s 1970 album Bitches Brew, his best-selling record, cementing him as one of the most successful jazz artists in history.WEB,www.time.com/time/2006/100albums/0,27693,Kind_of_Blue,00.html, The All-TIME 100 Albums: Kind of Blue: Miles Davis, Alan, Light, Time Inc., November 13, 2006, September 10, 2023,www.time.com/time/2006/100albums/0,27693,Kind_of_Blue,00.html," title="web.archive.org/web/20070218131241www.time.com/time/2006/100albums/0,27693,Kind_of_Blue,00.html,">web.archive.org/web/20070218131241www.time.com/time/2006/100albums/0,27693,Kind_of_Blue,00.html, February 18, 2007, The Dozens – Jazz.com {{webarchive|url=https://web.archive.org/web/20140107035926www.jazz.com/dozens/the-dozens-the-golden-anniversary-of-porgy-and-bess |date=January 7, 2014 }}. jazz.com. Retrieved August 30, 2008.WEB, The Making of the Complete Bitches Brew Sessions,miles-beyond.com/bitchesbrew.htm, Paul, Tingen, Miles Beyond, 1999, September 10, 2023, Miles Electric: A Different Kind of Blue (DVD). PopMatters. Retrieved August 30, 2008.Miles Davis’ Bitches Brew – ColumbiaJazz {{webarchive|url=https://web.archive.org/web/20080705185024www.columbiajazz.com/newsletter2/brew.html |date=July 5, 2008 }}. Columbia. Retrieved August 30, 2008. Music writer Chris Morris cited Kind of Blue as “the distillation of Davis’s art.“WEB,ca.music.yahoo.com/read/review/12028436, Miles Davis Reviews: Kind of Blue, Chris, Morris, Yahoo! Music, July 20, 2009,ca.music.yahoo.com/read/review/12028436," title="web.archive.org/web/20060112074338ca.music.yahoo.com/read/review/12028436,">web.archive.org/web/20060112074338ca.music.yahoo.com/read/review/12028436, January 12, 2006, Cobb said the album “must have been made in heaven”.NEWS, Jimmy Cobb obituary, The Times, en,www.thetimes.co.uk/article/jimmy-cobb-obituary-t8h5chccv, August 28, 2021, 0140-0460, Kind of Blue has been lauded as one of the most influential albums in the history of jazz. One reviewer has called it a “defining moment of twentieth century music”.MAGAZINE,www.allaboutjazz.com/php/article.php?id=3786, All About Jazz: Kind of Blue â€” Review, All About Jazz, Philip B. Pape, September 19, 2008, Several of the songs from the album have become jazz standards. Kind of Blue is consistently ranked among the greatest albums of all time.WEB, Nicholson, Stuart, Kind of Blue: how Miles Davis made the greatest jazz album in history,www.jazzwise.com/features/article/kind-of-blue-how-miles-davis-made-the-greatest-jazz-album-in-history, Jazzwise, March 13, 2021, April 11, 2024, In a review of the album, AllMusic senior editor Stephen Thomas Erlewine stated:In 1959, the arrival of Ornette Coleman on the jazz scene via his fall residency at the Five Spot club, consolidated by the release of his The Shape of Jazz to Come LP in 1959, muted the initial impact of Kind of Blue, a happenstance that irritated Davis greatly.Kahn, p. 183. Though Davis and Coleman both offered alternatives to the rigid rules of bebop, Davis would never reconcile himself to Coleman’s free jazz innovations, although he would incorporate musicians amenable to Coleman’s ideas with his great quintet of the mid-1960s, and offer his own version of “free” playing with his jazz fusion outfits in the 1970s.Jazz Extra – the biography of Miles Davis {{webarchive|url=https://web.archive.org/web/20090107062442www.jazzextra.com/biographies/miles-davis.php |date=January 7, 2009 }}. Jazz Extra. Retrieved August 11, 2008. The influence of Kind of Blue did build, and all of the sidemen from the album went on to achieve success on their own. Evans formed his influential jazz trio with bassist Scott LaFaro and drummer Paul Motian; “Cannonball” Adderley fronted popular bands with his brother Nat; Kelly, Chambers and Cobb continued as a touring unit, recording under Kelly’s name as well as in support of Coltrane and Wes Montgomery, among others; and Coltrane went on to become one of the most revered and innovative of all jazz musicians. Even more than Davis, Coltrane took the modal approach and ran with it during his career as a leader in the 1960s, leavening his music with Coleman’s ideas as the decade progressed.BOOK, Porter, Lewis, Lewis Porter, John Coltrane: His Life and Music, University of Michigan Press, 1999, 281–283, 0-472-08643-X, Kind of Blue has appeared on professional listings of the greatest albums. In 1994, it was ranked number one in Colin Larkin’s Top 100 Jazz Albums. Larkin described it as “the greatest jazz album in the world”.BOOK, Larkin, Colin, Colin Larkin (writer), Guinness Book of Top 1000 Albumsyear=1994isbn=978-0-85112-786-6Library of Congress to be added to the National Recording Registry.HTTPS://WWW.LOC.GOV/PROGRAMS/NATIONAL-RECORDING-PRESERVATION-BOARD/RECORDING-REGISTRY/REGISTRY-BY-INDUCTION-YEARS/2002/ WEBSITE=LIBRARY OF CONGRESS Rolling Stone’s 500 Greatest Albums of All Time>the 500 greatest albums of all time, maintaining the rating in a 2012 revised list,HTTPS://WWW.ROLLINGSTONE.COM/MUSIC/MUSIC-LISTS/500-GREATEST-ALBUMS-OF-ALL-TIME-156826/MILES-DAVIS-KIND-OF-BLUE-51767/>YEAR=2012 MAGAZINE=ROLLING STONERolling Stone magazine stated: “This painterly masterpiece is one of the most important, influential and popular albums in jazz”.HTTPS://WWW.ROLLINGSTONE.COM/MUSIC/LISTS/500-GREATEST-ALBUMS-OF-ALL-TIME-19691231/KIND-OF-BLUE-MILES-DAVIS-19691231MAGAZINE=ROLLING STONEARCHIVE-URL=HTTPS://WEB.ARCHIVE.ORG/WEB/20110317190607/HTTP://WWW.ROLLINGSTONE.COM/MUSIC/LISTS/500-GREATEST-ALBUMS-OF-ALL-TIME-19691231/KIND-OF-BLUE-MILES-DAVIS-19691231URL-STATUS=DEAD, The rating descended to number 31 in Rolling Stone’s revised list in 2020.HTTPS://WWW.ROLLINGSTONE.COM/MUSIC/MUSIC-LISTS/BEST-ALBUMS-OF-ALL-TIME-1062063/MILES-DAVIS-KIND-OF-BLUE-2-1063202/ >TITLE=500 BEST ALBUMS OF ALL TIME DATE=SEPTEMBER 22, 2020 United States House of Representatives passed a resolution honoring the 50th anniversary of Kind of Blue and “reaffirming jazz as a national treasure”.Jarenwattananon, Patrick. The U.S. Congress and the ‘Kind of Blue’ Blues. NPR. Retrieved December 22, 2009. It is included in the 2005 book 1001 Albums You Must Hear Before You Die, described by reviewer Seth Jacobson as “a genre-defining moment in twentieth-century music, period”..DIMERY TITLE=1001 ALBUMS YOU MUST HEAR BEFORE YOU DIE YEAR=2009 URL=HTTPS://BOOKS.GOOGLE.COM/BOOKS?ID=PIYEKARSW0EC ACCESS-DATE= SEPTEMBER 23, 2012, It was voted number 14 in Colin Larkin (writer)’s All Time Top 1000 Albums 3rd Edition (2000).ALL TIME TOP 1000 ALBUMSEDITOR-LINK=COLIN LARKIN (WRITER)VIRGIN BOOKS>DATE=2000ISBN=0-7535-0493-6TITLE-LINK=ALL TIME TOP 1000 ALBUMS, The Penguin Guide to Jazz Recordings lists the album as part of its suggested “core collection”, and also awards it a crown, indicating a recording of particular merit.Kind of Blue remains popular with listeners. Between 1991 (when Nielsen SoundScan started tracking sales) and 2016, the album sold 3.6 million copies in the US.WEB,www.vulture.com/2015/09/miles-davis-lives-9-parts.html, Understanding Miles Davis, in 9 Parts, Vulture, September 25, 2015, Greg, Cwik, June 15, 2020, WEB, September 20, 2016, Miles Davis’ ‘Kind of Blue’ Remains a Fixture on Vinyl Albums Chart, 58 Years Later,www.yahoo.com/news/miles-davis-kind-blue-remains-fixture-vinyl-albums-200225114.html, May 6, 2022, Yahoo!, en-US, In 2019, the Recording Industry Association of America (RIAA) certified the album five-times platinum, indicating five million units recorded there.

Influence

The album’s influence has reached beyond jazz, as musicians of such genres as rock and classical have been influenced by it, while critics have written about it as one of the most influential albums of all time.Miles Davis: Kind of Blue – NPR. NPR. Retrieved August 19, 2008.NPR’s Jazz Profiles: Miles Davis Kind of Blue. NPR. Retrieved June 16, 2021. Many improvisatory rock musicians of the 1960s referred to Kind of Blue for inspiration, along with other Davis albums, as well as Coltrane’s modal records My Favorite Things (1961) and A Love Supreme (1965). Guitarist Duane Allman of the Allman Brothers Band said his soloing on songs such as “In Memory of Elizabeth Reed,” “comes from Miles and Coltrane, and particularly Kind of Blue. I’ve listened to that album so many times that for the past couple of years, I haven’t hardly listened to anything else.“Palmer (1997), p. 9. Pink Floyd keyboardist Richard Wright said that the chord progressions on the album influenced the structure of the introductory chords to the song “Breathe” on the album The Dark Side of the Moon (1973).BOOK, Andy Mabbett, The Complete Guide to the Music of Pink Floyd, 1995, 178–179, Omnibus Press, 14/15 Berners Street, London, 0-7119-4301-X, In his book Kind of Blue: The Making of a Miles Davis Masterpiece, writer Ashley Kahn wrote “still acknowledged as the height of hip, four decades after it was recorded, Kind of Blue is the premier album of its era, jazz or otherwise. Its vapory piano introduction is universally recognized”.Kahn, p. 19. Producer Quincy Jones, one of Davis’s longtime friends, wrote: “That [Kind of Blue] will always be my music, man. I play Kind of Blue every day—it’s my orange juice. It still sounds like it was made yesterday”. Pianist Chick Corea, one of Miles’s acolytes, was also struck by its majesty, later stating “It’s one thing to just play a tune, or play a program of music, but it’s another thing to practically create a new language of music, which is what Kind of Blue did.“Kahn, p. 16.Gary Burton, of Berklee College of Music, noted the consistent innovation present throughout the album, stating: “It wasn’t just one tune that was a breakthrough, it was the whole record. When new jazz styles come along, the first few attempts to do it are usually kind of shaky. Early Charlie Parker records were like this. But with Kind of Blue [the sextet] all sound like they’re fully into it.“Kahn, p. 179. Along with Time Out by the Dave Brubeck Quartet (1959) and Coltrane’s Giant Steps (1960), Kind of Blue has often been recommended by music writers as an introductory jazz album, for similar reasons: the music on both records is very melodic, and the relaxed quality of the songs makes the improvisation easy for listeners to follow, without sacrificing artistry or experimentation.WEB,www.allaboutjazz.com/1959-a-great-year-in-jazz-by-geoff-barber/, 1959: A Great Year in Jazz, Geoff, Barber, All About Jazz, October 27, 2004, September 10, 2023, Upon the release of the 50th anniversary collector’s edition of the album, a columnist for All About Jazz stated ”Kind of Blue” heralded the arrival of a revolutionary new American music, a post-bebop modal jazz structured around simple scales and melodic improvisation. Trumpeter/band leader/composer Miles Davis assembled a sextet of legendary players to create a sublime atmospheric masterpiece. Fifty years after its release, Kind of Blue continues to transport listeners to a realm all its own while inspiring musicians to create to new sounds—from acoustic jazz to post-modern ambient—in every genre imaginable.“WEB,www.allaboutjazz.com/news/miles-davis-kind-of-blue-50th-anniversary-collectors-edition-coming-in-september/, Jazz news: Miles Davis – Kind of Blue: 50th Anniversary Collectors Edition Coming in September, All About Jazz, August 9, 2008, September 10, 2023, live,www.allaboutjazz.com/php/news.php?id=21627," title="web.archive.org/web/20090110001615www.allaboutjazz.com/php/news.php?id=21627,">web.archive.org/web/20090110001615www.allaboutjazz.com/php/news.php?id=21627, January 10, 2009, Renowned hip-hop artist and rapper Q-Tip reaffirmed the album’s reputation and influence when discussing the significance of Kind of Blue, stating “It’s like the Bible—you just have one in your house.““Kind of Blue 50th Anniversary Edition” {{webarchive|url=https://web.archive.org/web/20081020222901www.pitchforkmedia.com/node/146120 |date=October 20, 2008 }}. Pitchfork. Retrieved November 23, 2008. The singer Bilal names it among his 25 favorite albums and “an important record” for him.MAGAZINE, Simmons, Ted, February 26, 2013,www.complex.com/music/2013/02/bilals-25-favorite-albums/the-velvet-underground-the-velvet-underground-and, Bilal’s 25 Favorite Albums, Complex (magazine), Complex, August 28, 2020, The 2014 album Blue by Mostly Other People Do the Killing is a note-for-note reproduction of Kind of Blue.NEWS, Myers, Marc, Miles Davis’s Jazz Masterpiece ‘Kind of Blue’ Is Redone,www.wsj.com/articles/miles-daviss-jazz-masterpiece-kind-of-blue-is-redone-1412699010, January 31, 2023, The Wall Street Journal, October 7, 2014, en-US, The Kind of Blue musicians appeared together in further recorded ventures through the 1960s. Davis had made a rare post-1953 sideman appearance in 1958 on Adderley’s Somethin’ Else album; Evans and Adderley collaborated on the latter’s LP Know What I Mean? from 1961. Kelly and Chambers backed Hank Mobley on Soul Station in 1960, and Evans and Chambers played on the sessions for The Blues and the Abstract Truth by Oliver Nelson in 1961. The rhythm section of Kelly, Chambers, and Cobb backed Coltrane for Coltrane Jazz and one track on his landmark Giant Steps, which featured Chambers throughout. That trio stayed with Davis for the recordings Someday My Prince Will ComeWEB,www.allmusic.com/album/someday-my-prince-will-come-mw0000187921, Someday My Prince Will Come - Miles Davis Sextet, Miles Davis {{pipe, Songs, Reviews, Credits |work=AllMusic}} and the live sets at the Blackhawk and at Carnegie Hall.WEB,www.allmusic.com/album/in-person-friday-night-at-the-blackhawk-mw0000423367, In Person: Friday Night at the Blackhawk - Miles Davis {{pipe, Songs, Reviews, Credits |work=AllMusic}}WEB,www.allmusic.com/album/miles-davis-at-carnegie-hall-mw0000598156, Miles Davis at Carnegie Hall - Miles Davis Quintet, Miles Davis {{pipe, Songs, Reviews, Credits |work=AllMusic}}

Davis in retrospect

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.BOOK, Miles Davis – Birth of the Cool Complete Score Book, Davis, Miles, Miles Davis, Jeff Sultanof, 2002, Hal Leonard Corporation, Hal Leonard, US, 0634006827, 2–3,www.scribd.com/doc/35654619/Miles-Davis-Birth-of-the-Cool-Hal-Leonard, February 22, 2011,www.scribd.com/doc/35654619/Miles-Davis-Birth-of-the-Cool-Hal-Leonard," title="web.archive.org/web/20121106162232www.scribd.com/doc/35654619/Miles-Davis-Birth-of-the-Cool-Hal-Leonard,">web.archive.org/web/20121106162232www.scribd.com/doc/35654619/Miles-Davis-Birth-of-the-Cool-Hal-Leonard, November 6, 2012, dead, When Shirley Horn insisted, in 1990, that Davis reconsider playing the gentle ballads and modal tunes of his Kind of Blue period, he demurred: “Nah, it hurts my lip.“Interview to Shirley Horn. After 1990. Quoted in Ashley Kahn, Miles Davis and Bill Evans: Miles and Bill in Black & White, JazzTimes, September 2001.

Release history

(File:KindofBlue JM.jpg|thumb|right|200px|1986 Columbia Jazz Masterpieces compact disc reissue cover)Kind of Blue was released as a 12-inch vinyl record, in both stereo and mono. There have been multiple reissues of Kind of Blue, with additional pressings throughout the vinyl era. On some editions, the label switched the order for the two tracks on side two, “All Blues” and “Flamenco Sketches”. The album has been remastered many times during the compact disc era, including in 1982 by CBS/Sony Japan catalog number 35DP 62 and the 1986 Columbia Jazz Masterpieces reissue.WEB, Miles Davis - Kind Of Blue music,www.discogs.com/search?type=all&q=Miles+Davis+-+Kind+Of+Blue&btn=Search, January 31, 2023, Discogs, The significant 1992 remaster corrected the original recording speed for side one, which had caused all prior releases to be slightly off-pitch.{{citation |url=http://www.stereophile.com/thefifthelement/206fifth/ |title=The Fifth Element #34 |work=Stereophile |date=February 2006 |access-date=September 1, 2010}} The 1997 reissue added the alternative take of “Flamenco Sketches”. In 2005, a DualDisc release included the original album, a digital remastering in 5.1 Surround Sound and LPCM Stereo, and a 25-minute documentary Made in Heaven about the making and influence of Kind of Blue.{{Citation|last=Miles Davis|title=Kind Of Blue|year=2005|url=https://www.amazon.com/Kind-Blue-Miles-Davis/dp/B00067189O|publisher=Sony Legacy|language=English|access-date=January 31, 2023}} Kind of Blue was re-issued on a rare 24-carat gold CD collectors version. A two-disc CD box set “50th Anniversary Collector’s Edition” was released on September 30, 2008, by Columbia and Legacy.[{{AllMusic|class=album|id=r1424187|pure_url=yes}} “Kind of Blue 50th Anniversary Collector’s Edition”]. All Music. Retrieved November 23, 2008.The album was released in other audio formats, which are only available second hand.

• Two-track open-reel tape (US only), Columbia GCB 60, from which “Freddie Freeloader” and “Flamenco Sketches” were omitted to reduce cost. This release was on the market less than a year and was discontinued some time after July 1961, after Sketches of Spain had been released as four-track only. Sonically, it was reportedly better than the four-track counterpart that replaced it. The rumor that the two-track version was the only one to be issued at correct speed for the tracks from the first album side is false.From Columbia tape catalogs at the time It was not issued at the correct speed.The speed error is explained in the booklet with the post-1997 remaster: the off-speed master was used for all prior releases.
• Four-track open-reel tape (US only), Columbia CQ 379, as the complete five-track album. This release replaced the two-track release and remained in the Columbia catalog for a few years. Some tracks are available on other reel tapes issued current at the time of or following the original release of the album, as by Various Artists. None issued were at the correct speed. “All Blues” is included on the Greatest Hits album.
• Armed Forces Radio and Television Service 16-inch transcription discs. These are monaural and the track on side P-6925 marked “Flamenco Sketches” actually holds “All Blues”. None issued were at the correct speed.
• Philips Compact Cassette versions of the original album prior to the Jazz Masterpiece remaster, and of the 1987 Jazz Masterpiece remaster. Neither are at the correct speed.
• MiniDisc, Columbia CM 40579 (US) from a master prior to 1997, but not the Jazz Masterpiece remaster. It was unavailable by the end of the 1990s when production of Jazz Masterpiece series had ceased. It was not issued at the correct speed.

Track listing

Original release

{{Track listing| headline = Side oneSo What (Miles Davis composition)>So What| writer1 = Miles Davis| length1 = 9:22| title2 = Freddie Freeloader| writer2 = Davis| length2 = 9:46| title3 = Blue in Green| writer3 = Davis, Bill Evans| total_length = 24:35| length3 = 5:27}}{{Track listing| headline = Side two| title1 = All Blues| writer1 = Davis| length1 = 11:33| title2 = Flamenco Sketches| writer2 = Davis, Evans| total_length = 20:5945:34| length2 = 9:26}}

1997 reissue bonus track

{{Track listing| title6 = Flamenco Sketchestake#music>alternate take| writer6 = Miles Davis, Bill Evans| length6 = 9:32}}

2008 reissue bonus track

{{Track listing| title7 = Freddie Freeloader| note7 = studio sequence 1| length7 = 0:53| title8 = Freddie FreeloaderFalse start#In entertainment>false start| length8 = 1:27| title9 = Freddie Freeloader| note9 = studio sequence 2| length9 = 1:30| title10 = So What| note10 = studio sequence 1| length10 = 1:55| title11 = So What| note11 = studio sequence 2| length11 = 0:13| title12 = Blue in Green| note12 = studio sequence| length12 = 1:58| title13 = Flamenco Sketches| note13 = studio sequence 1| length13 = 0:45| title14 = Flamenco Sketches| note14 = studio sequence 2| length14 = 1:12| title15 = All Blues| note15 = studio sequence| length15 = 0:18}}

2008 bonus disc

{{Track listingOn Green Dolphin Street (song)>On Green Dolphin Street| writer1 = Bronisław Kaper, Ned Washington| length1 = 9:50| title2 = Fran-Dance| writer2 = Miles Davis| length2 = 5:49| title3 = Stella by Starlight| writer3 = Victor Young, Ned Washington| length3 = 4:46Love for Sale (song)>Love for Sale| writer4 = Cole Porter| length4 = 11:49| title5 = Fran-Dance| note5 = alternate take| writer5 = Miles Davis| length5 = 5:53| title6 = So What| note6 = recorded at Kurhaus, The Hague, April 9, 1960| writer6 = Miles Davis| length6 = 17:29}}

Personnel

Credits are taken from the album’s liner notes.

• Miles Davis – trumpet
• Julian “Cannonball” Adderley – alto saxophone except on “Blue in Green” and bonus disc track “So What”
• John Coltrane – tenor saxophone
• Bill Evans – piano except on “Freddie Freeloader” and bonus disc track “So What”
• Wynton Kelly – piano on “Freddie Freeloader” and bonus disc track “So What”
• Paul Chambers – double bass
• Jimmy Cobb – drums

Charts

Kind of Blue“>

Weekly charts {|class“wikitable sortable plainrowheaders” style@text-align:center;“|+Weekly chart performance for Kind of Blue

! scope=“col“|Chart (1959–2021)! scope=“col“|Peakposition{{albumchart|Flanders|21|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Wallonia|161|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|France|29|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Germany4|100|artist=Miles Davis|album=Kind Of Blue|id=17672|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Ireland2|42|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Italy|45|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Norway|40|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Portugal|26|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Spain|7|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Sweden|58|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|Switzerland|17|artist=Miles Davis|album=Kind Of Blue|rowheader=true|accessdate=March 29, 2022}}{{albumchart|UK|63|artist=Miles Davis|rowheader=true|accessdate=March 29, 2022}}{{albumchart|UKJazz|1|date=20190628|rowheader=true|accessdate=March 29, 2022}}!scope=“row“|US Vinyl Albums (Billboard)MAGAZINE, Miles Davis – Chart history {{!, Billboard|url=http://www.billboard.com/artist/311267/miles-davis/chart?f=1177|magazine=Billboard|access-date=December 2, 2016}}|3

Year-end charts {|class“wikitable plainrowheaders” style@text-align:center;”

!scope=“col“|Chart (2001)!scope=“col“|Position!scope=“row“|Canadian Jazz Albums (Nielsen SoundScan)WEB,www.jamshowbiz.com/JamMusicCharts/2001_jazz.html," title="web.archive.org/web/20021121234346www.jamshowbiz.com/JamMusicCharts/2001_jazz.html,">web.archive.org/web/20021121234346www.jamshowbiz.com/JamMusicCharts/2001_jazz.html, November 21, 2002,www.jamshowbiz.com/JamMusicCharts/2001_jazz.html, Top 50 jazz albums of 2001 in Canada, Jam!, March 27, 2022, | 6{|class=“wikitable plainrowheaders” style="text-align:center;“!scope=“col“|Chart (2002)!scope=“col“|Position! scope=“row“|Canadian R&B Albums (Nielsen SoundScan)WEB,www.jamshowbiz.com/JamMusicCharts/2002_r&b.html," title="web.archive.org/web/20031012032620www.jamshowbiz.com/JamMusicCharts/2002_r&b.html,">web.archive.org/web/20031012032620www.jamshowbiz.com/JamMusicCharts/2002_r&b.html, October 12, 2003,www.jamshowbiz.com/JamMusicCharts/2002_r&b.html, Canada’s Top 200 R&B; albums of 2002, Jam!, March 27, 2022, |63

Certifications

{{Certification Table Top}}{{Certification Table Entry|region=Australia|type=album|artist=Miles Davis|title=Kind of Blue|award=Platinum|number=2|certyear=2016|access-date=September 19, 2008}}{{Certification Table Entry|region=Belgium|type=album|artist=Miles Davis|title=Kind of Blue|award=Gold|relyear=1959|certyear=2003|access-date=December 30, 2012}}{{Certification Table Entry|region=Denmark|artist=Miles Davis|title=Kind Of Blue|award=Gold|type=album|relyear=1959|certyear=2020|id=8944|access-date=February 12, 2020}}{{Certification Table Entry|region=France|type=album|artist=Miles Davis|title=Kind of Blue|award=Gold|number=2|relyear=1963|certyear=1999|access-date=January 5, 2014}}{{Certification Table Entry|region=Italy|type=album|artist=Miles Davis|title=Kind of Blue|award=Platinum|number=2|relyear=1959|certyear=2022|certmonth=01|note=sales since 2009|access-date=January 10, 2022}}{{Certification Table Entry|region=Netherlands|type=album|artist=Miles Davis|title=Kind of Blue|award=Silver|relyear=1959|access-date=February 7, 2015|certyear=1996|nosales=true}}{{Certification Table Entry|region=Poland|artist=Miles Davis|title=Kind of Blue|award=Platinum|number=2|type=album|relyear=2009|certyear=2023|access-date=February 22, 2023}}{{Certification Table Entry|region=United Kingdom|type=album|artist=Miles Davis|title=Kind of Blue|award=Platinum|number=2|relyear=1997|certyear=2016|note=1997 release|id=3631-2673-2|access-date=January 5, 2014}}{{Certification Table Entry|region=United States|type=album|artist=Miles Davis|title=Kind of Blue|award=Platinum|number=5|relyear=1959|certyear=2019|refname=RIAAcert}}{{Certification Table Bottom | streaming=true}}

See also

• 1959 in jazz

References

{{Reflist}}

Bibliography

• JOURNAL, none, Blumenthal, Bob, Liner Notes, Miles Davis at Newport 1958, Columbia/Legacy CK85202, 2001,
• BOOK, none, Nathan Brackett, Brackett, Nathan, Christian Hoard, Hoard, Christian, The New Rolling Stone Album Guide, Completely revised and updated 4th edition, Simon & Schuster, Simon and Schuster, 2004, 0-7432-0169-8, Rolling Stone Album Guide,
• BOOK, none, Cook, Richard, Brian Morton (Scottish writer), Morton, Brian, The Penguin Guide to Jazz on CD, 6th edition, Penguin Group, Penguin, 2002, 0-14-051521-6, Richard Cook (journalist),
• BOOK, none, Kahn, Ashley, Ashley Kahn, Kind of Blue: The Making of the Miles Davis Masterpiece, 2001, foreword by Jimmy Cobb, Cobb, Jimmy, Da Capo Press, 0-306-81067-0, registration,archive.org/details/kindofblue00kahn,
• JOURNAL, none, Palmer, Robert, Robert Palmer (American writer), Liner Notes to 1997 Reissue, Kind of Blue (CD), Sony Music, Sony Music Entertainment Inc. / Columbia Records, New York, NY, 1997,
• BOOK, none, Williams, Richard, The Blue Moment: Miles Davis’s Kind of Blue and the Remaking of Modern Music. Norton, 2010, 978-0-393-07663-9, W. W. Norton & Company, W. W. Norton & Company,

External links

• www.oakton.edu/user/~larry/miles/main/covers/columbia/kindofblue.html" title="web.archive.org/web/20090116083241www.oakton.edu/user/~larry/miles/main/covers/columbia/kindofblue.html">Kind of Blue at MILESTONES: A Miles Davis Collector’s Site
• Kind of Blue: How Miles Davis Changed Jazz
• Miles Davis: ‘Kind of Blue’ program in National Public Radio’s Jazz Profiles series
• {{YouTube|ylXk1LBvIqU|So What (Official Audio)}}

{{Kind of Blue|state=expanded}}{{Miles Davis}}{{John Coltrane}}{{Cannonball Adderley}}{{Authority control}}