poeticone16's Full Review: Kind of Blue [Remaster] by Miles Davis
"The music has gotten thick....".
That was part of a quote from the legendary Miles Davis describing how modern jazz was becoming too elaborate and was losing its simplistic appeal. He explained how modern jazz music was becoming too complicated, depending on the use of numerous chords to achieve a perfect harmony. Now, many people hear this and think he is talking about bringing what he and others have brought to jazz music which was bebop. However, bebop was also complicated in the sense that it set up numerous variations of expression that it was easy for the untrained non-musician to be lost in the playing. In my opinion, I believe that Davis was expressing that he wanted to see a return to melody over harmonious accompaniment. The return to melody would eventually be called "modal" jazz, in which Davis himself was important to its development.
Now, what is modal jazz? Well, back in that period, the person who was doing the improvising was given a series of scales (also known as modes) as materials to "free base" or improvise from, instead of being given a sequence of chords or harmonies as was common during this period. This idea belonged to another composer named George Russell who encased this jazz form in a bigger, more elaborate musical theory (I don't know the name, sorry). Miles Davis took this idea and ran with it. When he and another jazz musician named Gil Evans were performing songs from "Porgy and Bess", they included a long modal selection with no chord changes. I guess you can say that was the first time Davis had ever tried modal jazz. Now, I know the question you are all wondering (those who have not heard this record before): What does this entire have to do with "Kind of Blue"?
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In a way, "Kind of Blue" is all melody. During both sessions, Davis had only conceived general settings from what was to be played only hours beforehand. Obviously, the group had not practiced these pieces. Thus, they were expected to play each piece with no transgressions, since Davis stuck to his steadfast recording procedure that there were to be no rehearsals or retakes for any tune. Now, my readers, do you think he would grant such responsibilities to any average-Joe musician? Nope, he didn't. He chose his players with precision. He already had a sextet with the famous John Coltrane on the tenor sax, the famous "Cannonball" Adderley on alto sax, Paul Chambers on bass, Jimmy Cobb on drums, and the newest member of the sextet, Wynton Kelly, on piano. However, he brought back the recently departed Bill Evans for this record only. When playing, these musicians only had one rule...Well, it was more like an encouragement: They were to create melodies with feeling thus making the listener able to enjoy their sound.
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Their sound is most magnificent on the opening track "So What". This song is based on 16 measures of one scale; 8 of another, and 8 more of the first that followed the brilliant piano and bass introduction (I'll be honest right here...My grandfather helped me differentiate the measures and sounds on this record). The subtle interchange between the piano and bass leads to a gradual change in tempo of the brass that begins to play the song's main melody. Davis, Adderly, and Coltrane then begin to match the melody, with Coltrane hitting the famous "da da" notes of this song. This goes for eight measures then Davis gets a solo in which he hits all his notes sweetly and with passion. For those who haven't heard Miles before, this is the place to start because he sounds right at home. That leads to two faster-paced, frenetic solos by both of the saxophonists that contrast with Davis's temperate one but sound just as good. The overall moderate speed of this track goes well with the name, since it seems so relaxed and uncaring.
"Freddie Freeloader" opens similarly to "So What" with a similar melody. However, the piano plays an opposite melody in the background and the so-called "walking" bass backs up the melody played by the trumpet and saxophones. All of this breaks off into the solo of Wynton Kelly, who plays piano on this one song only. He plays a great solo, going up and down scales with seeming ease. If I had one words to describe he plays, it would be "bluesy" due to the syncopated rhythms he uses. He trails off into another Miles Davis solo that is silky smooth. Davis leads into another alto saxophone solo that changes the tempo once again with fast runs over the scales. However, this is nothing compared to John Coltrane's solo. He sounds...for lack of a better word...brilliant with his impressive passages up and down the scales. The song eventually ends with the beginning melody.
"Blue in Green" is possibly the most evocative song on this record. It opens with the smooth piano playing of Evans that eventually to the first soft, bluesy notes of Davis's trumpet that evokes the image of drinking coffee on a cold day while looking outside a foggy window. Davis plays his solo through a mute that causes his trumpet to sound tin-like and metallic. He sounds so sophisticated on this song when he hits his soft notes with extreme clarity and gentle poignancy. It honestly makes the listener's heart feel touched when he plays each smooth note. The rest of the sextet back him up well, especially the drummer Jimmy Cobb who deftly avoids the common drumming mistake of over-emphasizing his playing. Soon enough, Coltrane plays a solo with his tenor saxophone that's more moderate than his previous ones. Instead of frenetic passion, he exhibits serene fluidity that fits this song perfectly.
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The second session begins with "All Blues" which along with "Freddie Freeloader" are examples of blue-based jazz. This track opens with piano trilling in the background while the bass and drums are on the forefront playing a short, repeated rhythm. After that, the saxophonists each start with a melody with Davis's muted trumpet connecting the two. After the melody extends itself, Davis breaks into a solo that is remembered today as one of the greatest jazz solos in history (At least, that's what my grandfather said). He starts slow and smooth, eventually climaxing slowly, by increasing from soft to loud while going up the notes in the scale, while keeping a resemblance of the melody. The piano fills in the background rather nicely while the drums provide the backing beat. Coltrane eventually gets a chance for his solo. He keeps up the same sereneness that was exhibited in the previous track. After his free-flowing yet smooth solo, Evans gets a chance to exhibit his mastery of the minor and major chords before the song ends with a return to the opening melody.
"Flamenco Sketches" and its alternate are similar yet different. Both of them open with the bass and piano undergoing a nice interchange (the alternate take is a half-chord lower, however) before Davis starts his trumpet solo. In both versions, Davis seems to play his heart out once again. With his heartrending solo, the listener feels hypnotized yet touched by him. Once again, Cobb shows great astuteness by his controlled drumming, never taking the attention from Davis's solo, but still making the listener aware of his presence. In both versions, Coltrane keeps his serenity exhibited, especially when he hits certain notes. When he hits those deep notes, the listener once again feels like he's on the edge of his existence but still has panging for life. Both he and Adderley (the alto sax) have a sexy sound that permeates both of the tracks. After that, Evans (the piano player) gets one last solo that adds a peaceful theme to the song. The track ends with another smooth and sweet Davis solo. With that, this album is completed.
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I can see why this is a hugely cherished and loved jazz album. It is wonderful to say the least. Each member of Davis's sextet plays beautifully with no weak link to bring them all down. Honestly, I cannot truly describe what makes this album so good. Listening to this album is like reaching ecstasy without any moral implications. Listening to this album is like reaching for the moon and getting that along with a star. Listening to this album is like feeling blessed and sacrosanct at the same time. I guess I have to go with the crowd and say that this album must have been made in heaven.
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