Miles Davis-Kind of Blue (Rem 2004,SACD) [1959]

2004 REMASTERED VERSION SACD(Super Audio Compact Disc) So Whatâ??9:22 Freddie Freeloaderâ??9:46 Blue in Greenâ??5:37 All Bluesâ??11:33 Flamenco Sketches(take 2)â??9:26 Flamenco Sketches(alternative-take 1)â??9:32 Miles Davis â?? trumpet Julian "Cannonball" Adderley â?? alto saxophone, except on "Blue in Green" John Coltrane â?? tenor saxophone Wynton Kelly â?? piano, only on "Freddie Freeloader" Bill Evans â?? piano Paul Chambers â?? bass Jimmy Cobb â?? drums The album was recorded in two sessions, on March 2 for the tracks "So What," "Freddie Freeloader," and "Blue in Green," composing side one of the original LP, and April 22 for the tracks "All Blues," "Flamenco Sketches," making up side two. As was Davis' 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 Evans, the band had only sketches of scales and melody lines to go on. Once the musicians were assembled, Davis gave brief instructions for each piece, then set to taping. While the results are impressive with so little preparation, the persistent legend of the entire album being recorded in one pass is untrue. Only "All Blues" was completed in a single take, with the other tracks being finalized after 3-6 takes each, including a piano solo insert for "Freddie Freeloader" [5]. Kelly may not have been happy to see the man he replaced back in his old seat. Perhaps to assuage the pianist's feelings, and also to take advantage of Kelly's superior skills as both bluesman and accompanist, Davis had Kelly play instead of Evans on the album's most blues-oriented number, "Freddie Freeloader." All compositions were listed as being written by Davis, but many scholars and fans believe that Bill Evans wrote many of the compositions. Bill Evans himself assumed co-credit, with Davis, for "Blue In Green" when recording it on his Portrait in Jazz album. This appropriation of publishing by the bandleader was far from an unknown occurrence in the jazz world, Davis having been on the receiving end of such practice himself (while employed as a sideman in Charlie Parker's quintet in the late 1940s, Parker took credit for the Davis-penned tune "Donna Lee," which later became a popular jazz standard). Additionally, the introduction to "So What", attributed to Gil Evans, is actually very closely based on the opening measures of Claude Debussy's Voiles, the second prelude from his first collection of preludes. The live album Miles & Monk at Newport documents this band. However, the recording, from the previous year, 1958, reflects the band in a late bebop conception, rather that than the modal framework

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earlybird64 (2008-08-10)

thank you very much

FUnnicide (2008-09-04)

thnx

Wieeeeeee (2008-10-16)

Thanks for this!

goedkopekees (2009-10-21)

Thank you barkoo , great!