{"product_id":"miles-davis-kind-of-blue-vinyl-lp","title":"Miles Davis - Kind Of Blue - Vinyl LP","description":"\u003cdiv class=\"collapsible-header\"\u003e\n\u003cdiv class=\"name\"\u003eDescription\u003c\/div\u003e\n\u003cdiv class=\"toggle-arrow\"\u003e\u003csvg width=\"20\" height=\"20\" viewbox=\"0 0 20 20\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\"\u003e\u003cg id=\"chevron up\"\u003e\u003cpath id=\"Vector 11 (Stroke)\" fill-rule=\"evenodd\" clip-rule=\"evenodd\" d=\"M5.63989 11.8235L6.347 12.5306L9.99345 8.88419L13.6399 12.5306L14.347 11.8235L9.99345 7.46998L5.63989 11.8235Z\" fill=\"black\"\u003e\u003c\/path\u003e\u003c\/g\u003e\u003c\/svg\u003e\u003c\/div\u003e\n\u003c\/div\u003e\n\u003cdiv class=\"product__description rte quick-add-hidden collapsible-content\"\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cb\u003e100 Best Albums\u003c\/b\u003e\u003cspan\u003e \u003c\/span\u003eIn the years between the dissolution of Miles Davis’ first great quintet and the formation of his second, the trumpet master ventured into something new in 1959—not knowing it would become one of jazz's biggest albums ever. Bassist Paul Chambers from the first quintet remained on board, as did John Coltrane, whom Davis had fired, then rehired after the tenor giant kicked his drug addiction and experienced a spiritual and creative rebirth.\u003cbr\u003eBut Davis also added a third horn, alto saxophonist Julian “Cannonball” Adderley, making for richer group voicings and a bluesy, bebop-oriented soloing style that balanced Davis’ spare melodic approach and Coltrane’s restless, exploratory “sheets of sound” (coined by critic Ira Gitler). Pianist Bill Evans played close-voiced chords derived from modes, or specific types of scales—an approach that gave rise to the term “modal jazz”.\u003cbr\u003eThe fast-moving progressions of bebop and much post-bop required improvisers to jump hurdles—something Davis knew all about as Dizzy Gillespie’s successor in the Charlie Parker Quintet. On\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eKind of Blue\u003c\/i\u003e, there were longer durations between chords, opening up space in the music. The soloist had the option of taking a breath. But even as Miles brought the temperature down, he introduced new textures and tonal colours, drawing on the harmonic thinking of Gil Evans and George Russell, or even Debussy and Satie. In that sense the album was a continuation of\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eBirth of the Cool\u003c\/i\u003e, recorded 10 years earlier, and perhaps a harbinger of the ethereal\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIn a Silent Way\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e10 years later.\u003cbr\u003ePianist Wynton Kelly subbed in for Evans on “Freddie Freeloader”, and drummer Jimmy Cobb kept the music at a low-simmering boil throughout. Two years later, on Davis’\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eIn Person at the Blackhawk\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003erecordings, however, one can hear Cobb, Chambers and Kelly taking “So What” at a much brighter tempo, heightening the impact of that hypnotic two-chord song. On\u003cspan\u003e \u003c\/span\u003e\u003ci\u003e“Four” \u0026amp; More\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003efrom 1964, with Tony Williams on drums, “So What” is faster still. What started out slow and meditative helped form the basis of the more aggressive and abstract playing of the second quintet.\u003cbr\u003eTwo striking ballads, “Blue in Green” and “Flamenco Sketches”, bear the compositional imprint of Bill Evans, though they’re co-credited to Davis. Both are key examples of Davis’ work with the Harmon mute, yielding a metallic and intimate sound that jazz trumpeters have emulated ever since. “Flamenco Sketches”, a modal chord cycle that shifts in mood like colours of the rainbow, took initial inspiration from Evans’ drone-like “Peace Piece”, heard on\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eEverybody Digs Bill Evans\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003e(released in 1959 as well). Miles could pick pianists: Evans would soon be followed by Herbie Hancock, and Davis’ musical direction shifted yet again. But even though the\u003cspan\u003e \u003c\/span\u003e\u003ci\u003eKind of Blue\u003c\/i\u003e\u003cspan\u003e \u003c\/span\u003esextet was short-lived, it yielded what is now the most universally known example of Davis’ work.\u003c\/div\u003e\n\u003cdiv class=\"product-description\"\u003e\u003c\/div\u003e\n\u003cdiv class=\"product-description\"\u003e\n\u003cp\u003eSide A\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e1. So What\u003c\/li\u003e\n\u003cli\u003e2. Freddie Freeloader\u003c\/li\u003e\n\u003cli\u003e3. Blue In Green\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eSide B\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e1. All Blues\u003c\/li\u003e\n\u003cli\u003e2. Flamenco Sketches\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003c\/div\u003e\n\u003c\/div\u003e","brand":"Columbia","offers":[{"title":"Default Title","offer_id":46259630669881,"sku":null,"price":50.0,"currency_code":"AUD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0795\/0863\/5705\/files\/MILES-DAVIS-Kind-Of-Blue-Reissue-Mono-180g.jpg?v=1785328309","url":"https:\/\/rebelrebelrecords.com.au\/products\/miles-davis-kind-of-blue-vinyl-lp","provider":"Rebel Rebel Records","version":"1.0","type":"link"}