Miles Davis - Kind Of Blue CD

Kind Of Blue album for sale On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, "Monk's Mood," for example, features the composer/pianist's typically brilliant, idiosyncratic playing, while Coltrane floats over the top in the most lyrical of modes. Monk, in particular, is a master of tension-and-release tunefulness, creating rhythmic and harmonic intricacies that seem to spur Coltrane's saxophone exploration to new heights. The quartet shines on ballads ("Sweet and Lovely"), but the leaders display their best chemistry on the Monk's thorny, uptempo bop numbers. "Evidence" and "Epistrophy," for instance," have Monk adding rhythmic, dissonant punctuation to Coltrane's torrential stream of ideas, creating a thrilling push-pull balance. A superb date, and a must for fans of both artists, AT CARNEGIE HALL captures two of jazz's most important figures working in perfect symbiosis. Recording information: Carnegie Hall, New York, NY (11/29/1957). Personnel: Thelonious Monk (piano); John Coltrane (tenor saxophone); Ahmed Abdul-Malik (bass instrument); Shadow Wilson (drums). Liner Note Authors: Larry Appelbaum; Robin D.G. Kelley; Ira Gitler; Lewis Porter; ...

Kind Of Blue CD music Recorded over the course of several nights during a 2007 stint at Ronnie Scott's legendary London venue, Jeff Beck can be heard here unleashing a torrent of six-string fury. Revisiting some of his classic albums for such songs as "Beck's Bolero" and "Led Boots," he easily matches the energy of the original cuts despite the difference in decades, and he brings his interpretive powers fully to the fore when delivering his version of the Beatles' "A Day in the Life." Personnel: Jeff Beck (guitar); Alan Branch (recorder); Jason Rebello (keyboards); Tal Wilkenfeld (bass guitar); Vinnie Colaiuta (drum). Audio Mixer: Alan Branch.

Kind Of Blue buy CD music Contains previously unreleased material. Some of the recordings on the CELLAR DOOR SESSIONS were originally released in edited form on the 1971 double-LP LIVE EVIL. There is an entire universe contained in this box. Sumptuously packaged and scrupulously annotated, CELLAR DOOR SESSIONS 1970 is a six-disc set that documents Miles Davis's extended residency at the Washington, D.C., club. Davis is backed by a group of genius musicians: keyboardist Keith Jarrett, drummer Jack DeJohnette, bassist Michael Henderson, saxophonist Gary Bartz, percussionist Airto Moreira and guitarist John McLaughlin (who appears only on the last two discs). Together they pioneered an ecstatic fusion of jazz, rock, funk, and abstract sound-painting that established the blueprint for the future of progressive music. Each disc contains a different live set, and while songs are often repeated across the set lists, no two tracks sound the same. The players improvise at a fever-pitch, pushing themselves to endless invention, and the ensemble's interplay--expressionistic, protean, and fierce--is near telepathic. The influence of rock artists like Sly Stone and Jimi Hendrix can be heard in the layering of deep funk rhythms and psychedelic inflections (especially with Miles's wah-filtered trumpet), but the overall sound seems to subsume and transcend the entire history of 20th century music. In a career full of musical innovation, this is some of Miles's most visionary work, and this essential set (which also boasts splendid remastering) documents it for a near-religious listening experience. Personnel: Miles Davis (trumpet); Miles Davis; John McLaughlin (guitar, electric guitar); Keith Jarrett (Fender Rhodes piano, electric organ); Michael J. Henderson (electric bass); Michael Henderson (bass guitar); Gary Bartz (soprano saxophone, alto saxophone); Jack DeJohnette (drums); Airto Moreira (percussion). Liner Note Authors: John McLaughlin; Keith Jarrett; Airto Moreira; Gary Bartz; Jack DeJohnette; Michael J. Henderson; Adam Holzman. Recording information: The Cellar Door, Washington DC (12/16/1970-12/19/1970). Introduction by: Bob Belden. Photographers: Jim Marshall ; Art Maillet; David Gahr; Urve Kuusik; Sandy Speiser; David Redfern.

Kind Of Blue songs The dramatic, spiraling inventions of Tyner lend a frenetic element to Coltrane's already intense lines, while Jones and Garrison find and rearrange nearly every rhythm and counter-rhythm imaginable. There are only four tracks here (spread out over two discs), but each--whether it's the fiery title track or the exhilarating take on "My Favorite Things"--is a study in artistry. Live Recording Recording information: Half Note, New York, NY (03/26/1965-05/07/1965). Author: Elvin Jones. Introduction by: Alan Grant. Photographer: Raymond Ross. ONE DOWN, ONE UP: LIVE AT THE HALF NOTE, recorded in the last year of the classic quartet's existence, captures John Coltrane, drummer Elvin Jones, pianist McCoy Tyner, and bassist Jimmy Garrison going full blast. Recorded a year after A LOVE SUPREME, Coltrane was already moving on to extended improvisation, stretching out a single composition for 15 or 20 minutes while deconstructing it from every conceivable angle, turning his saxophone into an instrument of relentless exploration. Personnel: John Coltrane (soprano saxophone, tenor saxophone); John Coltrane; Alan Grant (spoken vocals); Jimmy Garrison (double bass); McCoy Tyner (piano); Elvin Jones (drums). Liner Note Authors: Ravi Coltrane; Ashley Kahn.

Kind Of Blue album for sale Initial pressings of SEVEN STEPS are packaged with a deluxe metal spine. Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal. All tracks have been digitally mastered using 24-bit technology. In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context. Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George Coleman and the rippling, somewhat more avant-garde Sam Rivers. Both soar and sear at their respective best, providing remarkable contrast to Davis's magically cool horn. UK-born pianist Victor Feldman plays on some tracks, Hancock on others; the drum chair features Tony Williams (also an explorer of avant expression) and Frank Butler (a crackling, swinging mainstream bopper). SEVEN STEPS includes material originally available on the early-'60s albums IN EUROPE and FOUR & MORE, among others, with (attention, collectors!) the inclusion of eight previously unreleased tracks. Personnel: Miles Davis (trumpet); Miles Davis; Ron Carter (double bass); Tony Ruption Williams , Tony Williams (drums); George Coleman, Sam Rivers, Wayne Shorter (tenor saxophone); Victor Feldman, Herbie Hancock (piano); Frank Butler (drums). Audio Remixer: Mark Wilder. Liner Note Authors: Michael Cuscuna; Bob Blumenthal. Recording information: Berlin Philharmonic Hall, Berlin, Germany (04/16/1963-09/19/1964); Columbia 30th Street Studio, New York, NY (04/16/1963-09/19/1964); Columbia Studios, LA (04/16/1963-09/19/1964); Kohseinenkin Hall, Tokyo, Japan (04/16/1963-09/19/1964); Philharmonic Hall, New York, NY (04/16/1963-09/19/1964); The Festival Mondial Du Jazz Antibes, Juan-Les-Pins, Fr (04/16/1963-09/19/1964). Introduction bys: Billy Taylor ; André Francis; Terry Isono; Mort Fega. Photographers: Vernon Smith; John Wilkes; Ted Williams ; Joe Alper; Jan Persson; Roger Marshutz; Lee Tanner; Chuck Stewart.

Kind Of Blue CD music Charles Mingus led some outstanding ensembles, but one of the most formidable was the group he assembled in the early 1960s for a tour of Europe. CORNELL 1964 features that group in action on two discs of previously unreleased material. With Dannie Richmond on drums, Jaki Bayard on piano, Clifford Jordan on tenor sax, Johnny Coles on trumpet, and the great Eric Dolphy on bass clarinet, flute, and saxophone, Mingus's sextet--especially on the evidence of the performances here--ranks as one of the best of the post-bop era. Mingus's bold, complex compositions are brought to full flower by the interplay of the musicians, and what dazzles throughout is their equal command of elegant melodic passages and wild, forward-leaning improvisation. The standards here--"Take the A Train;" "When Irish Eyes Are Smiling"--receive a similar treatment. The performances are stellar across the board, but Dolphy stands out in particular, wheeling through solos with imaginative dexterity and wit. This set is a must for Mingus fans, but merits a listen from jazz fans of any stripe. Charles Mingus: Charles Mingus (bass guitar); Clifford Jordan, Dannie Richmond, Jaki Byard, Johnny Coles. Personnel: Eric Dolphy (flute, bass clarinet, alto saxophone); Clifford Jordan (tenor saxophone); Johnny Coles (trumpet); Jaki Byard (piano); Dannie Richmond (drums). Liner Note Author: Gary Giddins. Recording information: Cornell University, Ithaca, NY (03/18/1964). Author: Sue Mingus. Photographer: Riccardo Schwamenthal. Additional personnel: Eric Dolphy.