Jazz Music of Miles Davis' in Kind Of Blue

In early 1959, jazz trumpeter Miles Davis laid down the foundation for an entire new design of jazz music. Through his "Type of Blue"modal jazz was born. This record ended up being a classic, at times showing its complexity through the soloing, however likewise permitting the educated listener to delight in the simpleness of the modes. Davis planted the seeds for this brand-new design in his album "Milestones"but "Sort of Blue"showed that the design had actually grown and was more established.

From the introductory piano/bass duet to the final notes, it is clear that Davis recorded something initial.

The album was recorded in just two sessions and went on with no previous rehearsal or music composed out. Davis only supplied basic "sketches"of each song for the musicians, which they check out and improvised over. For the task of recording, Davis created an all-star lineup with some of the greatest jazz musicians in music history. The rhythm section was made up of Paul Chambers on bass, Jimmy Cobb on drums, and Bill Evans on piano, except for "Freddie Freeloader", which featured Wynton Kelly on piano.

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To round out the band was the horn section, led by Davis himself, and completed by alto saxophonist Cannonball Adderley, and tenor John Coltrane. The specific band members were excellent artists in their own respect, however when shepherded by Davis for the "Kind of Blue"sessions, the music they produced was unbelievable.

If "Kind of Blue"is a musical journey, then definitely the rhythm section is the flight crew, insuring that the travelers have a smooth flight.

Throughout the whole album, the beat is kept steady, the comping never ever mess or inhibits the soloist, and the chord changes are ideal on the cash. With a tight rhythm area laying a strong foundation, Davis, Adderley, and Coltrane are complimentary to take their solos in any instructions they choose.

Even from the first song, a mellow blues based tune, "So What", we can hear the creativity at work. The interplay between Evans and Chambers in the intro is so melodious; it is hard to believe it was achieved without rehearsal. Then the signature melody line, delivered by Chambers, then answered by the horn section, kicks in before we are led into the first solo section. Davis then takes us into his modal playground and allows us to listen as he runs free. The solo makes you run the emotional gamut from sheer joy to melancholy and despair in the space of a minute.

The band performs equally well on the second track, "Freddie Freeloader" and provide a melody line that many musicians use for impromptu jam sessions because of its catchiness and simplicity. It is a pleasant set up for the next tune called "Blue in Green". "Bleu in Green" is interesting because it is not in a standard form, but in a ten-bar circular form. This provides a challenge for the soloist to follow the form, but they manage the changes beautifully and effortlessly.

The next song is "All Blues", which is another 12-bar blues, but is metered in 6/8 and has an overcast mood assisted by Davis' use of a Harmon mute and the piece's minor tonality. To end the record, they recorded "Flamenco Sketches", the only song in these sessions to have two takes.

All in all, "Kind of Blue" has worked its way into the hearts of millions of jazz fans with good reason. Davis has never had a tighter band behind him and every player exudes their confidence and knowledge of their instrument with every note they play. The end product is a beautiful blend of evocative solos and innovative progressions that deserve to be heard, studied and loved by anyone who appreciates good jazz.