Analysis of Miles Davis's Jazz Album "Kind of Blue"

Nowadays, numerous new jazz albums are published every year by various new and established artists. However, there is one album that stands out as one of the greatest jazz albums of all time, an album that leaves an indelible impression from the first listen: “Kind of Blue.” Released in 1959 by Miles Davis, an American jazz artist renowned as a trumpeter, this album remains unforgettable.

Examination of Miles Davis's Jazz Record "Kind of Blue"

Miles Davis: A Brief Biography

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. With nearly fifty years in his career, beginning as a member of saxophonist Charlie Parker's bebop quintet in 1944, Davis maintained an unwavering passion for jazz music until his passing. In his adolescent years, rather than focusing on his studies, Davis prioritized his career as a musician. He made some of his first recordings in 1945. Although Davis was not fully developed at that time, his style was already easily recognizable and distinguished.

The Release and Impact of "Kind of Blue"

On August 17, 1959, Miles Davis released “Kind of Blue” with his ensemble sextet. This album marked a departure from his earlier work's hard bop style of jazz. “Kind of Blue” was recorded on March 2 and April 22, 1959, at Columbia's 30th Street Studio in New York City, and released by Columbia Records, now known as Sony. The album featured tenor saxophonist John Coltrane, alto saxophonist Julian 'Cannonball' Adderley, pianist Wynton Kelly, bassist Paul Chambers, and drummer Jimmy Cobb, with pianist Bill Evans appearing on most of the tracks.

Each player in the ensemble went on to have a legendary career, but it was Coltrane who took Davis' modal template and pushed it to new heights with spectacular results. No other recording in jazz has come close to acquiring the kind of prestige that “Kind of Blue” has accumulated over the decades. It has likely been responsible for more conversions of non-believers into jazz enthusiasts than any other album. It serves as the starting point for countless fans' journeys into jazz and appears in the record collections of enthusiasts of classical, rock, pop, and country music who might not otherwise engage with jazz.

Track-by-Track Analysis

So What

The first track of the album is “So What,” the standard song of modal jazz. The track exemplifies lightness, space, and a relaxed structure within which an improvising instrument can breathe. Coltrane's effortless movement with the tenor saxophone is palpable. This framework is the genius of Miles Davis, complemented by the exquisite performance of Bill Evans on piano.

Freddie Freeloader

The second track, “Freddie Freeloader,” is a much more straightforward blues piece, yet it is a stunner. Pianist Wynton Kelly shines with his enjoyment, providing excellent comping to all the soloists. Cannonball Adderley makes the most of the changes, with some phrases emerging in a growling sputter. Bill Evans is the star of “Blue in Green,” anchoring the piece with an authoritative bassline and producing a devastatingly subtle sound over which Miles and Coltrane solo in a whisper.

Blue In Green

The third track, “Blue In Green,” was composed by both Miles Davis and Bill Evans. Evans opens with a short intro, followed by Davis’ solo. Using a Harmon mute, his horn evokes the image of a wounded lover in the night. Evans provides a thoughtful interlude, and Coltrane delivers an all-too-brief solo that demonstrates the sweet sound he could emit from his tenor saxophone. Evans returns with another interlude, setting up Davis for a final statement.

All Blues

The fourth track, “All Blues,” is the longest, running about twelve minutes. A piano intro leads into Davis’ muted statement of the theme, with the saxophone gliding alongside. Miles delivers a stately solo befitting the international jazz icon he was. It is crisp, efficient, and direct. In contrast, Coltrane’s solo swings as he immerses himself in the rhythm provided by Evans, Chambers, and Cobb. Adderley’s sonorous alto sounds as if it emerged straight from church to the studio, soaking up both gospel and blues elements. Cobb hits the percussion blocks behind Evans’ meditative solo. The band regroups to play the theme once more, but before the fade-out, Miles manages to squeeze in a few more ideas.

Flamenco Sketches

The last track, “Flamenco Sketches,” exists in two different versions. The alternate take, released later, is also considered the last track of the album. This track is gorgeously sad, beginning with a bass that sounds as if it is slowly dying, accompanied by Miles' trumpet providing an eulogy. It encompasses a heartbreakingly beautiful feel that is the perfect conclusion to this perfect album. Davis seems to use this track to leave listeners with lumps in their throats but big smiles on their faces. Like so many other moments on this album, it's perfect and just right. There is a theory that the titles of “All Blues” and “Flamenco Sketches” were switched on the CD, but if Davis calls it “Flamenco Sketches,” that's proof of its original designation. Switching the song titles seems to describe each piece more effectively.

Conclusion

This masterpiece, “Kind of Blue,” remains the best jazz album in history, and it truly deepened my addiction to jazz after listening to it. Its timeless influence continues to inspire new generations of jazz enthusiasts and musicians alike.

References

Davis, M. (1959). Kind of Blue. Columbia Records.

Gridley, M. C. (2009). Jazz Styles: History and Analysis. Pearson.

Kahn, A. (2000). Kind of Blue: The Making of the Miles Davis Masterpiece. Da Capo Press.