Miles Davis, “Kind of blue”, 1959🎺🎷
L’album de #jazz le plus vendu au monde !
L’un des meilleurs albums de #jazz !
Mon morceau préféré : Flamenco Sketches 🤩
« C’est un des plus grands disques de Miles Davis…peut-être son meilleur depuis l’époque où il jouait avec Bird… achetez-le et écoutez le paisiblement aux alentours de minuit… vous conviendrez que c’est là un jazz qui, selon toute probabilité, ne sera jamais dupliqué. »
Charles Harris Garrigues (1903-1974), éditorialiste au San Francisco Examiner
On ne peut qu’aimer, écouter et vouloir écouter à nouveau la musique intemporelle et réconfortante de Kind of Blue. Les curieux prêtent une oreille attentive, quand les autres utilisent les morceaux de l’album en musique de fond pour créer une ambiance.
Sketches of Spain was recorded between November 1959 and March 1960 at the Columbia 30th Street Studio in New York City. An extended version of the second movement of Joaquín Rodrigo's Concierto de Aranjuez (1939) is included, as well as a piece called "Will o' the Wisp", from Manuel de Falla's ballet El amor brujo (1914–1915). For Sketches of Spain, Evans and Davis won the 1961 Grammy Award for Best Original Jazz Composition MILES DAVIS: Sketches Of Spain (Columbia Records CL 1480, Mono, 180G, 1960/2012) November 20, 1959 - Bernie Glow, #TaftJordan , Louis Mucci, #ErnieRoyal , trumpet; #Miles#Davis , flugelhorn, trumpet; Dick Hixson, Frank Rehak, trombone; John Barrows, #JimBuffington , Earl Chapin, French horn; Jimmy McAllister, tuba; Albert Block, Eddie Caine, flute; Harold Feldman, oboe, clarinet; Danny Bank, bass clarinet; Janet Putnam, harp; #PaulChambers , bass; #JimmyCobb , drums; #ElvinJones , percussion; #GilEvans , arranger, conductor. + March 10 & 11, 1960 - #JohnnyColes , Bernie Glow, Ernie Royal, Louis Mucci trumpet; Miles Davis, flugelhorn, trumpet; Dick Hixson, Frank Rehak, trombone; Jim Buffington, Tony Miranda, Joe Singer, French horn; #BillBarber , tuba; Albert Block, Harold Feldman, flute; Romeo Penque, oboe; Jack Knitzer, bassoon; Danny Bank, bass clarinet; Janet Putnam, harp; Paul Chambers, bass; Jimmy Cobb, drums; Elvin Jones, percussion; Gil Evans, arranger, conductor.Columbia 30th Street Studios, NYC #modaljazz#ThirdStream#jazz#jazzvinyl#jazzcollector#jazzcollection#hardbop#postbop#vinyl#vinylporn#vinyljunkie#vinylfetish#nowplaying#ontheofficeturntable
Miles Davis's Kind of Blue (released in 1959) is considered as the cornerstone jazz album that sets landmark music concepts for the 20th century. Herbie Hancock said that anyone of any age that wants to listen to the spirit of jazz, this is the album. This is a 46 minutes recording of musicians improvising based on Miles's basic compositional sketches.Miles uses the modal approach where he improvise on note pattern (scales) as opposed to fixed chord sequence.
For me, jazz is a music genre that i appreciate for it's spontaneity and the spirit between musicians to improvise and communicate in harmony. It's not a natural/easy appreciation for me, as it defy the classical music training I have.
This is an album I will listen and learn for many years to come.
Nascido numa família relativamente rica de Illinois, Miles Davis era pra ter sido um pianista se dependesse de sua mãe, mas seu pai resolveu lhe dar um trompete só pra irrita-la. Sempre que errava uma nota, Davis tinha a mão agredida com uma régua pelo pai. Porém, Miles não reclama, segundo ele, sem essa educação musical rígida, nunca conseguiria manter a altitude do seu instrumento plena. O Álbum da foto, Kind of Blue, é considerada a magnum opus de Davis, gravado num momento de experimentação, quando Miles se cansava do Bebop, que estava complexo à ponto de impedir improvisações. Kind of Blue é um retorno à melodia e lendas dizem que foi gravado num take só. O vingadores de Miles pro álbum continha o pianista Bill Evans, os saxofonistas John Coltrane e Cannonball Adderley, o baterista Jimmy Cobb e o baixista Paul Chambers. Num show no ano de lançamento, 1959, Miles foi preso por estar com uma mulher branca. Miles tentou levar o caso de Injúria Racial ao tribunal, mas acabou desistindo.
#GiantSteps is the fifth studio album by jazz musician John Coltrane as leader, released in 1960 on Atlantic Records, catalogue SD 1311. This was his first album as leader for his new label Atlantic Records. Many of its tracks have become practice templates for jazz saxophonists. In 2004, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. Released January 27, 1960. Recorded May 4–5, 1959
December 2, 1959.
#JohnColtrane – tenor saxophone
#TommyFlanagan – piano
#WyntonKelly – piano on "Naima"
#PaulChambers – bass
#ArtTaylor – drums
#JimmyCobb – drums on "Naima"
#CedarWalton – piano on "Giant Steps" and Naima" alternate versions
#LexHumphries – drums on "Giant Steps" and Naima" alternate versions
“Coltrane Jazz” (Atlantic, 1961)
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It’s a #Coltrane hard-bop blues record. Feels like a late night club gig, all good vibes. But there are also some leanings toward Trane’s burgeoning experimentalism - even though these sessions took place in 1959, check on “Village Blues” how #SteveDavis (part of the debut of the #JohnColtraneQuartet on that track) stays in one key while #McCoyTyner plays a I-IV-V, and listen to the boundaries getting delightfully overstepped on “Fifth House” and “Harmonique” two years before “My Favorite Things” or the Village Vanguard residency. This is mostly a straight ahead record on the highest tier, great for closing your eyes, snapping your fingers along with #JimmyCobb ’s effortless swing, and getting lost in the lyricism of the solos from Trane and #WyntonKelly . But its ahead-of-the-curve surprises, strong testimony to this legend’s restless inventiveness, make it extra special - and even at his most conventional, Trane was utterly singular. That’s why you can give an album a title like “Coltrane Jazz” and know that it really communicates something. Honestly, this is one of his best.
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Pressing: unknown US, 180g stereo
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#ColtraneJazz is the sixth studio album by jazz musician John Coltrane, released in 1961 on Atlantic Records, catalogue SD 1354. The song "Village Blues" is noted as a landmark recording, as it marks the first session date of the early John Coltrane Quartet on record. Featured alongside Coltrane are pianist McCoy Tyner, drummer Elvin Jones, and bassist Steve Davis (who would within 18 months have been replaced by first Reggie Workman and then Jimmy Garrison who would stay with Coltrane until his death.) Released January 1961. Recorded March 26, 1959 (9 & 11)
November 24, 1959 (1, 7 &10)
December 2, 1959 (3-6 & 8)
October 21, 1960 (2 & 12)
Atlantic Studios, New York City
#JohnColtrane – tenor saxophone
#WyntonKelly – piano
#PaulChambers – bass
#JimmyCobb – drums
#McCoyTyner – piano on "Village Blues"
#SteveDavis – bass on "Village Blues"
#ElvinJones – drums on "Village Blues"
#CedarWalton – piano on "Like Sonny" alternate versions
#LexHumphries – drums on "Like Sonny" alternate versions
#SomedayMyPrinceWillCome è un album che è entrato di diritto nella storia del #jazz .
Un disco di una bellezza disarmante che ancora una volta, come se ce ne fosse stato mai bisogno, va a confermare la grandezza musicale del #genio di #MilesDavis .
Un formazione stellare quella che il trombettista americano porta con se in studio:
#HankMobley e #JohnColtrane al sax tenore, #WyntonKelly al pianoforte, #PaulChambers al contrabbasso, #PhillyJoJones e #JimmyCobb alla batteria.
Oltre alla #musica che ovviamente è parte principale del lavoro, va sottolineata ancora una volta la grandezza e l'intuizione musicale del produttore della @columbiarecords , #TeoMacero che dopo il capolavoro di ''Kind of Blue'' riuscirà a registrare molti altri capolavori ed uno di questi è proprio Someday My Prince Will Come.
La tromba di #MilesDavis è comunque la parte più entusiasmante di questo #disco , infatti grazie alla sua straordinaria dote musicale riesce a mettere in ogni brano il suo stile inconfondibile senza risultare mai banale e scontato.
Il suo suono è squillante ma nello stesso tempo profondissimo, sembra quasi avvolgerti come un mantello in una sensazione di protezione.
Le sue frasi, semplici con quelle note lunghe e quei passaggi melodici brevi ma intensi riescono insieme alla complicità della sua formazione a risultare davvero unici e irripetibili.
Una parola va spesa anche per la copertina che ritrae Frances Taylor Davis, la prima moglie di Miles Davis. Il loro matrimonio durò solamente cinque anni, si lasciarono infatti nel 1965 perchè segnato dalla violenza domestica: ''Ogni volta che la colpivo, mi sentivo male perchè in realtà non era colpa sua, ma aveva a che fare con il mio essere geloso e capriccioso'' Cosi Miles Davis scrisse nella sua autobiografia del 1990.
Altra nota importante da sottolineare è l'intervento musicale e il valore aggiunto che John Coltrane diede a questo album, infatti lui non doveva far parte della sessione di registrazione e apparse in studio per caso, durante una pausa di un set all'Apollo Theatre dove si stava esibendo.
Un album che probabilmente tra cento anni le generazioni a venire avranno ancora il piacere di ascoltare.
These Days in Jazz. "Sketches Of Spain" by Miles Davis (released in July 18, 1960; On the picture, the 2CD Edition Columbia/Legacy of 2009). Recorded on November 15 & 20 1959 and March 10, 1960. For "Sketches of Spain", Gil Evans and Miles Davis won the 3rd Annual GRAMMY Awards (1960) for "Best Original Jazz Composition". In fact, it is interesting to note that the Recording Academy was still young at the time. It seems that both the 3rd and 4th Annual GRAMMY Awards presentations were made only at private dinner ceremonies, with no television component. From their website (www.grammy.com): "Other awards included (...) Gil Evans and Miles Davis for "Sketches of Spain" in a category with a name that future GRAMMY sponsor Timex would love: Best Jazz Composition of More Than Five Minutes Duration" (Other winners at the time include André Previn for "West Side Story", in the category Best Jazz Performance Solo or Small Group; another winner was Henry Mancini for "Blues and the Beat" in Best Jazz Performance Large Group; and "Ella Fitzgerald Sings The George And Ira Gershwin Songbook": the First Lady of Song won in the category Best Engineering Contribution - Popular Recording). On "Sketches of Spain", "Concierto de Aranjuez" remains a favorite. There is that famous funny quote in Miles Davis's Autobiography: << Joaquin Rodrigo, the composer of Concierto de Aranjuez, said he didn't like the record, and he—his composition—was the reason I did Sketches of Spain in the first place. Since he was getting a royalty for the use of the song on the record, I told his person who had played it for him, "Let's see if he likes it after he starts getting those big royalty checks." I never heard anything about or from him after that!>>. Personnel includes: #MilesDavis : [#trumpet , #flugelhorn ] #GilEvans : [#arranger , #conductor ] #PaulChambers : [#bass ] #JimmyCobb : [#drums ] #ElvinJones : [#percussion ] #jazz#orchestraljazz#inmycollection#nowplaying#trane#coltrane#thisdayinjazz#SketchesOfSpain#JoaquinRodrigo#ConciertodeAranjuez
Miles Davis Someday My Prince Will Come. Wax Time. Transition album for Davis from 1961 with Hank Mobley, Jimmy Cobb, Wynton Kelly, Paul Chambers and Coltrane on two tracks. Mobley sounds really good but you can understand why Miles didn’t think he suited the direction he had in his head. After this he took in George Coleman for a while and soon after that Shorter. Album cover is a classic. Miles was tired of jazz records with white girls on the cover so he suggested they put his wife Frances on it. Bought this ten years ago before I knew anything about record labels. Buying records was cheaper back then. This one sounds great. #jazzrecords#jazzlegend#vinyladdict#vinylcollection#milesdavis#johncoltrane#hankmobley#wyntonkelly#paulchambers#jimmycobb
This 1958 #NewJazzRecords session was shelved for half a decade until finally being released in 1963. It’s a fantastic interplay between co-leaders #JohnColtrane and #KennyBurrell . They’re supported here by an all star rhythm section made up of #PaulChambers#JimmyCobb and #TommyFlanagan . For me, the B-side is by far the standout out with a stunning take on the Hammerstein classic “Why Was I Born?” This is followed directly by the best work on the album - the 14-minute Flanagan original “Big Paul.” I have no doubt I’ll be pulling this one out quite often. Still trying to figure out the cover design, though 🤔// Kenny Burrell & John Coltrane // 1963 OG Mono
So incredibly thankful to have this moment captured on video... following the legendary Jimmy Cobb’s (Miles Davis, John Coltrane, Billie Holiday, Dinah Washington, Sarah Vaughan, Wes Montgomery among others) masterclass, he was on his way out the door when I asked him about his solo on an old Bobby Timmons record. He proceeded to ask me to sit down and play it, and this is what came out despite the nerves from playing the work of a legend in front of the man himself. Thanks to Billy Drummond for the vid!