{"id":40192,"date":"2007-03-08T00:00:00","date_gmt":"2007-03-08T00:00:00","guid":{"rendered":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/kind-of-blue\/"},"modified":"2007-03-08T00:00:00","modified_gmt":"2007-03-08T00:00:00","slug":"kind-of-blue","status":"publish","type":"review","link":"https:\/\/dailyvault.adishjain.in\/index.php\/reviews\/kind-of-blue\/","title":{"rendered":"Kind Of Blue"},"content":{"rendered":"<p class=\"\\\"MsoNormal\\\"\">It\u2019s been called\u00a0&#8212; repeatedly\u00a0&#8212; the greatest jazz album ever made.\u00a0 Miles Davis\u2019 1959, five-track, 46-minute album <i>Kind Of Blue<\/i> has over the decades grown so legendary as to become almost unreviewable.\u00a0 But if we must\u2026<\/p>\n<p>Much has been said by Davis\u2019 fellow musicians and jazz aficionados over the years about the technical aspects of these five compositions and performances.\u00a0 If you\u2019re looking for that sort of analysis here, you\u2019re in the wrong place.\u00a0 I can\u2019t come close to explaining the musical significance of measures and scales or modal jazz or tonal organization.\u00a0 Whatever science or magic was worked on these charts is beyond my ken.<\/p>\n<p>What I can tell you is that when Bill Evans\u2019 piano and <city><\/city><place><\/place>Davis\u2019 trumpet play their little counter-pointing duet over Paul Chambers\u2019 gentle, insistent bass line and Jimmy Cobb\u2019s swishing hi-hat towards the end of \u201cSo What,\u201d it crystallizes into a kind of transcendent beauty and truth.\u00a0 It literally sounds, as Cobb famously said, like music that must have been made in heaven.<\/p>\n<p>What I can tell you is when Evans takes over the early minutes of \u201cFreddie Freeloader\u201d with his fluid lines and phrases before handing the melody off to <city><\/city><place><\/place>Davis, it is sweetness personified, a musical hot fudge sundae with John Coltrane\u2019s zingy, zesty tenor sax solo the finger-snapping cherry on top.<\/p>\n<p>What I can tell you is that the middle section of the sublime \u201cBlue In Green,\u201d where Miles\u2019 trumpet solo melts into Evans\u2019 piano solo melts into Cannonball Adderly\u2019s tip-toeing alto sax, makes my heart sing and my eyes well.<\/p>\n<p>What I can tell you is that when Coltrane\u2019s tenor and Adderly\u2019s alto and Davis\u2019s trumpet wind their way through the sinuous opening bars of \u201cAll Blues,\u201d weaving lines over and under one another in a kind of jazz ballroom dance, it is the sound of Michaelangelo sculpting, of Da Vinci painting.\u00a0 What I can tell you is that when Davis himself busts in with a solo of his own over Cobb\u2019s jittery snare and steady hi-hat, it is not just the epitome but the very definition of cool.\u00a0 <\/p>\n<p>What I can tell you is that, in addition to foreshadowing the multicultural bent of Davis\u2019 future career arc, \u201cFlamenco Sketches\u201d is among his definitive moments as both a player and arranger, giving all three of these legendary horn players the platform to blow some of the most instinctively sensitive and sensual solos of their careers.<\/p>\n<p>And finally, what I can tell you is that I have never heard an album in any genre more deserving of being called the greatest of its genre.\u00a0 There are very few albums that any person wishing to describe themselves as a fan of American popular music simply must own.\u00a0 This is one of them. 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