![]() Yet the album arrived far more quietly than its reputation today would suggest-it worked its magic on the music through evolution, not revolution. The ovation now so universally bestowed on Kind of Blue can give the impression that the album was the fuse to a stylistic tinderbox that exploded into the musical community, causing schisms of devotion and derision, creating diehard converts who carried the torch of modal expression bravely into the future. In terms of its modal impact on the jazz world, of the popularity of its sound and compositions with other musicians, and of the apparently unstoppable trajectory of its success with music consumers, the album casts a long and wide shadow. But like other works of art, Kind of Blue proved to have a destiny independent of its creator. Davis’ dismissive take on Kind of Blue allowed him to concentrate fully on the next gig, the next studio session, and the next career turn. Wynton Kelly - acoustic piano (only on 'Freddie Freeloader') Bill Evans - acoustic piano. Davis, Composer, Lyricist - Patti Matheny - Bill Evans, Piano - Darren Salmieri - Seth Foster, Mastering Engineer - Paul Chambers, Bass - Fred Plaut, Recording Engineer - John Coltrane, Tenor Saxophone. Julian 'Cannonball' Adderley - alto saxophone (not on 'Blue In Green') John Coltrane - tenor saxophone. Miles Davis, Associated Performer, Main Artist, Trumpet, Associated Performer, Trumpet - Irving Townsend, Producer - Jimmy Cobb, Drums - M. At home he might have a Rachmaninoff concerto on his stereo or a score of Tosca on his piano, as bandmates and intimates have reported. Columbia 30th Street Studio, New York City, USA. ![]() ![]() Miles Davis had little use for jazz recordings, least of all his own. Miles Davis' music stand, featuring the chart for "Flamenco Sketches" ![]()
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