Kind of Blue

Kind of BlueKind of BlueMiles Davis · 1959 (1959) was recorded almost entirely at sight. MilesMiles Davisマイルス・デイヴィス showed musicians only the skeletal structures beforehand — no one knew what they were playing until the day. Bill EvansBill Evansビル・エヴァンス's liner notes defined how to hear the record.

Wynton KellyWynton Kellyウィントン・ケリー appears on only one track from Kind of BlueKind of BlueMiles Davis · 1959 — 'Freddie Freeloader' — while Bill EvansBill Evansビル・エヴァンス played the rest. Kelly's blues-drenched phrasing offers a vivid contrast to Evans's impressionism, and that single track remains one of his most celebrated performances.

Cannonball AdderleyCannonball Adderleyキャノンボール・アダレイ recalled being shown Miles DavisMiles Davisマイルス・デイヴィス's sketches only on the day of the Kind of BlueKind of BlueMiles Davis · 1959 sessions. His joyous blues sensibility on 'Freddie Freeloader' and 'All Blues' provided a vivid contrast to John ColtraneJohn Coltraneジョン・コルトレーン's introspection.

Paul ChambersPaul Chambersポール・チェンバース was a pioneer of arco (bowed) bass in modern jazz. The famous fourths motif that opens 'So What' on Kind of BlueKind of BlueMiles Davis · 1959 is a brief duet between Chambers and Bill Evans on piano — helping to inaugurate modal jazz when Chambers was just 24.

Jimmy CobbJimmy Cobbジミー・コブ is the sole drummer on Kind of BlueKind of BlueMiles Davis · 1959 (1959), playing all five tracks. Replacing Philly Joe JonesPhilly Joe Jonesフィリー・ジョー・ジョーンズ in the transitional period between Miles's first and second great quintets, he brought a lighter, more swinging approach.

ChambersPaul Chambersポール・チェンバース appears on 14 albums — from 'Round About Midnight'Round About MidnightMiles Davis · 1957 through MilestonesMilestonesMiles Davis · 1958 to Kind of BlueKind of BlueMiles Davis · 1959, the bassist who anchored Miles's late-1950s era.