"Kind of Blue" is a landmark piece of music. Right at the apex of all these great musicians careers. It is timeless, beautiful and mesmerizing to listen to. "Blue in Green" is dreamy, ethereal and worthy of the "repeat" button on your player over and over. It's all just very magical.

Really, it's arguably the greatest ALBUM ever recorded, not the greatest jazz album......

This album was part of Miles' "Second Coming." Cut with only "one take" and no practice sessions. They just walked into the recording studio and "did it." What they created "on the spot was not only fresh, but also "leading edge" for a very fertile period in Jazz. And it still remains virtually unsurpassed as improvised creative arts go. As Miles said in his autobiography, "I play what I know, and then I go above it."

That is what is done here: The whole group "goes above what they know" individually and collectively; and what they create here becomes a seminal event in the cohesion of the Jazz idiom itself; one that has left an indelible imprint on Jazz history.

All of the hard work that this group had engaged in up until this album (which was considerable) was but prologue for "Kind of Blue," which was a serious "game changer" even for Miles -- who was never happy with his work unless he was" changing the game."

Not only is this exquisitely beautiful music, that is mature, and deep in its creative vision, but music that also expands the previous structures of Jazz.

Although Miles presaged his turn to modal music in both "Milestone" and "My Prince Will Come," no one could have anticipated what a surprise this album would be: as in one fell swoop, it stripped away both a dependence on strict chord structures and on a strict time, tempo or beat.

The music's cohesion is centered on, and relied solely on the mature synergy and chemistry that had developed among the players. Throughout his career as band leader it was well known that Miles asked for everything that his sidemen had: He "milked" them for every morsel of creative substance and would accept nothing less.

On this album, he got it all. Amen and

100 Stars

Some Kind of Blue is the ultimate example of jazz as defining mood. The music is utterly sublime and the album historical with performances by Bill Evans, Cannonball Adderley, Jimmy Cobb, John Coltrane, Paul Chambers, Wynton Kelly and, of course, Miles Davis. These names resonate with jazz aficionados, which along with its accessibility, is precisely the reason why this album is a perfect introduction to anyone interested in jazz and essential to one's collection.

With a line-up including Cannonball Adderley, Paul Chambers, James Cobb, Bill Evans, Wynton Kelly, and of course, the magnificent John Coltrane (all of this besides the one and only Miles Davis), how could this album be anything but incredible? With all of that remarkable and diverse talent, it's a wonder this record isn't a bit more ostentatious, or at least a little self indulgent. However, listening to Kind of Blue, one gets the distinct impression that the musicians involved in this recording felt were less concerned with wild solo work than with creating a pleasant atmosphere for the listener. They seem to be at ease with one another, and the record flows marvelously well. The pacing is cool and calm and lures you into a state of relaxation unlike few albums I've ever encountered. This edition of the classic release adds a bonus alternate version of "Flamenco Sketches" which to my ears may even better the original. This is a very logical place for the uninitiated jazz listener to start, as it is a staple of every jazz collection and one of the most accessible jazz works ever recorded.

I'll keep this short and sweet,this is an all time jazz classic,hands down!!! This awesome reissue features incredible remastered sound,a treat to listen to!!! A must for any serious music collection!!! Recommended!!! Timeless!!! A+

I'm not the master of jazz, nor the expert in jazz listening. But this is one of the most recordings in any music library. The all-star lineup on this recording is unbeatable, and the beautiful sound quality makes it a pleasure to listen to.

For the bridging of avant-gard jazz, free jazz, and traditional blues, this masterpiece provides a wealth of historical and stylistic information and musical inspiration.

What else can I say? Get it!

I may not listen too jazz that much(just look at my amazon name) but i know for sure that this CD is one great album. Its completly instrumental jazz masterpiece right here. Miles Davis was a jazz genius this album is just a true classic album and is by far one of the 20 best albums ever realesed. I love this album so buy this cd today if you like any kind of music...

You will be satisfied

I dabbled in jazz for about 10 years, then bought this disk on its reputation as a seminal album and good for "newbies"- After many many listens, its probably my number one favorite of all time, any genre. The mood is mellow, the structures are simple, but the whole thing is more than the sum of its parts- sublime in the old sense of the word- intelligent, interesting, masterful improvisation by all players. Miles is the man and this IMHO is the album.

Everything that needs to be said about Kind Of Blue, the players and the performances has been said. When I want to turn someone on to the world of jazz that they are missing I send them a copy of this recording. If they can't appreciate what's happening here, their just not ready yet.

"Kind of Blue" is described by people who know a lot more about jazz than I do as the definitive jazz CD. It and "Coltrane Plays the Blues" are my two favorites. Just can't beat Miles and the Trane.

Just put it in and leave it on the continuous play feature. It's that good.

Rebecca Kyle, May 2008

If not the best representative of jazz music at least one of the greatest perfomers of this gendre. Along with Chick Corea and even also George Benson, my best choice and recommendation to listen to the music.

CD Review with Miles Davis and John Coltrane - "Kind of Blue"
Kevin Celebi

By this point, it's not a matter of whether or not somebody has Kind of Blue, but at what age he or she got it. "Did you get it for your birthday?" "Did you buy it at the record store when you were six years old?" There are millions of stories surrounding this record and each of its millions of purchases, and yes, that number is justified. I got this album as a birthday present a whopping six times (it seems to make a good gift), but never actually understood it from a musical standpoint until recently. Before that, however, I indeed was allured by its heavy swing and mellow atmosphere (when playing this at night, I never made it past "So What" before falling asleep).

The playing of "Kind of Blue" will evoke a glad clamor among whatever atmosphere it is lighting up because of the brilliance of its compositions, predominant musical ambiance, and the perfection of its musicians. The perfect mix of the sound (a good amount of reverb and intimacy) evokes the feeling of the studio being a massive, grand hall with big oaken doors, the consummate swinging by Paul Chambers inviting visitors to stride right in. The end of the hall is the hearth, the warmth of the lush voicings and elegant playing of Bill Evans, and the candles set in tall wooden sticks represent the light and flickering drumming by Jimmy Cobb. The laughing and chattering of the hall's guests is the buoyant and brilliant playing of soul-jazz specialist Cannonball Adderley. The throng of weary but profoundly strong soldiers triumphing into the hall after battle is the strength of John Coltrane, never ceasing his musical journey and not one note daunted by the modal challenges of Davis and Evans. The short side-path that leads to the blues garden is the cameo by special guest blues specialist Wynton Kelly. Finally, the entwining curtains hanging from the stained-glass windows are the meaningful, deep and intense musical weavings of Davis himself. Come stay awhile and partake in the feast.

"So What," kick-started ominously by Evans and Chambers, leads into probably jazz's most recognizable melody. Aside from its obvious catchiness, So What shocked the jazz world into listening to a song with only two chords, both based on the Dorian mode. Miles, thankfully, approaches the new landscape humbly, telling a story with his solo and reaching a chilling climax with his second chorus (how on earth did his statement of the ninth coincide perfectly with the matching accompaniment from Evans and Chambers on the same beat?). Trane weaves some tapestries himself, being in full "sheets of sound" mode, and Adderley has a ball with the freedom, playing possibly jazz's best lick at 6:17. There wasn't enough time to give Evans a full-blown solo, but he chords his way through a halfhearted solo with melody statements from the horns. It's only the beginning.

The token "hit" of the record, if it's not So What, has to be "Freddie Freeloader". It's an addictive melody coupled with a hard swing in four, and the guy it depicts must have been a relatively sneaky freeloader. Wynton Kelly wasn't very happy to see the pianist he replaced (Evans) at the studio, but perhaps this goaded him into his smoking, incendiary solo over the blues, perfect with blue notes, grace notes, Lydian dominant accents, and his impeccable use of block chords to milk the song for all the grease it has. Miles keeps up the bluesy mood with his smears and perfect swing, Trane breaks the bluesy mood completely with his lighting of a wildfire in the studio (mind you, it still sounds amazing), and Adderley shines light through the door with his incredibly bright tone and use of the Lydian dominant mode. It's a blues, but it feels like so much more than that - can the blues be groundbreaking? In the hands of these musicians, it apparently was.

Blue in Green (like most of the album's music), was by Evans and stolen by Miles. Adderley lays out for this one and Davis pops in his beloved vehicle, the shimmering harmon mute. The melody's structure is built upon minor chords and ii-V7-I's, almost akin to what Charlie Parker would have done if his music was slowed down by about four times. This is Evans' turn to shine, as he pours a red glow into the pot and starts a warm, kindling fire - he really makes it obvious that he wrote the composition with his ease of navigating its changes. Trane, as much as he was revered for being the explosive, freakish master of the tenor saxophone's quirks, had the most beautiful tone to grace the instrument, and he adds to Evans' fire with some musical tales of his own.

"All Blues" was Davis' attempt to capture African dancers' use of finger drums: the tremolo effect used by Evans was the closest they could get to it. It's a 6/8 rendition of the blues, and as Miles sometimes said, it was "Milestones slowed down." Not sure what he meant by that remark since Milestones is as far as you can get from the blues - but "All Blues" is indelibly "cool" - especially at the turnaround with the diminished whole tone chord. The melody is stated with a harmon, but Miles pops it out for his solo, in which he refuses to blaze any fires, but merely delicately traces along the framework with a bunch of tonics. Next is Adderley, who digs some logs out from the hall's storage: he would need them for the fire that he would indeed light in the middle of the room. He especially has fun with the aforementioned "cool" turnaround. Trane takes the logs of Adderley's fiery solo and stomps them out with his sheets of sound, in the process burning his own solo and daring the next soloist, Evans, to extinguish it. Evans indeed does extinguish it with his delicacy, for his improvisational fire was a magic fire, and its charms (especially the right hand harmony) were sources of unspeakable power. It's no "Freddie Freeloader," but it doesn't need to be - it's a different kind of blues. Kind of Blues? I think I'm getting to the record's title, finally.

Last but not least is another stretch of music that Miles ripped off from Evans, who uses his famous "Peace Piece" vamp to lead into "Flamenco Sketches." They decided, instead of remaining with the gorgeous C major mode, that they'd also add a few other modes in there as well, namely, Ab Sus4, Bb Maj7, D Phrygian, and G Dorian. The cycle makes absolutely no sense, but they greatly aid the sextet in what they were doing (without trying) - revolutionizing music with respect for diatonic beauty. Miles uses harmon to great effect, telling his tale carefully and fully - and for once, Coltrane doesn't use his sheets of sound approach, instead playing a solo that, until this point, was better than anything he had ever played, each note carefully chosen and the vibrato emphasizing its meaning. Adderley takes the torch and is almost laughing at his newfound freedom - it has been said before that he sounds like he is struggling, trying to play bop lines in the modal territory - but to me it sounds like he is giddy without the confines of chordal resolution, and he embraces the flatted ninths of the flamenco chord. Finally, it should only be fitting that the last solo of the album goes to the mastermind behind all of its compositions, as Evans brings back his red glow from "Blue in Green" and wows the rest of the musicians with his fleet, gliding approach, everyone basking in the warmth of his fire. Such a magisterial album could only be closed by the crystalline flights of notes trickling from Evans' fingertips.

In terms of alternate takes, there is one of Flamenco Sketches; but to this listener, Kind of Blue is an untouchable suite that needs no alternate takes nor should ever be adorned with any. The sequencing of its original music is perfect and stands tall on its own; however, the silver lining is that this alternate take is only a mirror of the album's closer, so it could be considered an extension of the finale. The album can be purchased as its own (it's so owned that it could be bought for probably three cents these days) but, for lovers of the genius of John Coltrane (and who isn't in that crowd?) the music is better when included in the boxed set of Miles Davis and John Coltrane on Columbia, which also includes a live gig by this very sextet at the Plaza.

A very fair hall that this sextet built, one with fire-flickers dancing upon the ceiling and walls and the occasional deep shadows looming in the corner. Kind of Blue deserves every single purchase and every single (sometimes disgustingly slavish) word of praise, it is the Michael Jordan, the Shakespeare, the Pablo Picasso of jazz. The great hearth will warm the ears of all listeners and they'll never want to leave the ambiance of such a great entrance room.

I had - still have it - the old LP when it first came out in Europe in 1961 on the Fontana label. Bill Evans liner notes were the same - and the tracks in the same order as on the Columbia CD I now have as well. But Flamenco Sketches has become All Blues - and vice versa. What happened? I even saw a modern dance performance in Europe set to Flamenco Sketches in the 1960s - which is now the All Blues. Who exchanged the titles and when? And who got it right - Bill Evans surely seems to say that the original had it right, and the CD re-issue messed it up. Help anyone?

arguably the greatest jazz album of the 20th century, miles is at his absolute best and with a great supporting cast of musicians...don't take my word on it, do yourself a favor and BUY IT!

I'm not a musician and do not know much about the blues/ jazz scene or its' history for that matter, however, I bought this in college and was hooked on Miles Davis. If you don't have this, I would imagine you have a hard time coming off as being cool. Any fan of music or anyone with any soul in them should own this.

Matt Zarnstorff

I cannot add anything new to what has been said about this legendary record that the world does not already know. But if your here, maybe someone recommended this to you and you wish to purchase, don't think or read anything further. Just click "add this to shopping cart" and get ready to be blown away by some incredible music.
I am not going to getting into any elitist nuances of Jazz, intricacies of this record, lineup, settings and all that blah blah.. geeky audiophile stuff. This is a landmark record, period. Get it NOW!

This album is great. My first hearing of Davis was Sketches of Spain, which is good, but took a while to grow on me. This one, on the other hand, jumps out immediately as a top-shelf package. One listen and you'll be humming the tunes. Two or more and you'll be positively hooked. In my opinion, Kind of Blue is compositionally his best album. Same goes for the overall "cool" factor. The whole disc is smooth and elegant, varying in nuance and tone throughout and giving each musician a chance to step up and show off a bit. Great work that deserves high honors.

I'd been playing jazz piano for eight months before I "discovered" this album. It came into my collection at the right time and really increased and renewed my interest in jazz. I'm not sure how I missed this album for as long as I did. Anyway, there are almost 700 reviews for this CD, so all I'll say is, this is a classic, must, must, MUST have CD, and if you like jazz and for some odd reason don't have this one, you must make it a priority to get this CD before you buy anything else. You will be ecstatic.

I promised the man I sent this to as a gift that I would change his life. He kind of laughed it off because "...I don't know if Amazon has anything that can change my life."

I asked him to listen to track three, at night, with a glass of really good wine (An Argentine Malbec)- and drift.

He did. Life is changed.

Thank you.

The muscians: This CD features not only the best in the business at the time (Paul Chambers on bass, Jimmy Cobb on drums, Cannonball Adderly on alto sax, and master blues man Wynton Kelly playing piano on Freddie Freeloader), but some of the best ever (Miles Davis on trumpet, John Coletrain on tenor sax, and Bill Evans on piano). Though Evans had already stopped touring with the group, Davis brough him back for this project because of Evans' impeccable qualifications and experience with the type of music planned for this recording.
The songs: The songs include some of the most popular modal jazz standards, such as the iconic So What? (that was so novel that the types of chords used are still called "So What" chords), and the straight-ahead blues number Freddie Freeloader, featuring one of the best blues pianists ever, Wynton Kelly. The other blues number, All Blues, follows a more experimental course that laid the groundwork for Oliver Nelson's classic Blues and the Abstract Truth (also featuring Bill Evans and Paul Chambers).
The recording: the recordings are of excellent quality, with pioneering use of artificial reverb that was almost unheard of in jazz at the time. The piano sound is a bit grainy, but not so much as to ruin the recording. There was relatively little rehearsal or planning, other than intros, heads and roadmaps. By all accounts, the muscians had the kind of great day that happens often in live settings, but not so much in the studio.
This CD laid the groundwork for years, and even decades, to follow. Many say that this CD is a great "first introduction" to jazz. I'd put it in the top five first CD's to buy, but not at the very top, because it lacks any jazz adaptations of familiar tunes. Buy Kinda Blue and meet the giants on whose shoulders today's best jazz musicians stand.

Very happy that this album was reissued on CD. Ever since I first heard it, as a teen (eons ago), it has been part of my life. This unique contribution to jazz stil says something very special.

I love Kind of Blue and it is one of my favorite Miles Davis CDs and beyond. It is also one of my favorite albums of all-time. This is one of his calmest albums besides In a Silent Way and my favorite songs are Freddie Freeloader and So What. I like the fact that this is the best selling jazz album of all time too, because Miles is my favorite in jazz. I really would recommend this CD to all rock fans who need to calm down now and then and this is a must-have cd. Go get it today.

I think the main thing I have to say about Kind of Blue is that I'm an idiot for having taken so long to buy this album. Yes it's probably one of the best selling jazz albums of all time and it is to Jazz what Bob Marley's Legend is to reggae meaning that your average layman will appreciate and enjoy this cd while someone who has a taste for jazz, Miles or just some great chill out music will be smiling around the third or fourth time in a row they listen to the album. If you've ever wanted to know what greatness is, feel free to just buy this album, otherwise, miss out on one of the greatest albums to ever grace your stereo and make you appreciate your sense of hearing all that much more.

Yes, this is absolutely brilliant album Miles' playing is divine and his cohorts are equally impressive...
And, since this album is owned by almost everyone who likes good music (including those who, as a rule, have no interest in jazz), I'd just like to suggest some other artists and some other brilliant jazz recordings to explore. Try it, you might like it.

First there is a Jon Hendricks album with a vocal take on Miles' and his band's "Freddie Freeloader" (featuring other jazz singers), and then there are some other great, styllistically quite diverse stuff...

Freddie Freeloader , Duke Ellington & John Coltrane , Count Basie at Newport
Ride, Red, Ride , Coleman Hawkins Encounters Ben Webster, Jazz on a Summer's Day, Pres and Teddy, Louis Armstrong Plays W.C. Handy...

I did not care for jazz until I heard this masterpiece. Actually, I did not appreciate it the first three times I heard it, but so many musicians from all different musical genres kept praising it, and I gave it another chance. It worked. Something in my brain clicked, and it was as if my music neurons had been re-aligned to process and "understand" the simple, original, subtle, nuanced, and brilliant tunes that make up Kind of Blue.

Well, if you like music, even if it's only "Happy Birthday To You", just buy this, make it part of your musical life, and never look back.

You can't own this record because this record owns you. Period. I only wish I was a teenager again so I can reexperience the pleasure of hearing this album again for the first time. If Jesus had only one album, this would be it.

Like any great work of art, Kind Of Blue transcends its genre. The record's soft, hypnotic textures and stunning emotional range should appeal to just about anybody who's listening, no matter what they think of jazz. It's a masterpiece of sustained mood and atmosphere, brimming with restrained cool and nervous energy. The group's playing is spare and beautiful, layered with a multitude of emotions, attitudes, and ideas. It's music that speaks to the thoughts and feelings that you've never been able to express, that brings to life your half-forgotten dreams and quiet longings. It's the record you would have made, if only you knew how.

All of which is my pseudo-intellectual, laughably pretentious way of saying that this album is wonderfully unique. It's dreamy; it's gorgeous and atmospheric. Its textures are lush and nuanced. The music epitomizes simplicity as a source of beauty- the arrangements and compositions are spare and open, giving each player ample room to express himself. Indeed, Miles' genius is in how large a canvas he creates, stripping the entirety of jazz down to a basic framework of scales and chords, and trusting his companions (a veritable dream team of middle period American jazz) completely.

The result is a masterpiece. The five songs here are among the greatest recordings ever made: "So What" opens the album with an incredibly smokey, soulful late-night ambiance, instantly evoking some sort of nightclub nirvana. Coltrane's solo is a thing of wonder. "Freddie Freeloader" is somehow both unabashedly passionate and a paragon of hip detachment. "Blue In Green" is simply gorgeous, and "All Blues" is full of tense, nervous energy. "Flamenco Sketches" is a dreamy, fluttering slice of atmosphere.

It's absolutely brilliant. No music collection is complete without it.

how can someone enjoy the horn when all through EVERY song this constant bass thumping, boom boo boo boom boom boo boom boo boom boom boom boo boo boom STUPID!

that is a stand up bass thats doing that, right? or is it my uneducated jazz ears

Now Sketches of Spain CD. thats what its all about. some bass, but its minimal and in the background, not dominating the songs

I bought this CD for an assignment for a Music Appreciation class. And that tells you what I know about the elements of music that make it good (or bad).

My biggest gripe is that I can hear hiss and other noises that could/should have been removed when this was remastered.

As for the music itelself, this is what I think of when I hear people talk about Jazz. But it sounds like every small Jazz band I hear at formal events. maybe they're all coppying this? But it is pleasant to listen to.

Now how do I expand that into 3+ typed pages?

Can't miss with this timeless masterpiece. If you even think you might like jazz - this is a must have.

I am not normally a person who listens to blues music, but I noticed the high rating for this CD and decided to give it a try. It is great.

Simply put...excellent sound quality! I have a 5.1 ELS sound system in my car, and this CD sounds as good as a DTS surround sound disk! This is the ideal Miles Davis disk to purchase!

I can't tell you how many people I've heard say "even if you don't like jazz, you'll love this album"! This is beyond true. I've always been into all types of music, as long as it sounds good. This album is not only a classic, but Miles Davis set a standard on jazz with this masterpiece. It contains some lengthy numbers but at the same time, it really sets the mood. If you enjoy this album as much as I do, also check out "Miles Ahead", "Relaxin", "Walkin", and "Ascenseur Pour L'Echafaud (Lift To The Scaffold): Original Soundtrack". Take a listen and enjoy!

This is probably my all-time favorite jazz album. Not only was it pathbreaking - an entire album based on a single theme as well as "modal" improvisation - but the artists are simply the best. Unfortunately, the transfer of this into digital format was not done very well: in the early tracks, Davis' horn is badly distorted with hiss. Thus, while the performance if 5 stars, the digitization is 1.

I would not recommend this.

5.5 stars

Many consider this the greatest jazz album of them all, and they're about right.
It's pure musical bliss from start to finish. Trane is fabulous and Adderley is maybe even more entertaining. Miles' intonation, which can be horribly off on many of his recordings, is mostly solid here. (Hey, a missed note is a missed note; Miles is a genius for the groups he formed and for his vision, NOT for his technical mastery. Listen to Diz or Shavers or even Hubbard to hear proper intonation. Sorry, just a pet peeve of mine; I like to hear the note they're trying to hit, not a note a quarter or even half tone away.) He captures many moods, and his mute playing is very effective.
But the highlight and very essence of this record is Bill Evans. Davis admitted later that he made this album due to inspiration from Evans' harmonic and atmospheric conceptions, and it's Bill's genius that floats from this album, even when others are playing. His modalities are what made Miles give the others simple chordal sketches instead of typical melodic heads, and Evans' touch is what inspires the delicacy of many moments here.
Bill's intro to Blue In Green is twenty seconds of the finest music I have ever heard. Incidentally, Miles stole this tune from Bill, and never gave him credit, probably stealing a million plus in royalties over the years. It's a variation on Evans' Peace Piece from Everybody Digs, and Miles often admitted as much. Just listen to the other Miles albums with this group minus Evans; they never come near to the beauty here.
Supple rhythm from Cobb and Chambers makes this a complete masterpiece.
I've been listening to this for almost 30 years and have never tired of it.
By any standards, Kind Of Blue is a masterpiece. Thank you, Bill Evans!