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Kind of Blue

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AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only, from the Master Tapes through to the Cutting Head. It is hard to believe it possible that a recording made on 3- track magnetic tape 56 years ago could sound so alive, alive in a kind of magical way that almost takes you back to that time and place. And the Dream Team lineup of Miles Davis, Cannonball Adderley, John Coltrane, Bill Evans, Wynton Kelly, Paul Chambers, and Jimmy Cobb. Close your eyes and, no matter how many times you may have heard it before, your experience will parallel that of the players that recorded these gems.

While no one has ever completely identified the magic behind the record's allure — the otherworldly nature is part of its inherent charm — much of the success lies with the band members. It continues to be one of the most listened-to and studied recordings of all time, a required primer for many young musicians, and one of the most transcendent pieces of music ever recorded.Though I have a huge collection of jazz greats, this album remains at the very top of the pile, with its status as the best ever jazz album still securely intact. At the core of Kind of Blue: Legacy Edition is the original 45-minute album program, whose five titles – “So What,” “Freddie Freeloader,” “Blue in Green,” “All Blues,” and “Flamenco Sketches” – are indelibly etched in our contemporary musical DNA, be it jazz, rock, third through fifth stream classical, or beyond. Kind of Blue also benefited from Miles’ being signed to the leading major record company of the day — Columbia Records, a part of the CBS media conglomerate. Its influence went way beyond the world of jazz with many rock and hip-hop musicians inspired by its modal compositions and deep textures. Each song is extremely personal and at the same time, universal; covering subjects topical, humorous, and soulful; from the satirical to the sublime.

The back cover lists "Flamenco Sketches" as the fourth track and "All Blues" as the last track, which is incorrect. If there is a certificate we’ve missed out on then it’s probably for a 50 metre swim badge at the local swimming baths.None of the musicians had played any of the tunes before heading into the first of two recording sessions in early spring of 1959. Older digital recordings are often flawed by a rush to market philosophy, combined with early digital recording technology.

Some 1959 stereo pressings had the title "Kind of Blue" occupying one line only on both sides (like in the promo; I assume these are the earlier 1959 pressings), others had Side A with the title on two lines while Side B has it on one line but the track listing sequence corrected (like the one pictured on this page), while others have both sides with the title on two lines. Before now, it was only addressed in 1995 for the Classic Records edition and by Columbia Records — or their latter-day parent, Sony Music — on a CD reissue in the late ’90s.

One of the greatest albums of all time, back in on blue vinyl'Kind of Blue' is the now classic studio album by the legendary American jazz trumpeter Miles Davis, recorded in 1959 at Columbia's 30th Street Studio in New York City. Miles Davis Kind of Blue on numbered limited edition 180-gram 45 RPM double LP box set from Mobile Fidelity. Long held as the jazz album that even non-jazz fans might own, ‘Kind Of Blue’ changed the way Jazz was perceived.

History was on the side of Kind of Blue; it was born in 1959, at the peak of the golden age of high-fidelity, featuring innovations in studio equipment (magnetic tape, high-quality condenser microphones), matched by advancements in home audio reproduction (long-player records — LPs; high-end turntables, and other stereo components). What Davis did in 1959 (and what Coltrane did subsequently, by introducing non-Western scales) helped set the stage for minimalist composers like Steve Reich and Philip Glass. Sixty years have passed; this LP bridges that time span in the best way possible, struck from the master reel of Kind of Blue, free of speed issues and replete with all the instrumental detail, sonic environment and minimal noise.The final track on CD Two is a mesmerizing 17-minute live concert version of “So What” (without Adderley, with Kelly), recorded in Holland, April 1960.

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