The blueprint for melodic improvisation and vamping, Kind of Blue simplifies tonal organization and chordal progression into an eminently beautiful, introspective tapestry stitched with swinging poetry, mellifluous soloing, compositional lyricism, transcendental harmonies, and group interplay of the highest caliber. The transformative album weds Spanish themes, lush orchestrations, romantic timbres, and Davis' increasingly lyrical methods in a tender ceremony that resonates more than six decades after its original release.

Or by affirming that, every year, it sells tens of thousands of copies more than five decades after its original release. We use cookies to give you the best possible experience on our site, provide personalised content and advertising, analyse our traffic, and ensure you see more of what you love. The instruments sit in the very space that we know them to be in (which sounds obvious but is far from always being the case). together with Quality Record Pressings, is putting Kind of Blue where it belongs: the Ultra High Quality Record (UHQR) pressed on Clarity Vinyl on a manual Finebilt press with attention paid to every single detail of every single record.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.

The data capture is industrial scale, outside my capacity, but if anyone wants to build a data capture tool, I’ll happily front it. Compared with the audiophile UHQR issue mentioned above they’re further forward and closer to the listener, more like you’re sitting just in front of the stage rather than somewhere further back in the auditorium. Expertly remastered by Kevin Gray, lacquer plating by master technician Gary Salstrom, heavy cardboard gatefold jacket with vibrantly reproduced original artwork. The source for this tape is a Columbia production master – moreover, it’s a flat master, hence unequalised and uncompressed – essentially a safety copy of the original stereo master.

In late 1958, after some eight months, Bill Evans – the only white member of Miles’ group – left the lineup and was replaced by Wynton Kelly.

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. Columbia was a major, not the sort of small operator that would “use up” wrong labels to save money.Hi Steve, I’ve now taken a more systematic look at the font and title setting associated with matrix codes – at the time of writing it was an afterthought and an “impression” which wasn’t as accurate as I now find. Now, for the first time, the five 1958 studio tracks are rightfully coupled – at last –- with the five sextet tracks of Kind of Blue. As all sellers point out, the authentic original cover of Kind of Blue has Julian “Cannonball” Adderley’s name miss-spelt “Adderly”. DG, no CBS, label side 2: a) All Blues, b) flamenco Sketches; sleeve: Flamenco Sketches, All Blues, plastic bag inner. It doesn’t require as much (or indeed any) subconscious processing by the mind to coalesce into a unified sonic / musical experience, while also at the same time being clear and distinct in each of its parts.

It looks like the jackets didn’t really undergo any design changes throughout the original mono release era (1959-1967) so I think any mono jacket from that period should be the “correct” one–can anyone confirm this?

As Bill Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Kevin Gray: “Columbia used PAL and PBL prefixes for side 1 and 2, and A and B suffixes for the Santa Maria, Ca. Some sellers claim their copy has a “misprint” merely because the Side 2 label is the corrected one, at odds with the cover track list.