Miles Davis and the recording of Kind of Blue
Miles Davis’s *Kind of Blue* is held up as a towering, almost miraculous achievement in jazz, yet many listeners here compare it with later, more experimental albums like *Bitches Brew* and *In a Silent Way*, highlighting how each era of his work rewards different tastes. Commenters trade recommendations for related records, books, venues, and even modern artists, while also offering practical advice for people who “don’t get” jazz on how to listen for structure, interaction, and emotion in what can first sound like chaos. Underneath the album talk runs a broader theme: jazz as a living language—rooted in history but still evolving—that some find immediately accessible and others experience as an acquired, but deeply rewarding, taste.
Comparing Miles Davis Eras and Albums
- Many consider Kind of Blue an undeniable classic; some still prefer later electric/avant-garde work like Bitches Brew, In a Silent Way, On the Corner, Dark Magus, Cookin’, or early pre-Kind of Blue recordings.
- Kind of Blue is described as immediately accessible and lyrical; Bitches Brew as dense, chaotic, “hostile,” studio-constructed, and groundbreaking in editing and texture.
- Some say they listen to Bitches Brew more despite judging Kind of Blue the “better” album; others feel In a Silent Way is the peak.
- Live albums from the late-60s/early-70s (Fillmore, European bootlegs) are repeatedly recommended as even more intense developments of Bitches Brew ideas.
Why Kind of Blue Is Revered
- Several posters call it one of the greatest or “the” greatest achievements in music, emphasizing:
- Mostly first complete takes with little rehearsal.
- Pioneering modal approach (few/no chord changes, new freedom for improvisers).
- Exceptional ensemble chemistry; “everyone is a genius” level.
- Individual tracks like “Blue in Green” and “So What” are singled out as possibly the finest recordings some listeners know, often with strong emotional impact.
Struggling to “Get” Jazz and Kind of Blue
- Some listeners find the album or jazz in general to be a “mishmash” or torturous; others respond that:
- Jazz is an acquired taste; there’s no moral duty to like it.
- Understanding forms (head–solos–head), rhythm, and interaction helps.
- Repeated listening reveals patterns, call-and-response, references, and structure.
- Suggested entry points: Kind of Blue itself (original tracklist), Brubeck’s Time Out or “Dave Digs Disney,” Coltrane’s My Favorite Things, Davis’s Porgy and Bess, Bill Evans/Oscar Peterson, and more groove-oriented or “nu jazz” albums.
- Strong emphasis that taste can change over time and that not liking jazz is fine.
Books, Theory, and Influence
- A making-of book on Kind of Blue and Davis’s autobiography are praised.
- Discussion touches on George Russell’s Lydian Chromatic Concept as an influence on Davis’s modal turn; contrasted with Barry Harris’s more traditional approach.
Modern Jazz, Venues, and Listening Paths
- Multiple posters stress that jazz is vibrant today and list many contemporary artists and groups, both acoustic and fusion/crossover.
- Suggestions for live jazz and “jazz kissa” listening bars in Japan and historic venues in the US are shared.
- One strategy for exploring jazz: start from each Kind of Blue sideman and recursively follow their own records.