Kind of Blue

Editors’ Notes

The essence of great art is that its power is inexplicable, and in the jazz stratos there's never been anything like this 1959 session. It reigns to this day as the genre's greatest hit and the most coherent album length statement in modern jazz history. Based on scales (modes) rather than chord changes, the five tracks here were recorded in one take without any prior rehearsal, and the cool blue electric spontaneity gives these gossamer lanterns—what pianist Bill Evans called in the liner notes a "direct deed”—a freedom that's pure magic. The sax chairs were majestically filled by John Coltrane on tenor and Julian "Cannonball" Adderley on alto, both playing at their most ethereal. Longtime Miles bassist Paul Chambers joined stalwart drummer Jimmy Cobb in the rhythm section, and two of the greatest jazz pianists ever, Wynton Kelly (only on "Freddie Freeloader") and particularly Evans play brilliantly yet with a smooth,enchanting chill. The result is a collection of modern jazz' greatest moments. For experts and novices alike, "So What's" spidery opening exchange between Chambers and Evans has come to symbolize jazz incarnate. Ditto the entirety of "Freddie Freeloader," and the gorgeous and underrated "Flamingo Sketches" is Miles and the band at their most tender and introspective. Modern jazz starts here.