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By late 1958, Davis employed one of the best and most profitable working bands pursuing the hard bop style. His personnel had become stable: alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Bill Evans, long-serving bassist Paul Chambers, and drummer Jimmy Cobb. His band played a mixture of pop standards and bebop originals by Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song… read more



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  • This is pleasant background noise. It's also pleasant foreground noise.
  • Good sound
  • rating 10/10
  • 10/10....выше только небо....
  • @Gtzk I don't mean to sound like a snobby prick, although I could forgive myself for reponding as a snobbish prick to your dismissive, tossed-off statement about a record considered by most to be one of the key musical works of the 20th century, but if this only works as "pleasant background noise" for you, then you really need to read more deeply about what this music is doing and why it has the legacy it has. Hint: It's not because it's "pleasant background noise," it's because the album changed the way people played jazz and performed solos. Kind of Blue isn't even my favorite Miles Davis album and it's nowhere near my favorite jazz album, but I would never dream of denying its artistic significance and influence on every jazz artist and album that came after. Dismissing this album is to jazz what dismissing Sgt. Pepper's is to pop or Trans-Europe Express is to electronic music -- a game-changing foundation upon which all the subsequent music stands.
  • Everything is in its perfect place, sounding perfect.
  • I gave this album and Mingus's Black Saint a listen and i must say they're the fuckin best in the genre, nothing comes even close on quality and awesomeness
  • I could listen to this album forever. [2]
  • I don't get it.

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