Kind of Blue

Release date
9 Sep 2013
Running length
21 tracks
Running time


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    Track     Duration Listeners
1 So What 11:56 467,572
2 Freddie Freeloader 9:46 338,830
3 Blue in Green 5:38 387,413
4 All Blues 11:32 331,831
5 Flamenco Sketches 9:27 297,885
6 Flamenco Sketches (Alternate Take) 9:31 131,468
7 Freddie Freeloader (Studio Sequence 1) 0:51 30,601
8 Freddie Freeloader (False Start) 1:25 33,637
9 Freddie Freeloader (Studio Sequence 2) 1:28 24,362
10 So What (Studio Sequence 1) 1:54 3,247
11 So What (Studio Sequence 2) 0:11 139
12 Blue in Green (Studio Sequence) 1:56 23,250
13 Flamenco Sketches (Studio Sequence 1) 0:42 2,576
14 Flamenco Sketches (Studio Sequence 2) 1:09 2,494
15 All Blues (Studio Sequence) 0:18 123
1 On Green Dolphin Street 12:12 68,511
2 Fran-Dance 7:38 55,848
3 Stella by Starlight 4:45 94,523
4 Love for Sale 11:44 51,145
5 Fran-Dance (Alternate Take) 5:52 10,303
6 So What (Live April 9th, 1960) 17:29 1,046

About this album

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. Davis was one of many jazz musicians growing dissatisfied with bebop, and saw its increasingly complex chord changes as hindering creativity.

In 1953, the pianist George Russell published his Lydian Chromatic Concept of Tonal Organization, which offered an alternative to the practice of improvisation based on chords and chord changes. Abandoning the traditional major and minor key relationships of classical music, Russell developed a new formulation using scales, or a series of scales, for improvisations: This approach led the way to “modal” in jazz. Influenced by Russell’s ideas, Davis implemented his first modal composition with the title track of his studio album Milestones (1958). Satisfied with the results, Davis prepared an entire album based on modality. Pianist Bill Evans, who had studied with Russell but recently departed from Davis’s sextet to pursue his own career, was drafted back into the new recording project, the sessions that would become Kind of Blue.

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