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Week 26/52: Kind of blue


KIND OF BLUE is the 26th album by jazz legend Miles Davis, released 1959. But is it good?


So, in my life, I have not listened to much jazz. Growing up in rural Eastern UK is unsurprisingly not a scenario where you would hear much jazz, I'd wager that my largest exposure to the genre has been family guy, for better or worse. My only knowledge of jazz has been from jazz "influenced" albums, such as Bowie's BLACKSTAR, (arguably) parts of radiohead's discography and King crimson. So what did I think of this album?


Lets start at the start. The first track is the 9 minute SO WHAT, and at 45 minutes and 5 tracks this kind of runtime was hardly unexpected from the outset. The track opens with some keys and bass, and with the keys eventually developing into this almost a riff every 8 beats that's joined by some horns. The drumming is airy, but consistent and tight. By the time the trumpet first starts soloing the drums have almost entirely become a part of the scenery despite these tight fills and flickers that the drummers throws in. Throughout the track every instrumentalist displays heaps of restraint, even when another horn comes in and starts soloing with quite alot of vigor. And even still the track manages to stay attention retaining throughout- it feels like there are so many little bits to admire in the track, and it keeps developing too. The musicianship is incredibly admirable, but the thing is it doesn't have anything that I could latch onto emotionally- it's certainly well arranged and performed, but it doesn't have an emotional hook for me. Like, it feels like you asked Miles and his band to play you a piece and they just did without breaking a sweat (maybe hence the name) so aside from sounding good it doesn't really grab me. Definitely great background music and mood setting music, however.


FREDDIE FREELOADER is the name of track 2, and when I first heard it I was kind of disappointed to hear the drumming hadn't varied much besides adding a rim into the mix. However, the lilting piano melody at the start with the horns made up for it. Once the track properly starts, the piano really does feel like it's "freeloading" when it solos, it's skippy and light, it doesn't stay in one place to long. And maybe that's kind of the point- the title gives a name to whatever Miles is trying to evoke with the music (who would've thought?) and then a horn takes over this role, with the keys taking a backseat. The drumming has some really great moments in this track too, I mean, all the instruments do. They feel like they all have a chance to do their thing, sort of show off in the limelight. And again, it never gets dull, even as it winds down.


BLUE IN GREEN is the first track I really felt an emotional connection with. The horn at the start feels pained, and the piano that accompanies it feels as if it's cradling almost. It sounds like something you would hear in a black and white movie, as a character smokes a cigarette and walks around a rainy town pondering something or other. It's the shortest track but doesn't feel less significant, it actually feels more relevant with it's short glimpse of melancholy. And despite the lack of drums, it never feels unbased or floaty. A really great track


Side two starts with ALL BLUES that kicks off with a giddy piano undercurrent and shuffly drums, a total contrast to the previous track. The two different horn melodies intersect and wind around eachother. The track then opens up with more winding piano and horn parts, and as it progresses the musicians shake off this restraint and are fairly brash and some points. It does sit at 11 minutes 30, and in the midsection it does drag a little, but the horn section really does pull through just as it feels like it's about to get dull. It recalls the tracks beginnings at the end too, which is a nice touch. Overall I'm not too impressed with the track, but it's also not bad overall.


The final track FLAMENCO SKETCHES is utterly reflective. The piano lilts and the horns swoon. The double bass is the secret all star in this track, it perfectly accents the phrases of every other musician, it follows the lamenting lead horn alongside the quiet drumming. The horn never gives up it's reflective and almost nostalgic wanderings, with some parts feeling like it's trying to evoke the feeling of laughing at a fond memory, and the drumming never really takes over, preferring to keep the rhythm quietly in the background. The track peters out in quite a satisfying away, as if you've finished reminiscing about your time in another city or a past love or something. It's a really great ending.


So overall, I quite liked the album. The musicianship was stellar throughout, the compositions were thoughtful and well arranged and each track (maybe besides track 4) felt like it had a clear goal in mind, and It's probably an album ill be listening to alot in future.

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