About “Blue in Green” 4 contributors It’s well documented that among Davis' demon circa Kind of Blue was heroin. So, I mean, how far can you go in that direction? It’s like, on All Blues it seems like there’s certain simple ideas that Miles uses, particularly in his chorus at the end of the piece [unintelligible?] Yeah, that may have had something to do with it: just the fact that there were new kind of challenges to play off, and there was a simplicity about the charts that was remarkable, too. I was living in Philadelphia, starting a PhD program at Penn in music history and theory that I soon decided was not for me. Well, that’s what I’ve been hearing too, and I think it may be true because, first of all, I don’t; Miles is a player and I can’t imagine him not playing. Bill Evans wasn’t new to Miles Davis’s groups at the time of Kind Of Blue, he had actually left the group which he started playing in, in 1958. I found him through Facebook; he saidto  me he recorded the interview himself, away from WKCR, and gave me written permission to share it. It could easily have been longer – it’s the shortest song on the album by several minutes – but it wraps up modestly, with a final little cadence by Evans. But of course, the people involved were pretty gigantic when you stop and think of it. Does anyone else find improvisation amazing? “Bill had this quiet fire that I loved on piano. Legendary jazz trumpeter Miles Davis recorded the second and final session of his seminal album Kind of Blue on April 22nd, 1959. And I wrote those levels out for the guys, you know, that was all just little sketches, and, but other than that, it was a very simple thing that he came in with conceptually and sketch, you know, the little sketches I made, so that a lot — all, all of it was more or less created out of the musicians themselves, and all the things that were added, now, like on All Blues you know the little fluttering figure I played at the beginning is just something I throw in, just like, anybody will add as jazz players to it, to a thing. And Put Your Little Foot Right Out, which never got a lot of airplay, was on the Jazz Track album with Green Dolphin Street. Previous Post George Cole, who wrote The Last Miles: The Music of Miles Davis, 1980-1991, explains why Davis is so important: "Miles Davis is to jazz is what Mozart is to classical music or The Beatles are to popular music.He is by far the most influential jazz musician of all time and it's unlikely that anyone will ever supplant this position. We don’t have any idea what we’re even saying. And actually, he is virtuosic, certainly, and in the best sense of the word. Blue and Green, the upcoming horror graphic novel from writer Ram V (Paradiso, These Savage Shores, Grafity’s Wall) and artist Anand RK (Grafity’s Wall), is about a jazz musician who becomes possessed by a deadly muse. It is the third track, as well as one of two ballads, on Davis’ Kind of Blue, released by Columbia Records on August 17, 1959. Did Miles listen to much other jazz or some of the different styles in the late fifties? Week 171: “Keep” by Nils Frahm. Anytime I see a jazz musician come up with a brilliant improvised solo, I’m blown away by the skill, courage, and adaptability that it takes. Unfortunately, many of our best, yeah, performances are out there in the universe someplace, and you still as professionals have to go in at ten o’clock on Wednesday and make a record and hope that every few records you might catch a really good day. At home he might have a Rachmaninoff concerto on his stereo or a score of Tosca on his piano, as bandmates and intimates have reported. If you were a musician brought in to record with Davis, you wouldn’t be given sheet music ahead of time, or a rough demo recording to familiarize yourself with. So y’know that would predictably make it somehow, but you can’t really tell. Hello /u/TapDaddy24 Thanks for posting here on r/Songwriters! Lewis was excited about hearing as much as possible of the 126-hour Miles Davis Festival on WKCR and recorded three interviews on his portable cassette recorder placed near a clock radio in the bedroom where he was staying, if I recall correctly. So, I’m sharing it here. I just don’t understand any of that at all. Miles was very much an independent person, like, I know that when I was hanging out with him, he liked people as different as, well he was very influenced by Ahmad Jamal for a while. Bill Goldberg: And [in] this portion of the Miles Davis Festival, we’re fortunate to have with us pianist-composer Bill Evans, and Bill was with Miles in the late ’50s, and he was on that classic recording Kind of Blue, which is still probably one of the best-selling jazz records. But I rang the bell and it was alright because Miles was up and was glad to hear from me, and Gil was there that day, and he just looked great and seemed in great spirits. Did he tell you any times about what he was looking for in his music, especially maybe in the late ’60s when he was…. Our site uses cookies to tailor your experience, measure site performance and present relevant donation incentives and advertisements. It’s true, he has a charisma. Kind Of Blue is a masterpiece; “All Blues” is timeless song, one for the history books.Bitches’ Brew is probably one of the most important albums of its era, combining jazz and rock influences into something entirely new. It just seemed to click. So that is right, he is a stylist. And the rest of it is being professional and, certainly as professionals, you do reach a high degree of performance in the area that you’re trying to work, but those special times, you don’t know when they’re gonna happen, and, unfortunately, we don’t get too many of them on record. Don't post garbage (i.e. And that’s the genius of his leadership in that he doesn’t say very much, and he gets things done like that, he allows, puts certain talents together and allows them to work on each other and work on the music, and somehow Miles will occasionally just give you one little clue. He’s a guy that has always worked hard to dig deeper into himself and to look into music and he respects music a great deal and that same kind of thing happens. “So What” from Kind of Blue (Miles Davis, 1959) Kind of Blue Best selling jazz album of all time Considered one of the most influential jazz albums of all time (impacts jazz, rock & classical) Features: Miles Davis (trumpet), Bill Evans (piano), Jimmy Cobb (drums), Paul Chambers (bass), John Coltrane (tenor saxophone), Julian "Cannonball" Adderley… Davis’ dismissive take on Kind of Blue allowed him to concentrate fully on the next gig, the next studio session, and the next career turn. I think it locks into a kind of a creative mental process that has implications far beyond the people that even are doing it are aware, because the longer you do it, and the more you develop that art, the more you’re locking into an almost subconscious process. Week 169: “Dawn Patrol” by Portico Quartet, Next Post Twenty years ago, did you think it would become such a model? I think Miles’s blues solo on that track is one of my favorite solos of his. At 4 a.m. We heard Jimmy Cobb on one amazing evening at the Tin Palace (a double bill of Dewey Redman’s and Clifford Jordan’s quartets) and Philly Joe Jones there on another night. And I put a CD-R of it on reserve at the NEC library for my own Jazz Styles classes to listen to in a few semesters between 1997 and 2008. I sometimes wonder whether they really did. He’s a guy that will turn his mind toward certain areas of music or certain people and decide that there’s somebody or something or an area of music that he can learn from, and then he will. And though Evans wasn’t given a proper songwriting credit until 2002, I think the real credit goes to all the musicians in the room, who turned scribbled key changes into a beautifully serene five and a half minutes. Improvising a solo in a jazz club late at night is one thing; imagine being good enough to improvise a whole album. With this particular track, Davis handed pianist Bill Evans a piece of paper with two chords scribbled on it and asked him what he’d do with them. But that’s kind of a touchy notion. “Blue in Green” is almost achingly slow and delicate, with some of Davis’ best muted trumpet. Art Blakey said a few months ago that Miles was a stylist. Tracks WordPress Theme by Compete Themes. Oh, I first heard Miles on the very first records he made. He may want to come back with something entirely new or entirely old, as far as I know. Yes, true. “Blue in Green” was first recorded on March 17, 1959 by trumpeter Miles Davis, pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonist John Coltrane. He may have heard it in the WKCR archives. The JAZZ.FM91 Studios are powered by Lawo broadcast technology, JAZZ.FM91 live performances are on pianos available at Remenyi House of Music, 4 Pardee Avenue, Suite 100, Toronto, ON M6K 3H5. After a few plays it became increasingly difficult to hear harmonies played with less density and tension. Evans moved us into the modern piano era with follow-ups: Waltz for Debby, Portraits in Jazz, Sunday at the Village Vanguard, Undercurrents. Eddie Karp: It’s really seeing him perform, I saw him perform at the Bottom Line I guess was about three years ago. It was one of his last performances with his group, before it kind of went into, before he stopped performing publicly. I’ve really enjoyed it, and we’ve been talking to Bill Evans and before we let you off, is there anything else you’d like to say about Miles or any of the unbelievable things in his career? That’s about it. When Miles told Haley that Louis wasn’t an influence, that just wasn’t true. Right. He was called back to play on the now legendary "Kind of Blue" album in the spring of 1959. It certainly has been a strong album, and an album I was very proud to be part of. ‘Cause, first take feelings are generally, if they’re anywhere near right, they’re generally the best, and if you don’t take that one, generally you take a dip emotionally. 1. He showed me one change on that which gave that whole structure a different thing. First of all, what do you want from a creative musician? But he seemed to feel that he wasn’t ready to come out and play, even though I somewhat prevailed upon him that the world was waiting for him and he didn’t seem to have the inclination to come out and play. And, but Miles really knew, somehow, the depth and the potential development that Coltrane had coming, and just gave him all the room, just gave him all the room, man. And I sketched out Blue in Green, which was my tune, and I sketched out the melody and the changes to it for the guys, and Flamenco Sketches was something that Miles and I did together that morning before the date. Like, Freddie the Freeloader, So What, and All Blues, there was nothing written out on. Since 1996, while continuing to teach and play, Chase has also been NEC’s chair of jazz studies and improvisation (1996 to 2001); dean of faculty, supervising classroom curriculum including jazz and contemporary improvisation (2000 to 2006); co-chair and then chair of contemporary improvisation (2005 to 2008); acting chair of liberal arts (2007 to 2008); and Berklee’s chair of ear training (2008 to present). 3. And my first reaction was that this music could not be captured on record. You go down, and then you have to start working your way up. So, in some ways he’s gotten a bad rap many times. Until the arrival of the LP, I’d been locked to the piano with pianist Oscar Peterson, Phineas Newborn, George Shearing and Dave Brubeck. And that’s what he got to, I guess, by this time. Well, that’s a simple way to say it. Dec 24, 2018 - “Miles Davis, 1955” People also love these ideas No, we never talked about things like that, and I don’t think Miles talks about things like that with anybody. Evans would join Miles Davis’s band in April, 1958, replacing pianist Red Garland.