Customer Reviews

Kind Of Blue: The Making Of The Miles Davis Masterpiece

5 star:		(16)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I was curious to see how an entire book could be made focusing on the classic Miles Davis album KIND OF BLUE, considering that several previous Davis biographies seemed to comprehensively cover it in a few pages (e.g., the Chambers and Carr bios).

After reading this book, I would say that the author passed the test. His access to the studio tapes (with between-takes dialogue extensively quoted), interviews with surviving witnesses/sidemen, and quotes from other sources by the deceased participants, come as close to taking the reader into the studio as possible. Furthermore, Kahn thoroughly examines the album from a number of different angles generally not of concern to most Davis biographers. There is insight into the promotional efforts in selling the album, and the marketing of Miles Davis in general (typically with little cooperation from Miles himself).

Additionally, Kahn looks at the album in the context of other major jazz events of that year (John Coltrane's GIANT STEPS, Ornette Coleman's arival on the scene, etc.). Furthermore, he examines its influence in and out of the jazz world, and its reissue history (oddly, Columbia records didn't seem to fully grasp until recently just how popular this album had become). Also of note is that the first 90 pages of the book set the stage for KIND OF BLUE by examining the first stages of Davis' musical journey, particularly those areas most pertinent to understanding the making of this landmark album.

To the potential reader who may have heard KIND OF BLUE and wants more information about Miles Davis: your best options are either to buy this book (but keep in mind that of course there is little coverage of the last three decades of Davis' life and music), or pick up Ian Carr's bio if you want the best-yet account of Miles' entire career. Actually, the best choice may be to opt for BOTH books.

Inherent in any writing (literary) about music (auditory) is the irony of using words to evoke sound. Too frequently writers' efforts to describe, explain, or otherwise translate towering musical moments in words end up on my weekly recycle pile. Not so the case with this excellent, primary-sourced recreation of the American political era, the stage of New York City cultural development, the degree of arc in Miles Davis's idiosyncratic career, and, always keeping its focus, the precise moments of creation reflected in the intuitive improvisatory sound of a timeless jazz classic. In addition to interviews with KOB session drummer Jimmy Cobb, the only surviving member of Davis's recording group, Kahn mounts a millennial archaeological dig into the actual analog tapes, reproduction of pianist/composer Bill Evans's hand-written LP-era liner notes, production and marketing notes, and rarely if ever before seen pictures by the original session photographer. Kahn's prose couples a keen historical ear with a fanatic's enthusiasm. Rather than just another factual rehash in the acrid tone of much jazz writing, the books sketches impressions of what it must have been like to participate in this culminating cultural recording event. The author does an excellent job of contextualizing art and jazz developments of the time, in NYC in general but, in particular, the intersection of Miles with innovators such as George Russell, John Coltrane, Cannonball Adderley, Bill Evans, Wynton Kelly, and Paul Chambers. For deeper jazz fans, there are nuggets about the previous edition of Miles's working band (with Philly Joe Jones and Red Garland), KOB's enduring influence and Miles's style of leadership, social and musical. This volume is a must have for any fan of Kind of Blue -- it will enhance the veteran's as well as laymanŐs appreciation of the music, the man, and the moment. The book may also be staking new territory, providing thoughtful insights into Columbia Records' A&R, marketing, and production process of the time. Kahn elicits testimony from in-house biz legends including KOB producer Teo Macero. This suggests fertile ground for delving into the history of Columbia, a major musical touchstone of the 20th century.

If you are as obsessed with "Kind of Blue" as I am, this is an indispensible book. It provides a great blow-by-blow description of the recording sessions themselves, as well as an entertaining account of the relationships between Miles, Coltrane, Adderly, Cobb, et al...these titans that created THE enduring masterpiece of American music. It discusses how Bill Evans was robbed of writing credit for his obvious contributions to "Flamenco Sketches" and especially "Blue in Green" (one of the main reasons they never worked together again). Of how Miles didn't have the courtesy of letting Wynton Kelly know in advance of his limited role in the session (he showed up and Evans was sitting at the piano). Miles comes across as a somewhat arrogant genius, which is probably fairly close to reality.

After reading this book, you'll be blown away by the album all the more, especially if you have enough music theory knowledge to appreciate how truly innovative modal jazz was at the time.

Any jazz fan or musician will love this book. But in the broader picture, it's a great exploration of American history and the '50s, with overtones of the racial elements and heroin use that effected black and white musicians. You will feel like you are there, every step of the way that led Davis to create "Kind Of Blue." And you'll get a real sense of who he was as a person -- maybe not so likeable a lot of the time.

The most compelling aspect, though, is the path that led to the modal jazz movement, why it's important.

The history, the music, the whole '50s scene -- I couldn't put this book down. And big kudos to the author on his handling of the material and manner in which he delivered this story.

Ashley Kahn vivedly presents the account of the Kind of Blue session, but that's not what is so appealig about this book. Its strength lies in its portrayal of the inner workings of post-war jazz, its players, and its impact on our modern cultures. We get to see the personalities of some of jazz's influential players: Miles Davis, Ornette Colemen, Bill Evans, and John Coltrane. We get a glimpse of live performances, and we are presented with a detailed look at Columbia recording studios in the late 1950s.

The men, the music, and the philosophy of jazz are all here in this lively journal. If you are a jazz fan, or if you like Miles like I do, you won't be able to put this one down.

After many years of listening to Kind of Blue and marveling at the sound that has impacted jazz even to this day, this book has given me an even greater appreciation for the man and his music. What Mr. Kahn has been able to accomplish is to take the reader inside the studio and let them understand the recording of this incredible masterpiece. Taken from insights of Jimmy Cobb, one of the drummers, and sadly the only surviving musician, along with notes from the engineers, the producers, and technicians, the reader gets the feel of being there.

One of the most remarkable things about this is that most of the music was created on the spot, and this book lets you in on the whole creative process that created what was then a new way of playing jazz. If you are a hardcore jazz lover, or you only buy one CD a year, get Kind of Blue, buy the book and enjoy witnessing history as it unfolds.

The title of this review is the number assigned to the then untitled "Kind of Blue" sessions." Looking at this book from a historical pesrspective it is both informative and entertaining. The freelance music journalist Ashley Kahn , manages to tell an engrossing tale structured around but not limited to the recording session of the Miles Davis recording. The author takes you back in time to the memorable sessions that produced "Kind of Blue." The tid bits of information are interesting insights into what went on in the six hours in the studio on March 2, 1959. The album was recorded in two sessions, the second being on April 22 of the same year. The fact that the music was recorded, essentially in one take, is amazing considering the end product. I particularly enjoyed learning about the background to the song titles, specifically "Freddie the Freeloader," the relationship between Gil Evans and Miles Davis(this would be their last recording together), the perceptions of one of my music idols, John Coltrane and in general, the historical jazz ambience. The author takes excursions into what was going in jazz at the time, who was doing what and how this recording set the stage for future developments. While doing this the author examines the jazz musician of the 50's, what came before and the impact of "Kind of Blue" with it's modal introduction for the masses. The book is a great companion to the music, it is almost like being there. If you'd like to know the story behind the famed Miles Davis sextet that recorded one for the ages this is the book for you.
An additional bonus are the superb black and white photographs of the sessions that feature the men in their element. Many of the photographs(the first session was not photographed) are classic spontaneous glimpses into jazz history. If you like Miles, jazz or music history this book is for you, it reveals a part of Americana from a bygone era and luckily the music lives on, along with this written testament.

Many books on particular jazz musicians or eras, unfortunately wind up as dust-dry technical treatises of interest only to the most dediated musicians and fans. That, or they're little more than chronological listings of gig after gig, playlist after playlist. Snore.

Fortunately, Ashley Kahn's wonderful book doesn't suffer from either of these faults. While the author details the making of this historical album and provides detailed notes on each of the legendary tracks, his touch is light, and the book is eminently readable. It's a real pleasure for anyone who loves the album and appreciates the artistry of Miles Davis and the group he assembled for this project. And if you're new to jazz or haven't experienced "Kind of Blue," this book represents a good place to get your feet wet.

My only criticism (and it's a very minor one) is that Kahn could have spent just a little more space on describing the difference between Miles' modal style and the ways in which it was a break from what came before. But the book's pluses far outweigh this very small quibble.

A suggestion: get out a copy of "Kind of Blue" and listen to each track before and after reading Kahn's descriptions of each one. It will enhance your enjoyment.

This book is a great look into a great album. I'm just getting into jazz, so I can't say I know too much about it yet. And, I know only a little about music theory, but this book is a great way for the beginning jazz fan to understand what makes jazz, and this album in particular so great.

The author had unparalleled access to the actual master tapes from the two sessions that made up Kind Of Blue. He was able to hear what was going on between takes. Unfortunately there wasn't a lot being said. There's even a comment in the book about how they would stop the tape in between takes, as if to save tape. So, unlike other recordings of the day, when the tapes would continuously roll, this master tape gives only a little glimpse into what it must have been like during the two days of recording. The author is able to do the rest through interviews with people who were there.

There are only two chapters on the actual recording sessions. But, what the author does is take us through the recording take by take, song by song. It was great to be able to sit back and listen to the music while the author and others went into detail about the song you are listening to. As a beginning jazz fan, I was able to understand the music much better. I always knew I liked the album, but now, I can see a little deeper into why it is so great. I have a long way to go, but this book helped my understanding significantly.

The book doesn't just focus on the recording of the album (obviously with only two chapters dedicated to the two sessions). You get to learn a little about Miles and what he was doing musically prior to this album. The book shows you how he was always looking to improve on his previous work and expand what jazz was at that time. It is by no means close to a biography of Miles, rather, just a look at what he was doing in this time. The book then continues on with the selling of Kind Of Blues and the influence it would have years after it was made.

My only problem with the book, and it's my problem, not the books, is that I didn't understand a lot of the musical theory that was being written about. But, as I said, that is my problem. It is far beyond the scope of this book to delve into music theory. I will have to return to the book once my understanding is better.

If you are just getting into jazz or want to know more about Kind Of Blue, you need to get this book. I can't recommend it enough.

This book opens the time capsule on the making of Kind of Blue and jazz in the late fifties. In contrast to Niesenson's recent work on this album, this book provides a great deal of new information. The description of the studio itself, an old church, and the engineers who recorded the album and their methods and equipment was fascinating. The book captures not only the almost supernatural alignment of the jazz moons of three of the most dominant figures in jazz, Miles/Trane/Evans, but it also explains the practical business of producing and promoting jazz albums in this time period. I simply could not put it down.