Personnel: Miles Davis (trumpet); Julian "Cannonball" Adderley (alto saxophone); John Coltrane (tenor saxophone); Wynton Kelly, Bill Evans (piano); Paul Chambers (upright bass); Jimmy Cobb (drums).

Audio Remasterer: Maria Triana.

Audio Remixer: Mark Wilder.

Kind of Blue isn't merely an artistic highlight for Miles Davis, it's an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence. Why does Kind of Blue posses such a mystique? Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What." From that moment on, the record never really changes pace -- each tune has a similar relaxed feel, as the music flows easily. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality. All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power. As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening. It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection. ~ Stephen Thomas Erlewine

With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.

Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.

Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the childish blues "Freddie Freeloader." Often credited to Davis, "Blue In Green" is an Evans masterpiece, in which the rhythmic oasis becomes a smoky mirage for Davis' minor reveries on muted horn. The waltzing "All Blues" is one of the smoothest, most swinging grooves in the history of jazz, while "Flamenco Sketches" reflects Miles fascination with the earthy melodies and brooding metaphors of the Iberian peninsula...a harbinger of his next masterpiece, SKETCHES OF SPAIN. KIND OF BLUE remains Miles Davis' most evocative piece of musical haiku.