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The Bargain Nexus - Kind of Blue
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List Price: $11.98
Our Price: $5.34
Your Save: $ 6.64 ( 55% )
Availability: Usually ships in 24 hours
Manufacturer: Sony
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Average Customer Rating: 
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Binding: Audio CD
EAN: 0074646493526
Format: Original recording reissued
Label: Sony
Manufacturer: Sony
Number Of Discs: 1
Publisher: Sony
Release Date: 1997-03-25
Studio: Sony
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Spotlight customer reviews:
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Customer Rating:
Summary: Kind of blue
Comment: I accidentally? ordered the wrong form of the CD, corresponded with Amazon, got prompt and detailed reply, exchanged the item with no trouble.
Customer Rating:
Summary: The definition of perfection
Comment: If you haven't heard Kind of Blue yet, well, what are you waiting for? Whether you're big into jazz or not, this is an absolutely timeless, flawless album. Every moment is to be savoured. The moods and feelings conveyed here by the music are plentiful and impossible to put into words. Just put this one on and get lost in it, the feel of it. I never get tired of this record.
Customer Rating:
Summary: I'd take it on a desert island
Comment: Owned this labum for more than 10 years, I love Coltrane (not all), I love Miles (not all), and many others (I recommend Abdullah Ibrahim), but this one is the quintessence, the one I ALWAYS go back to. I just don't grow weary. If I were to take one album on desert island, that would be Kind of Blue.
Customer Rating:
Summary: One of the best by Miles Davis
Comment: It's hard to pick a best of Miles, but this is definitely one of them
Customer Rating:
Summary: Truely jazz's greates masterpiece
Comment: Miles Daves sets the stage for cool jazz with this masterpiece. It is truely timeless and as relivent today as ever.
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Editorial Reviews:
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This is the one jazz record owned by people who don't listen to jazz, and with good reason. The band itself is extraordinary (proof of Miles Davis's masterful casting skills, if not of God's existence), listing John Coltrane and Julian "Cannonball" Adderley on saxophones, Bill Evans (or, on "Freddie Freeloader," Wynton Kelly) on piano, and the crack rhythm unit of Paul Chambers on bass and Jimmy Cobb on drums. Coltrane's astringency on tenor is counterpoised to Adderley's funky self on alto, with Davis moderating between them as Bill Evans conjures up a still lake of sound on which they walk. Meanwhile, the rhythm partnership of Cobb and Chambers is prepared to click off time until eternity. It was the key recording of what became modal jazz, a music free of the fixed harmonies and forms of pop songs. In Davis's men's hands it was a weightless music, but one that refused to fade into the background. In retrospect every note seems perfect, and each piece moves inexorably towards its destiny. --John Szwed
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