The new Legacy Edition of Miles Davis' Kind of Blue comes with plenty of extras: over two hours of audio including false starts, alternate takes, studio dialogue and non-album tracks, a 17 minute live verson of "So What," and a 24-page booklet
Austin, TX (March 20, 2009) - If there’s one album without a guitar on it that you should own, it should be and probably is Miles Davis’ Kind of Blue, the result of two recording sessions totaling 10 hours that would go on to become the most popular jazz album of all time (RIAA certified quadruple platinum). This legendary album, cut 50 years ago on a slightly fast, tube-driven, three-track tape deck at New York City’s famous 30th Street Studio (which, unfortunately, was razed for the construction of an apartment building), had a ripple effect throughout the entire universe of music. Its ground breaking introduction of the modal concept turned jazz upside down but also influenced everyone from the Byrds and the Doors to Santana and the Allman Brothers. The album continues to teach us new things today, revealing new complexities with age just a like a fine wine.
At a recent South by Southwest panel discussion called “Kind of Blue at 50,” a group of music experts and people close to Miles shared stories about the trumpeter and the legendary Kind of Blue sessions. In attendance was George Avakian (worked for Columbia Records and signed Miles), Vincent Wilburn, Jr. (played drums for Miles from ’84-’87), Erin Davis (Miles’ youngest son who also played percussion for him and runs Miles Davis Properties), David Fricke (music guru best known as a writer/reviewer for Rolling Stone) and moderator Ashley Kahn (who wrote the book, Kind of Blue: The Making of the Miles Davis Masterpiece). As if that weren’t enough expertise to talk about all things Miles, a last minute straggler sitting in the back of the room was invited to join the panel. That man was none other than legendary music producer Quincy Jones.
Vincent Wilburn, Jr., Erin Davis, Quincy Jones, David Fricke
So, what can guitarists take away from this gathering of music industry heavyweights as they discussed Miles Davis and his most significant work? A lot. The principals that guided Miles explain why he has been described as nanotechnology. The micro components of his music and ways can seem dissonant and counterintuitive, but together they produce results that have fascinated music fans, musicians and scholars ever since. Here’s a sampling of tips that, in true Miles fashion, should challenge you:
Ten Miles Davis Tips for Guitarists
1. Play Lyrically
Kind of Blue is celebrated for its accessibility as well as its complexity. Listeners are challenged by chord structures that broke conventions of the day but they’re also welcomed into the musical exchanges that take place due to their melodic, conversational style. People talk and think lyrically. Musicians who play lyrically are able to connect with their audiences with ease.
Producer George Avakian
“The songs aren’t over done, but they still draw you in. The Paul Chambers bass lick in “So What” is so inviting and fluid but isn’t over the top–it goes within the song. It has this hooky-quality like Stones’ “Satisfaction.” They explored the effectiveness of the hooks and melodies rather than just showing off their abilities.”
2. Experiment with Boundaries
Miles wasn’t just a musician, he was an artist. He colored outside the lines. He blended genres. He challenged himself and everyone around him.
“His last album was a hip-hop recording, so I mean he tried and did everything in the musical world.”
Author Ashley Kahn
3. Appreciate the Ballad
The tempos are not extreme on Kind of Blue, but metal guitarists are often quoted as saying the album is a great inspiration. Ballads have their conventions for exploring and breaking. Slow songs give you more room for exploration.
“Miles was the best ballad player since Louie Armstrong and that is what I felt was going to make him popular with the world at large.”
4. Don’t Dwell on the Past
Miles never wanted to, and rarely played much of what he had done in the past. He lived to create and said that without that ability there’d be nothing to live for. In other words, he rarely spent his time playing in the sense of repeating or recreating what he already knew. He was always creating.
“I remember one time listening to Miles’ Quintet stuff on my headphones while we were in a car together and he could hear it. He told me to shut that stuff off because he didn’t want me to listen to any of his old stuff.”
-Vincent Wilburn Jr.
“I see a lot of artists who have done great works in the past, but they kind of just live off that. You’ve got to push yourself and cross boundaries in order to grow as a musician, as a person.”
5. Utilize Non-Notes
No one utilized non-notes for musical effect like Miles did. For some reason, when we play guitar we are conditioned to put 99.9% of our focus on the notes we’re playing. The spaces without notes in Kind of Blue are a big part of that record. It gives listeners time to absorb and process, both between passages and within phrases.
“The powerful thing with Kind of Blue is the space and information. There’s a lot of air in that record in the sense you don’t feel overloaded and you can take in each note. You don’t feel confronted with the music. You feel as if you’ve been invited into something very special.”
“Miles was the Picasso of jazz. He really knew how to use space just like a painter.”