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''Kind of Blue'' is a studio album by American jazz musician Miles Davis, released on August 17, 1959, by Columbia Records. It was recorded earlier that year on March 2 and April 22 at Columbia's 30th Street Studio in New York City. The recording sessions featured Davis's ensemble sextet, consisting of pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley, together with pianist Wynton Kelly on one track. After the entry of Evans into his sextet, Davis followed up on the modal experimentations of ''Milestones'' (1958) by basing ''Kind of Blue'' entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, ''Kind of Blue'' has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). ''Kind of Blue'' has been regarded by many critics as jazz's greatest record, Davis's masterpiece, and one of the best albums of all time. Its influence on music, including jazz, rock, and classical genres, has led writers to also deem it one of the most influential albums ever recorded. ''Kind of Blue'' was one of fifty recordings chosen in 2002 by the Library of Congress to be added to the National Recording Registry, and in 2003, it was ranked number 12 on ''Rolling Stone'' magazine's list of the 500 greatest albums of all time. ==Background== By late 1958, Davis employed one of the best and most profitable working bands pursuing the hard bop style. His personnel had become stable: alto saxophonist Cannonball Adderley, tenor saxophonist John Coltrane, pianist Bill Evans, long-serving bassist Paul Chambers, and drummer Jimmy Cobb. His band played a mixture of pop standards and bebop originals by Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Tadd Dameron. As with all bebop-based jazz, Davis's groups improvised on the chord changes of a given song.〔Kahn, pp. 86–87.〕 Davis was one of many jazz musicians growing dissatisfied with bebop, and saw its increasingly complex chord changes as hindering creativity. In 1953, the pianist George Russell published his ''Lydian Chromatic Concept of Tonal Organization'',〔Russell, George. ''Lydian Chromatic Concept of Tonal Organization''. New York: Russ-Hix Music Pub. Co. Library of Congress Catalog Record available at(lccn.loc.gov/unk84111092 ). ''Lydian Chromatic Concept of Tonal Organization'' website located at(www.lydianchromaticconcept.com ). Author George Russell’s website located at(www.georgerussell.com )〕 which offered an alternative to the practice of improvisation based on chords and chord changes. Abandoning the traditional major and minor key relationships, the Lydian Chromatic Concept introduced the idea of chord/scale unity and was the first theory to explore the vertical relationship between chords and scales, as well as the only original theory to come from jazz. This approach led the way to "modal" in jazz.〔(【引用サイトリンク】title=George Russell — About George )〕 Influenced by Russell's ideas, Davis implemented his first modal composition with the title track of his studio album ''Milestones'' (1958). Satisfied with the results, Davis prepared an entire album based on modality.〔 Pianist Bill Evans, who had studied with Russell but recently departed from Davis's sextet to pursue his own career, was drafted back into the new recording project, the sessions that would become ''Kind of Blue''. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Kind of Blue」の詳細全文を読む スポンサード リンク
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