Miles Davis: Kind of Blue

Miles Davis: Kind of Blue

Columbia  CS 64935

Stereo/Multichannel Single Layer


"Kind of Blue"

Miles Davis
Cannonball Adderley (alto saxophone)
John Coltrane (tenor saxophone)
Bill Evans, Wynton Kelly (piano)
Paul Chambers (bass)
Jimmy Cobb (drums)

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65 of 71 recommend this, would you recommend it?  yes | no

Analogue recording
1. So What
2. Freddie Freeloader
3. Blue in Green
4. All Blues
5. Flamenco Sketches
6. Flamenco Sketches [alternate take]
Reviews (1)

Review by Mark Novak - January 28, 2006

After reading the recent S-phile article on this recording, I took it off the shelf to listen again after not hearing it for a couple of years. First off, there is no such thing as a natural sound stage for this recording since the musicians were recorded close up and then panned in the original three-channel mix to create a desired listening experience. So please don't tell me what great sound stage this recording has. The music is interesting and extremely well performed. Of all the instruments, the brass have a beautifully realistic timbre. Davis' trumpet, and Adderly's and Coltrane's saxophones sound terrific. When I hear this kind of result from sessions in 1959(!) I lament what has happened to recording technology in the intervening 4+ decades. Piano, bass and drums don't have the same sonic impact (but maybe that's the way the producer desired it to sound). Get this to hear what real brass sounds like!

Copyright © 2006 Mark Novak and


Sonics (Stereo):

stars stars
Comments (2)

Comment by Martin81 - April 23, 2020 (1 of 2)

the quality of the recording is really excellent, unfortunately there is no spatial information about the location of the musicians (in stereo!). The individual instruments play either from the left or only the right speaker, or exactly from the center. It is a pity...

Comment by Mark Werlin - April 25, 2020 (2 of 2)

The Mobile Fidelity SACD Miles Davis: Kind of Blue presents a more spacious, room-like sound than this US Sony SACD. I own both discs and have compared them closely.

The acoustics of Columbia Records 30th Street Studio were captured more vividly on the large-ensemble recordings Miles Davis: Sketches of Spain and Miles Davis, Gil Evans: George Gershwin's Porgy and Bess.