Arguably one of the greatest selling Jazz albums of all time is, "Kind of Blue", featuring Miles Davis and six other Jazz Giants of our times. Most impressive in the creation of this album, is that only two sessions were made at the Columbia's 30th Street Studio in New York to formulate the masterpiece it would become. The album features five pieces and the musical genius of Miles Davis (Trumpet), John Coltrane (Tenor Saxophone), Bill Evans (Piano), Paul Chambers (Bass), Jimmy Colb (Drum Set), Wynton Kelly (Piano), and Julian "Cannonball" Adderley (Saxophone).
When given the task in my Rank I course to exercise one of the five sense, I chose to exercise that of listening. Considering Jazz and Classical are two of my already favorite genres, I decided to take a closer look at this all-time great Jazz album. I chose to listen in a quite area of my home with noise-cancellation headphones on. This, by the way, was my favorite Christmas gift for 2021 knowing I have two (very) loud boys in the house. Shameless plug for the affordable, Sony WH-CH710N model for those interested.
"The five sense are the ministers of the soul" - Leonardo Da Vinci
I spent my time listening to my favorite track, "Blue in Green". This track was recorded with only three modes--all set to the idea of Davis on trumpet. Upon listening, I heard each soloist take turns on their own creative spin between Dorian, Mixolydian, and Lydian modes. When I counted each musicians take on their solo, I noticed I was short one musician. I came to find that Cannonball Adderley on Saxophone was not on this track for whatever reason.
When I learned of this, I decided to listen to the track again. To listen as if I were Cannonball; not a participant; rather one who is "visualizing" what the musicians might be feeling. For my second listening, I chose to listen to the actual recording session between the legendary Jazz musicians. This masterpiece of a track, only took 5 times before Miles Davis gave the blessing to Columbia Records to cut. 5 times. That is remarkable when listening to each interpretation because even the final product has its moments of imperfections yet is still something to marvel.
Around the 5 minute mark of this recording session you hear producer, Irving Townsend, stop the band and apologize. The gain was too loud and the technicians were hearing static. It was then that the fifth and final take would occur after roughly 12 seconds of silence.
I like to imagine that Cannonball possibly closed his eyes and could feel the creativity about to emerge. The soft, consistent brush on the snare by Colb. The four bar intro of modes from Evans. The pluck of the bass from Chambers and the timing of Miles trumpet entrance which made its statement--both confident and also calming like the color blue. For the next 5:38, this ballad continues to emulate the opening style of those 4 1/2 measures . Sitting in the green room was Cannonball--having the privilege of listening to his silent room, slowly being filled with art; as if a blank canvas was being painted before his very eyes. Colors of blue in green.
It was rewarding to participate in this exercise of silence. To now revisit this famous album, I will always hear the "fifth take" of Blue in Green differently. To know each time we approach creativity, it might not happen until the fifth or sixth or even seventh time.
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