Kind of Blue: How Miles Davis Changed Jazz

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Comments

Daniel McGarel says:

Another awesome video from Polyphonic, love this music analysis!

PanDown TiltLeft says:

“Everybody likes So What” – Miles Davis

Matt N says:

Have you considered doing videos on topics (for lack of a better term) outside of music ?? if so what field of subject ?

tomazbevilaqua says:

this is by far the most didactic and comprehensive jazz theory discussion I’ve found. great video

Happy Shitkicker says:

How Betty Davis changed Miles…

G P says:

Not many lifetime feats are as impressive in the arts as somebody who performs at the top in one structure, then says “fuck it”, sits down, and builds another one. High times! “So What” had to have been the perfect song title. Any better and it wouldn’t have been made commercially available in the ’50s version of the US. Let’s contrast that with “Jelly Roll” in a previous era..

Sean Bean says:

And in 2018 most musicians proficient enough to improvise in modes will literally look for any excuse to show them off.

monty soomer says:

ELIGHTENING. I can hum the solos on several tracks on this album. I’m still listening after 40 years.

BERLINETTA says:

EL MAESTRO !!

karmadungyu says:

Great video. Thanks!

Charles Stevens says:

I was born in 1955, and yet this music sounds so fresh, so pure, I swear if you want to really hear this ride around New York City and listen to this, I swear its life changing, to think of life without music……….

Kay Gee says:

For me, the bass on Kinda Blue is the absolute sweetest sound.

Charles Stevens says:

Kind Of Blue continues to sell large because its forever fresh ! Listen to it,it sounds as if it has just been released! I sat and listened to it and kept asking myself “Why is this piece of music so different but yet current to say this ….you are simply listening to good music ! Good music is forever current, its always fresh ! ALWAYS !!

Nick Davies says:

I think it was Blue in green that Bill might of wrote.

Adam Kelly says:

Lol compete with the undue fixation on Bill Evans’ rootless voicings…

The Addict Of Gaming says:

Man, I love Milestones.

Michel Linschoten says:

Kind of blue actually made me spend 25000usd on a McIntosh setup with good turntable. Although no longer having that as i got married, kid, ectra so now i am into the Home Theater world. I still enjoy Miles Davis, especially when the house is empty when my girls are out shopping or doing something else. I stay behind, enjoy the simple things in life..

Theodore Zuckerman says:

The scales and chords used in western music are derived from the harmonic series. The harmonic series is the mathematical expression that describes any tone that has a “definite” pitch. The harmonic series also describes the timbre of any tone that has a definite pitch. Scales (let’s leave chords aside for the moment) are pitches selected, in a proscribed order, from among the pitches in the harmonic series. What you name the pitches, the alphabetic names commonly given to pitches, is arbitrary. It is the mathematical relationship of the pitches to the first pitch, and to each other, that defines a scale, not the alphabetic names given to the pitches. I’m a musician. I understand the basics of scale construction and chord construction in western music. I tune pianos (http://shakahara.com/pianopitch2.php ). I can read western musical notation. The explanation here of what be “modes” may make modes easy to understand for a non-musician, but to me, the explanation given here makes no sense. The narrator here has defined “mode” in terms of the alphabetic names of pitches. That is kind of like trying to describe how old someone is by giving out their phone number.

NayrbSG says:

Davis could “Not” compete with the best of them at bebop. I am a big fan of Davis, seen him live, but his bebop sucks.

Waxeye says:

Great vid, thanks!

Elias Morales says:

How is that not the flashiest title

Camellia Roses says:

What was that rose album cover at the end?

guinnesstrail says:

Polyphonic should do Mingus’ Pithecanthropus Erectus. Released three years before Kinda Blue, it’s opening number and title track is the shot across the bow of modern jazz.

Teddy DiSanti says:

Do you by chance have citations for this video? I’d love to use some of these sources myself

MrDragoon334 says:

I used to play Trumpet, but I quit and played the guitar, but now I want to take up trumpet again

ViNNiE KLuTcH says:

This didn’t just change jazz…It laid the blueprint for every progressive musician, no matter the genre.

Damien Davis. Ezekiel says:

Wha

Christian Huber says:

Wow! Such a great video. As a beginner jazz musician, I appreciate the clarity of this presentation, as it is so easy to follow and understand. Great work!

Edgerrin Ray says:

Okay?? So What…

Sumwun Yumaynotno says:

A fine presentation, with one exception: “Blue in Green” is not a modal piece; it has a sequence of specific chord changes. It gets its dreamy feeling partly from the fact that, rather than being a multiple of 4 bars long – 8 bars, 12, 16, 32 – it is 10 bars long – very unusual. Also, instead of having a “turnaround” of 2 bars at the end, which “announces” the return to the beginning of the piece, the last bast bar of the piece is nearly the same chord as the first bar; the transition from end to beginning is not so nearly well-defined as in most compositions. It gives it a more “circular” feeling. And one other unique feature: Miles solos at the same very slow pace as the way they play the melody. When Coltrane comes in, they all double the pace. Double-time is not unusual in jazz – the rhythm doubles in speed, but the musicians play twice as many measures as before, so the duration from beginning to end remains the same. Not here. The whole piece becomes “compressed” into something half as long. And when Bill Evans plays, it becomes doubled yet again – in effect, the original timing, the rate at which the chords change one after another, has become quadrupled. Then when Miles comes in again, the tempo abruptly shifts back down to its original extremely slow, languid pace. I know of no other piece or performance which does anything like this.

Enrinque says:

Thanks <3
You should do a video on Bitches Brew!

Edvard Munch says:

This is still one of the best albums of all time.

Patrick Klouman says:

I’d LOVE to see you do a video analyzing the history of fusion. In a Silent Way is one of my favorite albums and don’t even get me started on herbie and the headhunters. Pretty please! With a cherry on top at a diner and a newspaper that’s opened up to the weather report??? big fan of your vids espec the bonzo one

william peterman says:

Can you do a video on free jazz? Ornette Coleman and Miles style. Thank you

HobbsBhipp says:

It is said that Miles felt restricted by Evans; brothers let’s tell our own great stories.

Ewerb7 says:

So cool! I’ve tried to explain modal music to myself for many years. This is very clear and concise. What an incredible recording!

Tomaz Bevilaqua says:

this is by far the most didactic and comprehensive jazz theory discussion I’ve found. great video

Wartler says:

Is it bad that I still don’t get it? Music theory is something I’ve always struggled to understand fully, and while I kind of have a grasp of modality, I’m still confused.

Mark Wladika says:

The stunning thing about this album is that it is so damn appealing to non-musicians, those of use who have no idea what a cord progression is. It works on so many levels.

Chris Rodieck says:

What’s the name of the album in the middle at 9:04?

Adam Kelly says:

This is just a collection of things that people who don’t really understand jazz say about modal jazz… modal jazz was a reaction to functional harmony where,”chord progressions,” are used. In modal jazz we have, “chord successions.” This is the main point if the LCCOTO, despite the fact that most of the book deals with dissonance as it relates to the lydian mode…

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