In the summer of 1979, my good friend from Phoenix, the great drummer Lewis Nash (then 20 years old) was staying with the family of a friend of his in Bronxville, N.Y., and studying with Freddie Waits, Billy Hart, and Andrew Cyrille, and hearing as much music as possible. It was taped by Bill Goldberg at Bill Evans’s Fort Lee, N.J., apartment — not at a radio studio — with interviewer Goldberg, and is shared with his written permission. Our site uses cookies to tailor your experience, measure site performance and present relevant donation incentives and advertisements. I had to change the way the band sounded again for Bill’s style by playing different tunes, softer ones at first,” Davis had said. He may want to come back with something entirely new or entirely old, as far as I know. And he loved Blossom Dearie, who I love also. He’s not just a stylist or a great jazz player, he’s a great leader, and he’s served a marvelous capacity to bring many outstanding talents out and gave them the confidence and brought them out, and they probably didn’t even know that Miles was doing it. Blue in Green is the third track on Miles Davis’ album ‘Kind Of Blue’ which is the best-selling jazz album of all time. During this period Evans’s opportunities and focus on his own career would lead him to depart the group, then rejoin in early 1959 for the recording of Davis’s epic Kind of Blue. I am a bot, and this action was performed automatically. Ashley Kahn, the author of an authoritative and enjoyable book on Kind of Blue, quotes from the interview and, I believe, draws conclusions from it in his book (at least partly). It just seemed to click. Anytime I see a jazz musician come up with a brilliant improvised solo, I’m blown away by the skill, courage, and adaptability that it takes. He’s always gonna surprise you and then prove himself right in the long run. It seemed like, the intensity, that he, his leadership on stage was so phenomenal, it was subtle but so strong, that it didn’t seem like it could be captured on record. I went by his apartment and he had liked Peace Piece that I did, and he said he’d like to do that. Yeah, that’s a tremendous maturity, and yeah, it is, it certainly is. Dec 24, 2018 - “Miles Davis, 1955” People also love these ideas No, I thought it had to be a good record with the personnel that was involved, and, also, I think that was perhaps the first time that Miles had ever recorded an album where it was largely his compositions. He would walk around behind and say to you [in a softer voice] “Take two choruses,” or “You play next.” Or, you know, whatever. Important, I mean. None of the solos are technically complicated. http://www.beautifulsongoftheweek.com/wp-content/uploads/2013/07/03-Blue-In-Green.mp3, Week 169: “Dawn Patrol” by Portico Quartet, Week 552: “Liquid Blanket” by Matthew Solberg. On So What, I think the introduction was written out single line, and Paul and I played it and added a little harmony to it. Yeah, that may have had something to do with it: just the fact that there were new kind of challenges to play off, and there was a simplicity about the charts that was remarkable, too. With this particular track, Davis handed pianist Bill Evans a piece of paper with two chords scribbled on it and asked him what he’d do with them. The form of Blue in Green is very unusual. And though Evans wasn’t given a proper songwriting credit until 2002, I think the real credit goes to all the musicians in the room, who turned scribbled key changes into a beautifully serene five and a half minutes. Yeah. … As he moved into the sixties, he started to really get, more of, move away from that a little bit and just smoke, in every sense of the word. Now if you know music and all, you know a lot of the implications of what that means in the total structure. I think that’s like downplaying it a little bit. I could hear it in Marvin Gaye’s music years down the road; Little Anthony and the Imperials, jazz, soul, pop, they all owed Evans a firm handshake. One of two ballads on the LP (the other being " Flamenco Sketches "), "Blue in Green"'s melody is very modal, incorporating the presence of the dorian, mixolydian, and lydian modes. Since 1996, while continuing to teach and play, Chase has also been NEC’s chair of jazz studies and improvisation (1996 to 2001); dean of faculty, supervising classroom curriculum including jazz and contemporary improvisation (2000 to 2006); co-chair and then chair of contemporary improvisation (2005 to 2008); acting chair of liberal arts (2007 to 2008); and Berklee’s chair of ear training (2008 to present). Yes, true. Style’s the hardest thing to get, and it’s not something you really strive for. short clips, comedy clips, spam, your youtube channel, asking for likes, etc.) You could get to a point where if you played any more notes it would be funny. Well, that’s a simple way to say it. This piece was originally published by FYIMusicNews. The album is worth checking out if you haven’t already. But in jazz, it’s gotta be “bing” and that’s it. And actually, he is virtuosic, certainly, and in the best sense of the word. “Blue in Green” was first recorded on March 17, 1959 by trumpeter Miles Davis, pianist Bill Evans, drummer Jimmy Cobb, bassist Paul Chambers, and saxophonist John Coltrane. And the rest of it is being professional and, certainly as professionals, you do reach a high degree of performance in the area that you’re trying to work, but those special times, you don’t know when they’re gonna happen, and, unfortunately, we don’t get too many of them on record. He was called back to play on the now legendary "Kind of Blue" album in the spring of 1959. Lewis was excited about hearing as much as possible of the 126-hour Miles Davis Festival on WKCR and recorded three interviews on his portable cassette recorder placed near a clock radio in the bedroom where he was staying, if I recall correctly. 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