A Kind of Timeless Jazz Masterpiece

At a moment when jazz still loomed large in American culture, 1959 was an unusually monumental year. Those 12 months saw the release of four great and genre-altering albums: Charles Mingus’s Mingus Ah Um, Dave Brubeck’s Time Out (with its megahit “Take Five”), Ornette Coleman’s The Shape of Jazz to Come, and Miles Davis’s Kind of Blue. Sixty-five years on, the genre, though still filled with brilliant talent, has receded to niche status from the culture at large. What remains of that earthshaking year in jazz? “Take Five” has stayed a standard, a tune you might hear on TV or on the radio, a signifier of smooth and nostalgic cool. Mingus, the genius troublemaker, and Coleman, the free-jazz pioneer, remain revered by Those Who Know; their names are still familiar, but most of the music they made has been forgotten by the broader public. Yet Kind of Blue, arguably the best-selling and best-loved jazz album ever, endures—a record that still has the power to awe, that seems to exist outside of time. In a world of ceaseless tumult, its matchless serenity is more powerful than ever.

On the afternoon of Monday, March 2, 1959, seven musicians walked into Columbia Records’ 30th Street Studio, a cavernous former church just off Third Avenue, to begin recording an album. The LP, not yet named, was initially known as Columbia Project B 43079. The session’s leader—its artistic director, the man whose name would appear on the album cover—was Miles Davis. The other players were the members of Davis’s sextet: the saxophonists John Coltrane and Julian “Cannonball” Adderley, the bassist Paul Chambers, the drummer Jimmy Cobb, and the pianist Wynton Kelly. To the confusion and dismay of Kelly, who had taken a cab all the way from Brooklyn because he hated the subway, another piano player was also there: the band’s recently departed keyboardist, Bill Evans.

Every man in the studio had recorded many times before; nobody was expecting this time to be anything special. “Professionals,” Evans once said, “have to go in at 10 o’clock on a Wednesday and make a record and hope to catch a really good day.” On the face of it, there was nothing remarkable about Project B 43079. For the first track laid down that afternoon, a straight-ahead blues-based number that would later be named “Freddie Freeloader,” Kelly was at the keyboard. He was a joyous, selfless, highly adaptable player, and Davis, a canny leader, figured a blues piece would be a good way for the band to limber up for the more demanding material ahead—material that Evans, despite having quit the previous November due to burnout and a sick father, had a large part in shaping.

A highly trained classical pianist, the New Jersey–born Evans fell in love with jazz as a teenager and, after majoring in music at Southeastern Louisiana University, moved to New York in 1955 with the aim of making it or going home. Like many an apprentice, he booked a lot of dances and weddings, but one night, at the Village Vanguard, where he’d been hired to play between the sets of the world-famous Modern Jazz Quartet, he looked down at the end of the grand piano and saw Davis’s penetrating gaze fixed on him. A few months later, having forgotten all about the encounter, Evans was astonished to receive a phone call from the trumpeter: Could he make a gig in Philadelphia?

He made the gig and, just like that, became the only white musician in what was then the top small jazz band in America. It was a controversial hire. Evans, who was really white—bespectacled, professorial—incurred instant and widespread resentment among Black musicians and Black audiences. But Davis, though he could never quite stop hazing the pianist (“We don’t want no white opinions!” was one of his favorite zingers), made it clear that when it came to musicians, he was color-blind. And what he wanted from Evans was something very particular.

One piece that Davis became almost obsessed with was Arturo Benedetti Michelangeli’s 1957 recording of Maurice Ravel’s Piano Concerto in G. The work, inspired by Ravel’s triumphant 1928 tour of the U.S., was clearly influenced by the fast pace and openness of America: It shimmers with sprightly piccolo and bold trumpet sounds, and dances with unexpected notes and chord changes.

Davis wanted to put wide-open space into his music the way Ravel did. He wanted to move away from the familiar chord structures of jazz and use different scales the way Aram Khachaturian, with his love for Asian music, did. And Evans, unlike any other pianist working in jazz, could put these things onto the keyboard. His harmonic intelligence was profound; his touch on the keys was exquisitely sensitive. “I planned that album around the piano playing of Bill Evans,” Davis said.

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But Davis wanted even more. Ever restless, he had wearied of playing songs—American Songbook standards and jazz originals alike—that were full of chords, and sought to simplify. He’d recently been bowled over by a Les Ballets Africains performance—by the look and rhythms of the dances, and by the music that accompanied them, especially the kalimba (or “finger piano”). He wanted to get those sounds into his new album, and he also wanted to incorporate a memory from his boyhood: the ghostly voices of Black gospel singers he’d heard in the distance on a nighttime walk back from church to his grandparents’ Arkansas farm.

In the end, Davis felt that he’d failed to get all he’d wanted into Kind of Blue. Over the next three decades, his perpetual artistic antsiness propelled him through evolving styles, into the blend of jazz and rock called fusion, and beyond. What’s more, Coltrane, Adderley, and Evans were bursting to move on and out and lead their own bands. Just 12 days after Kind of Blue’s final session, Coltrane would record his groundbreaking album Giant Steps, a hurdle toward the cosmic distances he would probe in the eight short years remaining to him. Cannonball, as soulful as Trane was boundary-bursting, would bring a new warmth to jazz with hits such as “Mercy, Mercy, Mercy.” And for the rest of his career, one sadly truncated by his drug use, Evans would pursue the trio format with subtle lyrical passion.

Yet for all the bottled-up dynamism in the studio during Kind of Blue’s two recording sessions, a profound, Zenlike quiet prevailed throughout. The essence of it can be heard in Evans and Chambers’s hushed, enigmatic opening notes on the album’s opening track, “So What,” a tune built on just two chords and containing, in Davis’s towering solo, one of the greatest melodies in all of music.

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The majestic tranquility of Kind of Blue marks a kind of fermata in jazz. America’s great indigenous art had evolved from the exuberant transgressions of the 1920s to the danceable rhythms of the swing era to the prickly cubism of bebop. The cool (and warmth) that followed would then accelerate into the ’60s ever freer of melody and harmony before being smacked head-on by rock and roll—a collision it wouldn’t quite survive.

That charmed moment in the spring of 1959 was brief: Of the seven musicians present on that long-ago afternoon, only Miles Davis and Jimmy Cobb would live past their early 50s. Yet 65 years on, the music they all made, as eager as Davis was to put it behind him, stays with us. The album’s powerful and abiding mystique has made it widely beloved among musicians and music lovers of every category: jazz, rock, classical, rap. For those who don’t know it, it awaits you patiently; for those who do, it welcomes you back, again and again.