Kansas City Music Blog

REVIEW BY ELGIN SMITH

There are few things to say about Miles Davis' 1959 album Kind of Blue that haven't been said already. Phrases like "historically significant," "most influential," and "jazz masterpiece" seem to show up no matter where you look. While endorsements like these certainly don't come easily, they really do seem applicable when considering the quality of the album's music and the superior musicians that recorded it.

Unfortunately, the members of the sextet that recorded the album have not been as timeless as the music they produced. John Coltrane, Cannonball Adderley, Bill Evans, Wynton Kelly, Paul Chambers, Miles Davis -- all have died since the album's release. The only direct living link to Kind of Blue is drummer Jimmy Cobb.

Elgin Smith

Currently touring as Jimmy Cobb's So What Band, his current gig is the Kind of Blue 50th Anniversary Tour, which stopped at the Gem Theater Saturday night as part of the American Jazz Museum's Jammin' at the Gem Series. The group's performance was nothing short of stellar, offering viewers a rare glimpse at someone who was a direct contributor to one of the best jazz records of all-time.

The show started with a simultaneous feeling of expectedness and shock. After a short introduction, bassist Buster Williams and pianist Larry Willis played the signature intro to "So What," and the nearly packed room erupted in applause. Honestly, I figured band would probably start off with this, the opening track from Kind of Blue, but the fact that I was actually hearing it performed by a Miles Davis alumnus was really something extraordinary. The tempo was definitely faster than the album cut, but it seemed to only excite the audience even more. Trumpeter Wallace Roney, alto saxophonist Vincent Herring and tenor saxophonist Javon Jackson came in with the melody, and it soon became clear that I was watching some of the most professional musicians I'd ever seen. Cobb's drumming was rock-solid, and even seemed to have a bit more punch than Davis's studio recording. Although that group was under Miles's direction, Cobb was definitely driving this band.

The bluesy "Freddie Freeloader" followed, really giving Willis a chance to shine on piano. This was the first time that the current player really resembled his album counterpart, with his direct opening solo rivaling the sound of Wynton Kelly's. The whole band soloed on this one, except for Cobb, whose punctual stick-work was a fresh compliment when Williams was taking his solo.

Elgin Smith

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Following the Kind of Blue progression, the quieter "Blue In Green" was next. Roney really personified Miles on this one: sunglasses, attitude, and sound. Although he didn't copy the muted sound that Miles was known for, his relaxed playing certainly evoked thoughts of the jazz icon. After his solo, he walked completely offstage, returning only at the very end. Maybe Miles would've done the same. Willis also played warmly here, comping chords to his own beautifully cascading solo lines.

"All Blues," one of my personal favorites, was kicked off with subtlety almost identical to the album cut. Once solos commenced, Roney immediately deviated from the cool sound I expected. Playing loud and stretching high into the upper register, he had a sound more akin to Miles circa 1965-1966 on albums like E.S.P. and Miles Smiles. Altoist Herring, who's playing through the night was solid but seemed a bit unassuming, really stood out during his solo. Starting off with a very Adderley-informed blues sound, his solo finished with a dissonant and energetic climax. Willis again showed his diligent comping, creating a nice shuffle sound during his and the other solos.

The last track on Kind of Blue has always been my least preferred. I guess it's just because following something that swings like "All Blues" is a tall order. However, the group's performance of "Flamenco Sketches" definitely rekindled my interest in the song. Due largely to the band's embellishment of the Latin section of the composition, the song sounded more emotional than the original album version. Tenorman Jackson was superb here, with a powerful-yet-sensitive ballad sound that was so authentically Coltrane, I was in disbelief. The heightened Latin sound of this track provided a perfect vehicle for Roney to give an awesome Spanish-sounding finale, which drew solid applause from the audience.

After having finished the tracks on the original Kind of Blue, the group also performed two other Miles Davis compositions. Cobb, who never took a solo during the album set, did just that on the fast-paced bebop tune, "The Theme." His hard-driving solo definitely bore a resemblance to Art Blakey -- and quashed the slightest thought that he might not have the chops he once had.

Elgin Smith

Cobb then introduced the band, which left and quickly returned for an encore. Davis standard "Four" closed out the evening on a high note, with Roney, Herring and Jackson playing their fastest bebop solos of the night. To my ears, Jackson sounded more like Sonny Rollins here, and actually quoted Rollins's standard, "Oleo," at the end of his solo. Fittingly, Cobb took the last solo, which again drew applause from the crowd.

While I dare not compare Saturday's show to the experience of listening to Kind of Blue for the first time, I will say that the show was definitely a competent and entertaining acknowledgment of the album's legacy. Jimmy Cobb's So What Band did a phenomenal job, and getting to see "Kind of Blue" performed live is something that I think everyone in attendance found very memorable and enjoyable.

Set List
So What
Freddie Freeloader
Blue In Green
All Blues
Flamenco Sketches
The Theme

Encore:
Four