Walking
down Bascom Hill during a rather beautiful snowfall and eventually loitering
casually on the balcony of the Humanities Building, I had a realization. One
about music, a subject I care so very much about. It occurred to me while
listening to one of the most phenomenal pieces of jazz ever recorded (in my
esteemed and hopefully valuable opinion) on my overused mp3 player, that very
few albums ? regardless of artist, genre or age ? merit frequent and diverse
listens.

Let me clarify.

For a hopeless audiophile like me, listening to music 24 hours a day is the
norm, but it?s a pretty diverse playlist I keep pumping into my ears. Sure, I
have favorites, as do most people, but even those stereo regulars don?t get
weekly ? or, if I?m in the mood, daily ? listens, except for one, of course:
Miles Davis? Kind of Blue.

Many people think of jazz as an elitist genre, a subculture of musicians and
devoted fans who make, purchase and ultimately critique it. But true jazz
fanatics also want to be a part of the music as it happens, whether it?s playing
the music live in clubs and various venues or joining the limited audience able
to witness these timeless performances instead of merely laying down a disc or
popping one in the CD player at home. This seems to scare some people into
thinking they will never understand the spectacle that is a standout solo, be
entertained by songs that frequently are devoid of lyrics or vocalists or feel
a solid groove sink right down to their soul.

All this psychobabble may seem long-winded, but what you should know is that anyone
can appreciate jazz; it doesn?t have to be witnessed live to be worthwhile.
More importantly, recordings can add to the soundtrack of your life, enhancing
any number of situations. Miles Davis? renowned 1959 masterpiece is the
quintessential example of a cohesive yet exciting and diverse album that is a
wonderful listen anytime.

Jazz and classical music are often imagined as mellow, soothing or perhaps decorative
in a way, the kind of fare solely for dedicated analytical critique or the
pompous listening habits of hoity-toity aristocrats. But Miles and company ? saxophonists
Cannonball Adderley and the legendary John Coltrane, pianists Wynton Kelly and
Bill Evans, bassist Paul Chambers and drummer Jimmy Cobb ? provide more
diversity and daily utility than a handful of albums by different, more
colloquial artists. Give Blue a spin; you?ll know what I mean.

So to fit convention, let?s start our list of ways to dig Davis with the
elegant dinner. Whether eating by candlelight, reveling in the company of
friends and family, or enjoying the multiple courses prepared for your date and
the slow dance for two that follows, Kind of Blue is the perfect
accompaniment for any function. Though the Linus-and-Lucy-style downtrodden
licks of ?Blue in Green? might feel a touch too sad at first, those well-chosen
notes practically smell of perfume and produce the glow of firelight. By the
time the album closer ?Flamenco Sketches? rolls around, those Latin chords will
have you slowly swaying hand in hand with your date. Now is the time to gaze into
his or her eyes ? you won?t know whether it?s their look back or Miles?
crooning solo that has you so hypnotized, but it won?t matter.

But enough of the sappy stuff ? how about driving music? You know, the stuff
that thumps out your car stereo as you cruise with the top down and your seat
leaned back or those same classic rock tracks you?ve been listening to since
your parents were born. Well, time for a change, son; let Kind of Blue break the monotony. I
know how it sounds ? it?s hard to think of turning the key without playing
something you can sing along to. But really, that trumpet can scream, and all
of those guys knew how to rock. As the miles pass by on the highway, the two
simple notes that make ?So What? instantly recognizable will let the scenery
glide along as it should, while the shrill sax solo towards the end of the song
shreds as no other instrument can. To pick up the pace when the miles have you
weary, the complementary solos by Coltrane and Cannonball of ?Freddy
Freeloader? will have you grooving in your seat. Still, the piano part is a bit
more chill, so save that for when you?re pumping gas.

But music doesn?t always have to accompany the exciting times ? the average
moments could use some zest too. So, next time you have some errands to deal
with around the house, apartment or residence hall, turn your ears toward that
somber introductory piano lick and wait for Chambers? bass to kick in and pull
his bandmates ? and your cleaning ? forward. Miles? sonic flights of fancy will
transform the most tedious work into something relaxing (trust me, I?ve tried
it) and no lawn-mowing excursion can be that stressful when ?All Blues? is
carrying you along.

So don?t flick on the radio today, no matter what your agenda is. Try listening
to something a little different, something out of your comfort zone, something
a little ?blue,? and it?ll definitely match the occasion. Don?t worry; you?ll
get it, you?ll dig it, and you?ll be tapping your foot in no time. You might
not even need to move around much to do so: Kick back, light a cigar, and
immerse yourself in music you?ll never forget and never stop finding new ways
to love.

But despite all the ways Kind of Blue could and should be listened to, including
those I didn?t mention, my favorite is still through some nice headphones in a
gentle snowfall while walking though Madison nightlife. There?s something
enchanting about the way ?So What? and ?Freddy Freeloader? dance along, and the
crisp patter of brushes crosses Cobb?s snares. The sashaying back-and-forth
rhythm of ?All Blues? just seems to make the animated actions of people walking
by seem so wonderfully connected. But that?s just me and my favorite occasion
for some Kind of Blue; take a listen to Miles Davis? masterpiece, and maybe it?ll
be yours too.

If you
want to argue what really is the bluest chord, talk Miles or just make a
comment, e-mail Mike Merline at [email protected].