|
|
Miles Davis
1926 - 1991
Throughout a professional career lasting 50 years, Miles Davis played the
trumpet in a lyrical, introspective, and melodic style, often employing a
stemless harmon mute to make his sound more personal and intimate. But if his
approach to his instrument was constant, his approach to jazz was dazzlingly
protean. To examine his career is to examine the history of jazz from the  mid-'40s to
the early '90s, since he was in the thick of almost every important
innovation and stylistic development in the music during that period, and he
often led the way in those changes, both with his own performances and
recordings and by choosing sidemen and collaborators who forged the new
directions. It can even be argued that jazz stopped evolving when Davis
wasn't there to push it forward.
Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr., and a
music teacher, Cleota Mae (Henry) Davis, and thus grew up in the black middle
class of East St. Louis after the family moved there shortly after his birth.
He became interested in music during his childhood and by the age of 12 had
begun taking trumpet lessons. While still in high school, he started to get
jobs playing in local bars and at 16 was playing gigs out of town on
weekends. At 17, he joined Eddie Randle's Blue Devils, a territory band based
in St. Louis. He enjoyed a personal apotheosis in 1944, just after graduating
from high school, when he saw and was allowed to sit in with Billy Eckstine's
big band, which was playing in St. Louis. The band featured trumpeter Dizzy
Gillespie and saxophonist Charlie Parker, the architects of the emerging
bebop style of jazz, which was characterized by fast, inventive soloing and
dynamic rhythm variations.
It is striking that Davis fell so completely under Gillespie and Parker's
spell, since his own slower and less flashy style never really compared with
theirs. But bebop was the new sound of the day, and the young trumpeter was
bound to follow it. He did so by leaving the Midwest to attend the Institute
of Musical Art in New York City (since renamed Juilliard) in September 1944.
Shortly after his arrival in Manhattan, he was playing in clubs with Parker,
and by 1945 he had abandoned his academic studies for a full-time career as a
jazz musician, initially joining Benny Carter's band and making his first
recordings as a sideman. He played with Eckstine in 1946-1947 and was a
member of Parker's group in 1947-1948, making his recording debut as a leader
on a 1947 session that featured Parker, pianist John Lewis, bassist Nelson
Boyd, and drummer Max Roach. This was an isolated date, however, and Davis
spent most of his time playing and recording behind Parker. But in the summer
of 1948 he organized a nine-piece band with an unusual horn section. In
addition to himself, it featured an alto saxophone, a baritone saxophone, a
trombone, a French horn, and a tuba. This nonet, employing arrangements by
Gil Evans and others, played for two weeks at the Royal Roost in New York in
September. Earning a contract with Capitol Records, the band went into the
studio in January 1949 for the first of three sessions, which produced 12
tracks that attracted little attention at first. The band's relaxed sound,
however, affected the musicians who played it, among them Kai Winding, Lee
Konitz, Gerry Mulligan, John Lewis, J.J. Johnson, and Kenny Clarke, and it
had a profound influence on the development of the cool jazz style on the
West Coast. In February 1957, Capitol finally issued the tracks together on
an LP called Birth of the Cool.
Davis, meanwhile, had moved on to co-leading a band with pianist Tadd Dameron
in 1949, and the group took him out of the country for an appearance at the
Paris Jazz Festival in May. But the trumpeter's progress was impeded by an
addiction to heroin that plagued him in the early '50s. His performances and
recordings became more haphazard, but in January 1951 he began a long series
of recordings for the Prestige label that became his main recording outlet
for the next several years. He managed to kick his habit by the middle of the
decade, and he made a strong impression playing "'Round Midnight"
at the Newport Jazz Festival in July 1955, a performance that led major label
Columbia Records to sign him. The prestigious contract  allowed him
to put together a permanent band, and he organized a quintet featuring
saxophonist John Coltrane, pianist Red Garland, bassist Paul Chambers, and
drummer Philly Joe Jones that began recording his Columbia debut, Round About
Midnight, in October. As it happened, however, he had a remaining five albums
on his Prestige contract, and over the next year he was forced to alternate
his Columbia sessions with sessions for Prestige to fulfil this previous
commitment. The latter resulted in the Prestige albums The New Miles Davis
Quintet, Cookin', Workin', Relaxin', and Steamin', making Davis' first
quintet one of his better-documented outfits.
In May 1957, just three months after Capitol released the Birth of the Cool
LP, Davis again teamed with arranger Gil Evans for his second Columbia LP,
Miles Ahead. Playing flugelhorn, Davis fronted a big band on music that
extended the Birth of the Cool concept and even had classical overtones.
Released in 1958, the album was later inducted into the Grammy Hall of Fame,
intended to honour recordings made before the Grammy Awards were instituted
in 1959. In December 1957, Davis returned to Paris, where he improvised the
background music for the film L'Ascenseur pour l'Echafaud (Escalator to the
Gallows). Jazz Track, an album containing this music, earned him a 1960
Grammy nomination for Best Jazz Performance, Solo or Small Group. He added
saxophonist Cannonball Adderley to his group, creating the Miles Davis
Sextet, which recorded the album Milestones in April 1958. Shortly after this
recording, Bill Evans replaced Red Garland on piano and Jimmy Cobb took over
for Philly Joe Jones on drums. In July, Davis again collaborated with Gil
Evans and an orchestra on an album of music from Porgy and Bess.
Back in the sextet, Davis began to experiment with modal playing, basing his
improvisations on scales rather than chord changes. This led to his next band
recording, Kind of Blue, in March and April 1959, an album that became a
landmark in modern jazz and the most popular disc of Davis' career, eventually
selling over two million copies, a phenomenal success for a jazz record. In
sessions held in November 1959 and March 1960, Davis again followed his
pattern of alternating band releases and collaborations with Gil Evans,
recording Sketches of Spain, containing traditional Spanish music and
original compositions in that style. The album earned Davis and Evans Grammy
nominations in 1960 for Best Jazz Performance, Large Group, and Best Jazz
Composition, More Than 5 minutes; they won in the latter category.
By the time Davis returned to the studio to make his next band album in March
1961, Adderley had departed, Wynton Kelly had replaced Bill Evans at the
piano, and John Coltrane had left to begin his successful solo career, being
replaced by saxophonist Hank Mobley (following the brief tenure of Sonny
Stitt). Nevertheless, Coltrane guested on a couple of tracks of the album,
called Someday My Prince Will Come. The record made the pop charts in March
1962, but it was preceded into the bestseller lists by the Davis quintet's
next recording, the two-LP set Miles Davis in Person (Friday & Saturday
Nights at the Blackhawk, San Francisco), recorded in April. The following
month, Davis recorded another live show, as he and his band were joined by an
orchestra led by Gil Evans at Carnegie Hall in May. The resulting Miles Davis
at Carnegie Hall  was his
third LP to reach the pop charts, and it earned Davis and Evans a 1962 Grammy
nomination for Best Jazz Performance by a Large Group, Instrumental.
Davis and Evans teamed up again in 1962 for what became their final
collaboration, Quiet Nights. The album was not issued until 1964, when it
reached the charts and earned a Grammy nomination for Best Instrumental Jazz
Performance by a Large Group or Soloist with Large Group. In 1996, Columbia
Records released a six-CD box set, Miles Davis & Gil Evans: The Complete
Columbia Studio Recordings that won the Grammy for Best Historical Album.
Quiet Nights was preceded into the marketplace by Davis' next band effort,
Seven Steps to Heaven, recorded in the spring of 1963 with an entirely new
line-up consisting of saxophonist George Coleman, pianist Victor Feldman,
bassist Ron Carter, and drummer Frank Butler. During the sessions, Feldman
was replaced by Herbie Hancock and Butler by Tony Williams. The album found
Davis making a transition to his next great group, of which Carter, Hancock,
and Williams would be members. It was another pop chart entry that earned
1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist
or Small Group and Best Instrumental Jazz Performance by a Large Group. The
quintet followed with two live albums, Miles Davis in Europe, recorded in
July 1963, which made the pop charts and earned a 1964 Grammy nomination for
Best Instrumental Jazz Performance by a Small Group or Soloist with Small
Group, and My Funny Valentine, recorded in February 1964 and released in
1965, when it reached the pop charts.
By September 1964, the final member of the classic Miles Davis Quintet of the
1960s was in place with the addition of saxophonist Wayne Shorter to the team
of Davis, Carter, Hancock, and Williams. While continuing to play standards
in concert, this unit embarked on a series of albums of original compositions
contributed by the band members, starting in January 1965 with E.S.P.,
followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz
Performance by a Small Group or Soloist with Small Group [7 or Fewer]),
Sorcerer, Nefertiti, Miles in the Sky (1968 Grammy nomination for Best Instrumental
Jazz Performance by a Small Group or Soloist with Small Group), and Filles de
Kilimanjaro. By the time of Miles in the Sky, the group had begun to turn to
electric instruments, presaging Davis' next stylistic turn. By the final
sessions for Filles de Kilimanjaro in September 1968, Hancock had been
replaced by Chick Corea and Carter by Dave Holland. But Hancock, along with
pianist Joe Zawinul and guitarist John McLaughlin, participated on Davis'
next album, In a Silent Way (1969), which returned the trumpeter to the pop
charts for the first time in four years and earned him another small-group
jazz performance Grammy nomination.
With his next album, Bitches Brew, Davis turned more overtly to a jazz-rock
style. Though certainly not conventional rock music, Davis' electrified sound
attracted a young, non-jazz audience while putting off traditional jazz fans.
Bitches Brew, released in March 1970, reached the pop Top 40 and became
Davis' first album to be certified gold. It also earned a Grammy nomination for
Best Instrumental Arrangement and won the Grammy for large-group jazz
performance. He followed it with such similar efforts as Miles Davis at
Fillmore East (1971  Grammy
nomination for Best Jazz Performance by a Group), A Tribute to Jack Johnson,
Live-Evil, On the Corner, and In Concert, all of which reached the pop
charts. Meanwhile, Davis' former sidemen became his disciples in a series of
fusion groups: Corea formed Return to Forever, Shorter and Zawinul led
Weather Report, and McLaughlin and former Davis drummer Billy Cobham
organized the Mahavishu Orchestra.
Starting in October 1972, when he broke his ankles in a car accident, Davis
became less active in the early 1970s, and in 1975 he gave up recording
entirely due to illness, undergoing surgery for hip replacement later in the
year. Five years passed before he returned to action by recording The Man
With the Horn in 1980 and going back to touring in 1981. By now, he was an
elder statesman of jazz, and his innovations had been incorporated into the
music, at least by those who supported his eclectic approach. He was also a
celebrity whose appeal extended far beyond the basic jazz audience. He
performed on the worldwide jazz festival circuit and recorded a series of
albums that made the pop charts, including We Want Miles (1982 Grammy Award
for Best Jazz Instrumental Performance by a Soloist), Star People, Decoy, and
You're Under Arrest. In 1986, after 30 years with Columbia, he switched to
Warner Bros. Records and released Tutu, which won him his fourth Grammy for
Best Jazz Instrumental Performance. Aura, an album he had recorded in 1984,
was released by Columbia in 1989 and brought him his fifth Grammy for Best
Jazz Instrumental Performance by a Soloist (on a Jazz Recording).
Davis surprised jazz fans when, on July 8, 1991, he joined an orchestra led
by Quincy Jones at the Montreux Jazz Festival to perform some of the
arrangements written for him in the late 1950s by Gil Evans; he had never
previously looked back at an aspect of his career. He died of pneumonia,
respiratory failure, and a stroke within months. Doo-Bop, his last studio
album, appeared in 1992. It was collaboration with rapper Easy Mo Bee, and it
won a Grammy for Best Rhythm & Blues Instrumental Performance, with the
track "Fantasy" nominated for Best Jazz Instrumental Solo. Released
in 1993, Miles & Quincy Live at Montreux won Davis his seventh Grammy for
Best Large Jazz Ensemble Performance.
Miles Davis took an all-inclusive, constantly restless approach to jazz that
had begun to fall out of favour by the time of his death, even as it earned
him controversy during his lifetime. It was hard to recognize the bebop
acolyte of Charlie Parker in the flamboyantly dressed leader with the hair
extensions who seemed to keep one foot on a wah-wah pedal and one hand on an
electric keyboard in his later years. But he did much to popularize jazz,
reversing the trend away from commercial appeal that bebop began. And
whatever the fripperies and explorations, he retained an ability to play
moving solos that endeared him to audiences and demonstrated his affinity
with tradition. At a time when jazz is inclining toward academia and
repertory orchestras rather than moving forward, he is a reminder of the
music's essential quality of boundless invention, using all available means. All
Music Guide
|
