One of them, a tune called “Bring It on Home,” features a straightforward R&B style whose standard harmonic palette serves as a foundation for a conventional poetic structure of AAB verses and a bereft lover's plea for the return of “my woman and my used‐to‐be.” Behind the vocal, Davis plays a muted obbligato that sounds so far away from the center of musical action that he might be in a neighboring practice room. 1 Three of the four pieces they recorded were twelve‐bar blues. On these recordings, he performs as a sideman in a sextet accompanying the dancer, comedian, and rhythm‐and‐blues singer Rubberlegs Williams.
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Miles Davis played the blues on his first recording date-in late April 1945, a month before his nineteenth birthday. Such an approach aims to integrate cultural and musical perspectives on Davis's life and work, and by extension, illuminate a key theme in postwar American life. “New Blues”)-reveal that tension in the ways in which Davis and his collaborators treat melody, harmony, rhythm, tempo, form, texture, groove, and other musical elements. Seven blues recordings spanning almost four decades-including “Sippin' at Bells,” Israel,” “Walkin',” “Blue ‘n’ Boogie,” “All Blues,” “Eighty‐One,” and “Star People” (a.k.a.
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Although Davis's diverse blues compositions and improvisations reflect his many stylistic shifts, they are also linked by the cultural phenomenon recently dubbed Afro‐Modernism, expressed as a tension between tradition and innovation, rural and suburban, south and north, downhome and cosmopolitan. It's like a curse.” Through all the changes, however, the blues form a connecting thread that runs from his earliest recordings as a rhythm‐and‐blues sideman to his final years on tour. Davis himself supported that view with his famous claim that “I have to change. To this day, the quarrel between the musicians has been credited with making the International Jazz Festival famous.Musicians and scholars alike tend to view Miles Davis's career through the lens of change, emphasizing his stylistic shifts among modern jazz styles from bebop to cool to hard bop to modal jazz to fusion and beyond. Subsequently, when Marsalis attempted to join Davis onstage without invitation at the Vancouver International Jazz Festival in 1986, Davis requested that he leave the stage, using strong language. Marsalis publicly criticized Davis's work in jazz fusion, claiming that it wasn't "true" jazz. It was around this time that Davis developed a feud with fellow trumpeter Wynton Marsalis. He interpreted songs made popular by Michael Jackson ("Human Nature") and Cyndi Lauper ("Time After Time") on his album You're Under Arrest, released in 1985. He and Tyson married in 1981.įrom 1979 to 1981, Davis worked on recordings that culminated in the release of the album The Man with the Horn, which registered steady sales but wasn't well-received by critics.ĭavis spent the 1980s continuing to experiment with different styles. In 1979, he met Cicely Tyson, an American actress, who helped him overcome his cocaine addiction. In 1975, Davis was once again drawn into drug abuse, becoming addicted to alcohol and cocaine, and subsequently taking a five-year hiatus from his career. They were later released as part of the album Birth of the Cool.
#Miles davis discography series#
He released a series of singles that would later be considered a significant contribution to modern jazz. In 1949, Davis formed a nine-piece band with uncommon additions, such as the French horn, trombone and tuba.
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It was during this period that Davis worked on developing the improvisational style that defined his trumpet playing. A member of the Charlie Parker Quintet at the time, Davis made his first recording as a bandleader in 1946 with the Miles Davis Sextet.īetween 19, Davis and Parker recorded continuously. In 1945, Davis elected, with his father's permission, to drop out of Juilliard and become a full-time jazz musician. During the gigs, he met several musicians whom he would eventually play with and form the basis for bebop, a fast, improvisational style of jazz instrumental that defined the modern jazz era. While taking courses at Juilliard, Davis sought out Parker and, after Parker joined him, began to play at Harlem nightclubs. Soon after, in 1944, Davis left Illinois for New York City, where he would soon enroll at the Juilliard School (known at the time as the Institute of Musical Art).