miles davis

 

  • [3] The latter recording remains one of the most popular jazz albums of all time,[4] having sold over five million copies in the U.S. Davis made several line-up changes while
    recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams.

  • [38] 1948–1950: Miles Davis Nonet and Birth of the Cool[edit] In August 1948, Davis declined an offer to join Duke Ellington’s orchestra as he had entered rehearsals with
    a nine-piece band featuring baritone saxophonist Gerry Mulligan and arrangements by Gil Evans, taking an active role on what soon became his own project.

  • On November 26, Davis participated in several recording sessions as part of Parker’s group Reboppers that also involved Gillespie and Max Roach,[25] displaying hints of the
    style he would become known for.

  • [103] 1963–1968: Second quintet[edit] Davis performing in Antibes, France, in July 1963 In December 1962, Davis, Kelly, Chambers, Cobb, and Rollins played together for the
    last time as the first three wanted to leave and play as a trio.

  • [8] After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn
    (1981) and Tutu (1986).

  • [105] With this group, Davis completed the rest of what became Seven Steps to Heaven (1963) and recorded the live albums Miles Davis in Europe (1964), My Funny Valentine (1965),
    and Four & More (1966).

  • [92] He called back Bill Evans, as the music had been planned around Evans’s piano style.

  • [25][28] During the next year, he recorded as a leader for the first time with the Miles Davis Sextet plus Earl Coleman and Ann Baker, one of the few times he accompanied
    a singer.

  • [27] Career 1944–1948: New York City and the bebop years[edit] Tommy Potter, Charlie Parker, Max Roach, Miles Davis, Duke Jordan in August 1947 In September 1944, Davis accepted
    his father’s idea of studying at the Juilliard School of Music in New York City.

  • Together they performed live with Duke Jordan and Tommy Potter for much of the year, including several studio sessions.

  • [47] 1949–1955: Signing with Prestige, heroin addiction, and hard bop[edit] After returning from Paris in mid-1949, he became depressed and found little work except a short
    engagement with Powell in October and guest spots in New York City, Chicago, and Detroit until January 1950.

  • “[18] On his thirteenth birthday his father bought him a new trumpet,[17] and Davis began to play in local bands.

  • [25] Davis befriended trumpeter Clark Terry, who suggested he play without vibrato, and performed with him for several years.

  • [38] Davis noted that by this time, “I was still so much into the music that I was even ignoring Irene.”

  • Davis left Cawthon and his three children in New York City in the hands of his friend, jazz singer Betty Carter.

  • [60] When he returned to the studio in June 1955 to record The Musings of Miles, he wanted a pianist like Jamal and chose Red Garland.

  • Though he used heroin, he was still able to perform locally with Elvin Jones and Tommy Flanagan as part of Billy Mitchell’s house band at the Blue Bird club.

  • [3] After adding saxophonist Wayne Shorter to his new quintet in 1964,[3] Davis led them on a series of more abstract recordings often composed by the band members, helping
    pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967),[5] before transitioning into his electric period.

  • He considered the albums that resulted from these and earlier sessions – Miles Davis Quartet and Miles Davis Volume 2 – “very important” because he felt his performances were
    particularly strong.

  • [56] However, he was able to end his addiction, and, in February 1954, Davis returned to New York City, feeling good “for the first time in a long time”, mentally and physically
    stronger, and joined a gym.

  • Davis’s first session as a leader followed in August 1947, playing as the Miles Davis All Stars that included Parker, pianist John Lewis, and bassist Nelson Boyd; they recorded
    “Milestones”, “Half Nelson”, and “Sippin’ at Bells”.

  • [81] By May 1958, he had replaced Jones with drummer Jimmy Cobb, and Garland left the group, leaving Davis to play piano on “Sid’s Ahead” for Milestones.

  • After signing a contract with Capitol Records, they recorded sessions in January and April 1949, which sold little but influenced the “cool” or “west coast” style of jazz.

  • In March and April 1959, Davis recorded what some consider his greatest album, Kind of Blue.

  • He next joined a big band led by Benny Carter, performing in St. Louis and remaining with the band in California.

  • [26][25] Years later, Davis considered this job one of the most important of his career.

  • Years later, Davis said that he was discriminated against in these competitions due to his race, but he added that these experiences made him a better musician.

  • [19][12][20] In later years Davis said, “I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass.

  • In March, the 30-year-old Davis told journalists of his intention to retire soon and revealed offers he had received to teach at Harvard University and be a musical director
    at a record label.

  • [1] Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at Juilliard in New York City, before dropping out and making his professional debut as a member
    of saxophonist Charlie Parker’s bebop quintet from 1944 to 1948.

  • On his first trip abroad Davis took a strong liking to Paris and its cultural environment, where he felt black jazz musicians and people of color in general were better respected
    than in the U.S.

  • [31] Much of Davis’s time was spent in clubs seeking his idol, Charlie Parker.

  • [17] Davis would also play the trumpet in talent shows he and his siblings would put on.

  • [43][38] Evans’ Manhattan apartment had become the meeting place for several young musicians and composers such as Davis, Roach, Lewis, and Mulligan who were unhappy with
    the increasingly virtuoso instrumental techniques that dominated bebop.

  • [16] According to Davis “By the age of 12, music had become the most important thing in my life.

  • It became part of his signature sound for the rest of his career.

  • [22] Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, which was passing through town, but his mother insisted he finish high school before going on tour.

  • [83] 1957–1963: Collaborations with Gil Evans and Kind of Blue[edit] By early 1957, Davis was exhausted from recording and touring and wished to pursue new projects.

  • Coltrane then departed to form his quartet, though he returned for some tracks on Davis’s album Someday My Prince Will Come (1961).

  • [92] He persuaded Coltrane to play with the group on one final European tour in the spring of 1960.

  • Davis accepted and worked with Gil Evans in what became a five-album collaboration from 1957 to 1962.

  • [93] The sextet had played “So What” and “All Blues” at performances, but the remaining three compositions they saw for the first time in the studio.

  • [15] When a drummer asked him to play a certain passage of music, and he couldn’t do it, he began to learn music theory.

  • After a widely acclaimed comeback performance at the Newport Jazz Festival, he signed a long-term contract with Columbia Records and recorded the album ‘Round About Midnight
    in 1955.

  • [6] This period, beginning with Davis’s 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career,
    alienating and challenging many in jazz.

  • [74][75][76] The style of the group was an extension of their experience playing with Davis.

  • [104] By May 1963, Feldman and Butler were replaced by 23-year-old pianist Herbie Hancock and 17-year-old drummer Tony Williams who made Davis “excited all over again”.

  • [38] In one session that May, Davis wrote the tune “Cheryl”, for his daughter.

  • [82] He wanted someone who could play modal jazz, so he hired Bill Evans, a young pianist with a background in classical music.

  • [11] Background information: Birth name: Miles Dewey Davis III; Born: May 26, 1926 Alton, Illinois, U.S.; Died: September 28, 1991 (aged 65), Santa Monica, California, U.S.;
    Genres: Jazz; Occupation(s): Musician, Bandleader, composer; Instrument(s): Trumpet, flugelhorn, cornet, Piano, electric organ; Years active: 1944–1975, 1980–1991; Labels: Capitol, Prestige, Columbia, Fontana, Warner Bros.; Education: Juilliard
    School; Spouses: Frances Taylor, (m. 1959; div.

  • On Parker’s tune “Now’s the Time”, Davis played a solo that anticipated cool jazz.

  • [25][28] After playing with these musicians, he was certain he should move to New York City, “where the action was”.

  • Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.

  • He recorded for the first time on April 24, 1945, when he entered the studio as a sideman for Herbie Fields’s band.

  • Cawthon gave birth to Davis’s second child, Gregory, in East St. Louis before reuniting with Davis in New York City the following year.

  • [42][38] After touring Chicago and Detroit with Parker’s quintet, Davis returned to New York City in March 1948 and joined the Jazz at the Philharmonic tour, which included
    a stop in St. Louis on April 30.

  • [106] Davis performing at Töölö Sports Hall (Messuhalli) in Helsinki, Finland, in October 1964 Davis needed medical attention for hip pain, which had worsened since his Japanese
    tour during the previous year.

  • [17][25] With encouragement from his teacher and girlfriend, Davis filled a vacant spot in the Rhumboogie Orchestra, also known as the Blue Devils, led by Eddie Randle.

  • To fulfill Davis’ contract with Prestige, this new group worked through two marathon sessions in May and October 1956 that were released by the label as four LPs: Cookin’
    with the Miles Davis Quintet (1957), Relaxin’ with the Miles Davis Quintet (1958), Workin’ with the Miles Davis Quintet (1960) and Steamin’ with the Miles Davis Quintet (1961).

  • He wrote that in 1954 Sugar Ray Robinson “was the most important thing in my life besides music”, and he adopted Robinson’s “arrogant attitude”.

  • [16] In 1941, the 15-year-old attended East St. Louis Lincoln High School, where he joined the marching band directed by Buchanan and entered music competitions.

  • Consisting of French jazz musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, the group avoided a written score and instead improvised
    while they watched the film in a recording studio.

  • [55] Davis lived in Detroit for about six months, avoiding New York City, where it was easy to get drugs.

  • Davis’s father would soon become distant to his children as the Great Depression caused him to become increasingly consumed by his job; typically working six days a week.

  • They appeared on ‘Round About Midnight, Davis’s first album for Columbia.

  • While touring Europe, the group made its first album, Miles in Berlin (1965).

  • [71] George Avakian of Columbia Records heard Davis perform at Newport and wanted to sign him to the label.

  • Rollins left them soon after, leaving Davis to pay over $25,000 (equivalent to $224,000 in 2021[33]) to cancel upcoming gigs and quickly assemble a new group.

  • The quintet’s approach to the new music became known as “time no changes”—which referred to Davis’s decision to depart from chordal sequences and adopt a more open approach,
    with the rhythm section responding to the soloists’ melodies.

  • Each album was critically acclaimed and helped establish Davis’s quintet as one of the best.

  • In September, the band completed their sole engagement as the opening band for Count Basie at the Royal Roost for two weeks.

  • Evans stated it was only half an album and blamed the record company; Davis blamed producer Teo Macero and refused to speak to him for more than two years.

  • [38][39] In March 1946, Davis played in studio sessions with Parker and began a collaboration with bassist Charles Mingus that summer.

 

Works Cited

[‘Writers began to refer to Davis as “the Prince of Darkness” in liner notes of the records of this period, and the moniker persisted.[65][66][67]
2. Ruhlmann, William. “Miles Davis Biography”. AllMusic. Archived from the original on June 21, 2016.
Retrieved June 16, 2016.
3. ^ Yanow 2005, p. 176.
4. ^ Jump up to:a b c “Miles Davis, innovative, influential, and respected jazz legend”. African American Registry. Archived from the original on August 9, 2016. Retrieved June 11, 2016.
5. ^
McCurdy 2004, p. 61.
6. ^ Bailey, C. Michael (April 11, 2008). “Miles Davis, Miles Smiles, and the Invention of Post Bop”. All About Jazz. Archived from the original on June 8, 2016. Retrieved June 20, 2016.
7. ^ Freeman 2005, pp. 9–11, 155–156.
8. ^
Christgau 1997; Freeman 2005, pp. 10–11, back cover
9. ^ Segell, Michael (December 28, 1978). “The Children of ‘Bitches Brew'”. Rolling Stone. Archived from the original on June 14, 2016. Retrieved June 12, 2016.
10. ^ Jump up to:a b Macnie,
Jim. “Miles Davis Biography”. Rolling Stone. Archived from the original on August 9, 2017. Retrieved June 11, 2016.
11. ^ Jump up to:a b c d “Miles Davis”. Rock and Roll Hall of Fame. Archived from the original on May 3, 2016. Retrieved May 1, 2016.
12. ^
Gerald Lyn, Early (1998). Ain’t But a Place: an anthology of African American writings about St. Louis. Missouri History Museum. p. 205. ISBN 1-883982-28-6.
13. ^ Jump up to:a b c d Cook 2007, p. 9.
14. ^ Jump up to:a b Early 2001, p. 209.
15. ^
Jump up to:a b c The Complete Illustrated History 2007, p. 17.
16. ^ Jump up to:a b c Orr 2012, p. 11.
17. ^ Jump up to:a b c d e Warner 2014.
18. ^ Jump up to:a b c d Early 2001, p. 210.
19. ^ Jump up to:a b “A life in pictures: Miles Davis
– Reader’s Digest”. Reader’s Digest. Retrieved June 29, 2020.
20. ^ Jump up to:a b The Complete Illustrated History 2007, p. 19.
21. ^ Davis & Troupe 1989, p. 32.
22. ^ Jump up to:a b Kahn 2001.
23. ^ Jump up to:a b The Complete Illustrated
History 2007, p. 23.
24. ^ Morton 2005, p. 10.
25. ^ Arons, Rachel (March 21, 2014). “Slide Show: American Public Libraries Great and Small” (PDF). Graham Foundation. p. 5. Archived (PDF) from the original on May 9, 2018. Retrieved May 8, 2018.
26. ^
Jump up to:a b c d e f g h i j Early 2001, p. 211.
27. ^ Orr 2012, p. 12.
28. ^ Jump up to:a b Orr 2012, p. 13.
29. ^ Jump up to:a b c d Cook 2007, p. 10.
30. ^ The Complete Illustrated History 2007, p. 29.
31. ^ The Complete Illustrated
History 2007, p. 32.
32. ^ Jump up to:a b c d “Miles Davis”. Encyclopædia Britannica. May 22, 2020. Archived from the original on May 26, 2020. Retrieved June 22, 2020.
33. ^ Davis & Troupe 1989, p. 56.
34. ^ Jump up to:a b c d e f g 1634–1699:
McCusker, J. J. (1997). How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States: Addenda et Corrigenda (PDF). American Antiquarian Society. 1700–1799: McCusker, J. J. (1992).
How Much Is That in Real Money? A Historical Price Index for Use as a Deflator of Money Values in the Economy of the United States (PDF). American Antiquarian Society. 1800–present: Federal Reserve Bank of Minneapolis. “Consumer Price Index (estimate)
1800–”. Retrieved April 16, 2022.
35. ^ Jump up to:a b c Cook, Richard (July 13, 1985). “Miles Davis: Miles Runs The Voodoo Down”. NME – via Rock’s Backpages.
36. ^ Early 2001, p. 38.
37. ^ Early 2001, p. 68.
38. ^ “See the Plosin session
database”. Plosin.com. October 18, 1946. Archived from the original on May 11, 2011. Retrieved July 18, 2011.
39. ^ Jump up to:a b c d e f g h i j k Early 2001, p. 212.
40. ^ On this occasion, Mingus bitterly criticized Davis for abandoning his
“musical father” (see The Autobiography).
41. ^ Davis & Troupe 1989, p. 105.
42. ^ Jump up to:a b c Kernfeld, Barry (2002). Kernfeld, Barry (ed.). The New Grove Dictionary of Jazz. Vol. 1 (2nd ed.). New York: Grove’s Dictionaries. p. 573. ISBN
1-56159-284-6.
43. ^ Cook 2007, p. 12.
44. ^ Mulligan, Gerry. “I hear America singing” (PDF). gerrymulligan.com. Gerry Mulligan. Archived from the original (PDF) on March 3, 2016. Miles, the bandleader. He took the initiative and put the theories
to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip.
45. ^ Cook 2007, p. 14.
46. ^ Cook 2007, p. 2.
47. ^ Davis & Troupe 1989, p. 117.
48. ^ Jump up to:a b Davis & Troupe 1989, p. 126.
49. ^
Jump up to:a b Szwed 2004, p. 91.
50. ^ Davis & Troupe 1989, p. 129.
51. ^ Jump up to:a b Cook 2007, p. 25.
52. ^ Davis & Troupe 1989, pp. 175–176.
53. ^ Cook 2007, p. 26.
54. ^ Jump up to:a b Davis & Troupe 1989, p. 164.
55. ^ Davis &
Troupe 1989, pp. 164–165.
56. ^ Davis & Troupe 1989, pp. 169–170.
57. ^ Davis & Troupe 1989, p. 171.
58. ^ Davis & Troupe 1989, pp. 174, 175, 184.
59. ^ Davis & Troupe 1989, p. 175.
60. ^ Davis & Troupe 1989, p. 176.
61. ^ Jump up to:a
b Davis & Troupe 1989, p. 190.
62. ^ Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax (The Land Where the Blues Began. New York: Pantheon, 1993), African-American
players working in white establishments would avoid references to the blues altogether.
63. ^ Davis & Troupe 1989, p. 183.
64. ^ Szwed 2004.
65. ^ Acquired by shouting at a record producer while still ailing after a recent operation to the throat
– The Autobiography.
66. ^ Santoro, Gene (November 1991). “Prince of darkness. (Miles Davis) (obituary)”. The Nation. Archived from the original on August 8, 2013.
67. ^ “Miles Davis”. PBS.org. Archived from the original on March 31, 2016.
68. ^
Chell, Samuel (June 29, 2008). “Miles Davis: Someday My Prince Will Come”. allaboutjazz.com. Archived from the original on February 2, 2009.
69. ^ The Complete Illustrated History 2007, p. 73.
70. ^ Jump up to:a b Natambu, Kofi (September 22,
2014). “Miles Davis: A New Revolution in Sound”. Black Renaissance/Renaissance Noire. 14 (2): 36–40. Retrieved June 27, 2020.
71. ^ Morton 2005, p. 27.
72. ^ Cook 2007, pp. 43–44.
73. ^ Carr 1998, p. 96.
74. ^ Davis & Troupe 1989, p. 192.
75. ^
Chambers 1998, p. 223.
76. ^ Cook 2007, p. 45.
77. ^ Carr 1998, p. 99.
78. ^ Davis & Troupe 1989, p. 186.
79. ^ Early 2001, p. 215.
80. ^ Davis & Troupe 1989, p. 209.
81. ^ Davis & Troupe 1989, p. 214.
82. ^ The Complete Illustrated
History 2007, p. 97.
83. ^ Davis & Troupe 1989, p. 224.
84. ^ Jump up to:a b Davis & Troupe 1989, p. 229.
85. ^ Szwed 2004, p. 139.
86. ^ Jump up to:a b Carr 1998, p. 107.
87. ^ Szwed 2004, p. 140.
88. ^ Szwed 2004, p. 141.
89. ^ Cook,
op. cit.
90. ^ The Complete Illustrated History 2007, p. 108.
91. ^ The Complete Illustrated History 2007, p. 109.
92. ^ Carr 1998, pp. 192–193.
93. ^ Jump up to:a b c The Complete Illustrated History 2007, p. 106.
94. ^ Jump up to:a b Kahn
2001, p. 95.
95. ^ Kahn 2001, pp. 29–30.
96. ^ Kahn 2001, p. 74.
97. ^ Jump up to:a b “Gold & Platinum – Search “Miles Davis””. Recording Industry Association of America. Archived from the original on June 24, 2016. Retrieved May 7, 2017.
98. ^
“US politicians honour Miles Davis album | RNW Media”. Rnw.nl. Archived from the original on December 3, 2013. Retrieved July 17, 2015.
99. ^ “US House of Reps honours Miles Davis album – ABC News (Australian Broadcasting Corporation)”. ABC News.
Australian Broadcasting Corporation. December 16, 2009. Archived from the original on December 5, 2010. Retrieved January 6, 2011.
100. ^ The Complete Illustrated History 2007, p. 100.
101. ^ Jump up to:a b “Was Miles Davis beaten over blonde?”.
Baltimore Afro-American. September 1, 1959. pp. 1–13. Archived from the original on August 9, 2013. Retrieved December 20, 2020.
102. ^ “Jazz Trumpeter Miles Davis In Joust With Cops”. Sarasota Journal. August 26, 1959. Archived from the original
on August 9, 2013. Retrieved August 27, 2010.
103. ^ Early 2001, p. 89.
104. ^ Davis & Troupe 1989, p. 252.
105. ^ Davis & Troupe 1989, pp. 260–262.
106. ^ Davis & Troupe 1989, p. 262.
107. ^ Einarson 2005, pp. 56–57.
108. ^ Carr 1998,
p. 202.
109. ^ Carr 1998, p. 203.
110. ^ Davis & Troupe 1989, pp. 282–283.
111. ^ Carr 1998, p. 204.
112. ^ Davis & Troupe 1989, p. 283.
113. ^ Carr 1998, pp. 209–210.
114. ^ Davis & Troupe 1989, p. 284.
115. ^ Morton 2005, p. 49.
116. ^
Moon, Tom (January 30, 2013). “A 1969 Bootleg Unearths Miles Davis’ ‘Lost’ Quintet”. NPR. Archived from the original on April 27, 2018. Retrieved April 5, 2018.
117. ^ Shteamer, Hank (January 31, 2013). “Miles Davis”. Pitchfork. Archived from
the original on April 11, 2019. Retrieved April 20, 2020.
118. ^ Freeman 2005, pp. 83–84.
119. ^ “Miles Davis”. Billboard. Archived from the original on March 16, 2018. Retrieved May 10, 2018.
120. ^ Jump up to:a b The Complete Illustrated History
2007, p. 150.
121. ^ Tingen 2001, p. 114.
122. ^ The Complete Illustrated History 2007, p. 153.
123. ^ Davis & Troupe 1989, pp. 318–319.
124. ^ Carr 1998, p. 302.
125. ^ “roio » Blog Archive » MILES – BELGRADE 1971”. Bigozine2.com. Archived
from the original on July 21, 2015. Retrieved July 17, 2015.
126. ^ Chambers 1998, p. 246.
127. ^ Carr 1998.
128. ^ Tingen, Paul (1999). “The Making of The Complete Bitches Brew Sessions”. Archived from the original on March 5, 2017. Retrieved
April 15, 2017.
129. ^ Morton 2005, pp. 72–73.
130. ^ Davis & Troupe 1989, p. 328.
131. ^ Cole 2005, p. 28.
132. ^ & The Complete Illustrated History 2007, p. 154.
133. ^ Szwed 2004, p. 343.
134. ^ Tingen, Paul (October 26, 2007). “The
most hated album in jazz”. The Guardian. Archived from the original on August 2, 2019. Retrieved June 13, 2019.
135. ^ The Complete Illustrated History 2007, p. 177.
136. ^ Tingen 2001, p. 167.
137. ^ The Complete Illustrated History 2007, p.
177.
138. ^ Cugny, Laurent. “1975: the end of an intrigue? For a new periodization of the history of jazz” (PDF). paris-sorbonne.fr. Université Paris-Sorbonne. Archived from the original (PDF) on November 29, 2014. Retrieved February 3, 2016.
139. ^
Carr 1998, p. 330.
140. ^ Jump up to:a b c d e f g h i “Blowing up a storm”. The Independent. April 1, 2005. Archived from the original on October 5, 2017. Retrieved June 29, 2020.
141. ^ Jump up to:a b Morton 2005, p. 76.
142. ^ Carr 1998,
p. 329.
143. ^ Jump up to:a b Cole 2005, p. 36.
144. ^ Szwed 2004, p. 347.
145. ^ Morton 2005, p. 77, 78.
146. ^ Cole 2005, p. 38.
147. ^ Szwed 2004, p. 358.
148. ^ Morton 2005, p. 79.
149. ^ Carr 1998, p. 349.
150. ^ Cole 2005, p.
92.
151. ^ Carr 1998, p. 363.
152. ^ Morton 2005, p. 77.
153. ^ Morton 2005, p. 78.
154. ^ The Complete Illustrated History 2007, p. 180.
155. ^ Jump up to:a b Davis & Troupe 1989, pp. 348–350.
156. ^ Early 2001, p. 222.
157. ^ The Complete
Illustrated History 2007, p. 183.
158. ^ Cole 2005, p. 352.
159. ^ Jump up to:a b The Complete Illustrated History 2007, p. 194.
160. ^ “Scritti Politti – Pop – INTRO”. Intro.de. Archived from the original on December 3, 2013. Retrieved July
17, 2015.
161. ^ Campbell, Allen (April 25, 2016). “When Miles met Prince: Superstars’ secret collaboration”. BBC Arts. Archived from the original on December 3, 2019. Retrieved December 3, 2019.
162. ^ Yoo, Noah (June 13, 2019). “Miles Davis’
Lost Album Rubberband Set for Release”. Pitchfork Media. Archived from the original on June 14, 2019. Retrieved June 17, 2019.
163. ^ Jump up to:a b c d Broeske, Pat H. (November 19, 2006). “Wrestling With Miles Davis and His Demons”. The New York
Times. ISSN 0362-4331. Archived from the original on April 4, 2020. Retrieved June 28, 2020.
164. ^ Troupe 2002, p. 388.
165. ^ Carr 1998, p. 496.
166. ^ Jump up to:a b Gelbard 2012, pp. 73–74.
167. ^ Olsen, Susan (2006). “Nicknames And Rememberance:
Memorials To Woodlawn’s Jazz Greats”. Names. Chico: Taylor & Francis. 54 (2): 103–120. doi:10.1179/nam.2006.54.2.103. S2CID 191446083.
168. ^ “Davis cuts tour short following collapse”. United Press International. November 17, 1988. Archived from
the original on September 3, 2017. Retrieved April 29, 2017.
169. ^ Stewart, Zan (February 22, 1989). “Jazz Notes: Manager Denies Miles Davis AIDS Report”. Los Angeles Times. Archived from the original on April 16, 2017. Retrieved April 15, 2017.
170. ^
Tingen 2001, p. 263.
171. ^ Chambers 1998, p. Introduction, xv.
172. ^ Jump up to:a b Cole 2005, p. 443.
173. ^ Wynn, Ron. “Miles & Quincy Live at Montreux”. AllMusic. Retrieved July 17, 2015.
174. ^ Jump up to:a b The Complete Illustrated
History 2007, p. 200.
175. ^ Jump up to:a b Cole 2005, p. 404.
176. ^ Cole 2005, p. 408.
177. ^ “New York Beat”. Jet. 13 (2): 64. November 14, 1957.
178. ^ Aronson, Sheryl (September 26, 2017). “An Interview with Frances Davis (Miles Davis’s
1st Wife)”. The Hollywood 360. Archived from the original on October 28, 2019. Retrieved December 15, 2019.
179. ^ Davis & Troupe 1989, p. 227.
180. ^ “Miles Davis, Frances Taylor Wed In Toledo”. Jet. 17 (11): 59. January 7, 1960.
181. ^ Davis
& Troupe 1989, p. 228.
182. ^ Davis & Troupe 1989, p. 290.
183. ^ “Blogs”. Archived from the original on February 11, 2017. Retrieved February 9, 2017.
184. ^ Davis & Troupe 1989, p. 267.
185. ^ The Complete Illustrated History 2007, p. 109.
186. ^
Davis & Troupe 1989, pp. 281–282.
187. ^ “Miles Davis And Wife Now ‘Miles Apart'”. Jet. 33 (19): 23. February 15, 1968.
188. ^ Szwed 2004, p. 268.
189. ^ “One Of Sexiest Men Alive”. Jet. 35 (2): 48. October 17, 1968. Archived from the original
on May 28, 2020. Retrieved December 16, 2019.
190. ^ Jump up to:a b Davis & Troupe 1989.
191. ^ The Complete Illustrated History 2007, p. 143.
192. ^ The Complete Illustrated History 2007, p. 145.
193. ^ Murphy, Bill (October 2003). “Raging
Bullhorn: Miles Davis and A Tribute to Jack Johnson”. The Wire. No. 236. p. 32.
194. ^ Davis & Troupe 1989, p. 348.
195. ^ The Complete Illustrated History 2007, p. 180.
196. ^ Davis & Troupe 1989, pp. 390–391.
197. ^ Jump up to:a b c d “Interview:
Jo Gelbard: The Dark Arts”. The Last Miles. Archived from the original on April 24, 2020. Retrieved June 28, 2020.
198. ^ Davis & Troupe 1989, pp. 363–64.
199. ^ Meyer, Robinson (July 9, 2012). “The Time Miles Davis Stole (or Borrowed) a Song
and How It Ended Up on His Tombstone”. The Atlantic. Retrieved November 22, 2021.
200. ^ Morton 2005, p. 149.
201. ^ Morton 2005, p. 150.
202. ^ Szwed 2004, p. 393.
203. ^ “St. Peter Lutheran Church – New York City”. nycago.org. Archived from
the original on December 23, 2010. Retrieved June 13, 2019.
204. ^ Ratliff, Ben (February 8, 1998). “John G. Gensel, 80, the Pastor to New York’s Jazz Community”. The New York Times. Archived from the original on August 15, 2016. Retrieved June
13, 2019.
205. ^ Jump up to:a b Cole 2005, p. 409.
206. ^ Davis & Sussman 2006.
207. ^ “Miles Davis Excludes Two Of His Sons From His Will”. Jet. 81 (4): 58. November 11, 1991.
208. ^ Davis & Sultanof 2002, pp. 2–3.
209. ^ Jump up to:a b
c Kahn, Ashley (September 1, 2001a). “Miles Davis and Bill Evans: Miles and Bill in Black & White”. JazzTimes. Archived from the original on March 22, 2018. Retrieved December 15, 2018.
210. ^ Gilroy, Paul (1993). The Black Atlantic: Modernity and
Double Consciousness. Cambridge, MA: Harvard University Press. p. 97. ISBN 0674076060.
211. ^ “Miles Davis”. Acclaimed Music. Archived from the original on December 4, 2019. Retrieved June 27, 2020.
212. ^ “Miles Davis voted greatest jazz artist
of all time”. The Guardian. November 16, 2015. Archived from the original on June 16, 2016. Retrieved December 15, 2018.
213. ^ Tingen, Paul (September 30, 2003). “Music – Review of Miles Davis – The Complete Jack Johnson Sessions”. BBC. Archived
from the original on September 25, 2015. Retrieved July 17, 2015.
214. ^ The Complete Illustrated History 2007, p. 8.
215. ^ “Miles Davis Biography”. Rolling Stone. Archived from the original on January 26, 2009. Retrieved January 26, 2009.
216. ^
Jump up to:a b Davis, Francis (March 29, 2016). “The Book on Miles”. The Atlantic. Archived from the original on April 13, 2020. Retrieved June 27, 2020.
217. ^ Smith, Christopher (1995). “A Sense of the Possible: Miles Davis and the Semiotics of
Improvised Performance”. TDR. 39 (3): 41–55. doi:10.2307/1146463. JSTOR 1146463.
218. ^ Daniels, Matt. “The 2,452 Wikipedia Pages on which Miles Davis is Mentioned”. The Pudding. Archived from the original on May 13, 2017. Retrieved June 27, 2020.
219. ^
“House honors Miles Davis’ ‘Kind of Blue'”. Associated Press. December 15, 2009. Archived from the original on December 21, 2009. Retrieved December 21, 2009.
220. ^ “House Resolution H.RES.894”. Clerk.house.gov. December 15, 2009. Archived from
the original on February 16, 2011. Retrieved July 18, 2011.
221. ^ Rowe, Jeri (October 18, 2009). “Taking care of Buddy”. News-Record.com. Archived from the original on October 21, 2009.
222. ^ “NEC Honorary Doctor of Music Degree”. New England
Conservatory. Archived from the original on July 20, 2011. Retrieved July 20, 2011.
223. ^ Deans, Jason (November 20, 2001). “Norton in Emmy triumph”. The Guardian. Archived from the original on September 20, 2016. Retrieved May 11, 2018.
224. ^
Jump up to:a b Moon, Jill (May 25, 2016). “Bringing it ‘home’ — Community’s passion keeps Miles Davis’ legacy alive”. Alton Telegraph. Retrieved June 26, 2020.
225. ^ Jump up to:a b c “Postal Service to Issue Miles Davis Stamp”. Rolling Stone.
January 25, 2012. Retrieved June 27, 2020.
226. ^ McNary, Dave (July 22, 2015). “Don Cheadle’s ‘Miles Ahead’ to Close New York Film Festival”. Variety. Archived from the original on September 1, 2018. Retrieved April 20, 2020.
227. ^ Savage,
Mark (November 15, 2015). “Miles Davis voted greatest jazz artist”. BBC News. Archived from the original on July 3, 2018. Retrieved June 22, 2020.
228. ^ Cullum, Jamie (May 22, 2010). “The 10 best jazz musicians”. The Guardian. ISSN 0261-3077. Archived
from the original on June 22, 2020. Retrieved June 22, 2020.
229. ^ Jump up to:a b Yoo, Noah (March 23, 2018). “Q-Tip to Play Miles Davis in New Theater Production”. Pitchfork. Archived from the original on April 24, 2020. Retrieved June 27, 2020.
230. ^
Gleiberman, Owen (January 30, 2019). “Sundance Film Review: ‘Miles Davis: Birth of the Cool'”. Variety. Archived from the original on March 20, 2020.
231. ^ Kreps, Daniel (February 19, 2020). “‘Miles Davis: Birth of the Cool’: PBS Shares New
Trailer, Clip for Doc”. Rolling Stone. Archived from the original on April 8, 2020. Retrieved June 27, 2020.
232. ^ Jump up to:a b Walser, Robert (1993). “Out of Notes: Signification, Interpretation, and the Problem of Miles Davis”. The Musical
Quarterly. 77 (2): 343–365. doi:10.1093/mq/77.2.343. ISSN 0027-4631. JSTOR 742559.
233. ^ Saraiya, Sonia (November 22, 2013). “Miles Davis beat his wives and made beautiful music”. The A.V. Club. Archived from the original on May 31, 2020. Retrieved
June 27, 2020.
234. ^ “Miles Davis”. National Academy of Recording Arts and Sciences. May 14, 2017. Archived from the original on May 15, 2020. Retrieved May 11, 2018.
235. ^ Feather, Leonard (June 15, 1989). “Miles Davis to Get Intimate in San
Juan’s Coach House”. Los Angeles Times. Archived from the original on April 17, 2017. Retrieved April 16, 2017.
236. ^ “St. Louis Walk of Fame Inductees”. stlouiswalkoffame.org. St. Louis Walk of Fame. Archived from the original on October 31,
2012. Retrieved April 25, 2013.
237. ^ Johnson, Phil (March 14, 2004). “Discs: Jazz—Miles Davis/Ascenseur Pour L’Echafaud (Fontana)”. Independent on Sunday.
238. ^ Dargis, Manohla (October 26, 2005). “Film Within a Film in 60’s Time Capsule?
Groovy”. The New York Times. Retrieved October 14, 2022.
239. ^ Linscott, Charles “Chip” P. (2016). “In a (Not So) Silent Way: Listening Past Black Visuality in Symbiopsychotaxiplasm”. Black Camera. 8 (1): 169-190. doi:10.2979/blackcamera.8.1.0169.
S2CID 152125865.
b. Carr, Ian (1998). Miles Davis: The Definitive Biography. Thunder’s Mouth Press. ISBN 978-1-560-25241-2.
c. Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. ISBN 978-0-306-80849-4.
d. Christgau,
Robert (1997). “Miles Davis’ ’70s: The Excitement! The Terror!”. The Village Voice. Archived from the original on January 27, 2012. Retrieved April 24, 2012.
e. Cole, George (2005). The Last Miles: The Music of Miles Davis (1980–1991). Equinox
Publishing Ltd. ISBN 978-1-84553-122-5.
f. Cook, Richard (2007). It’s About That Time: Miles Davis On and Off Record. Oxford University Press. ISBN 978-0-19-532266-8.
g. Cook, Richard; Morton, Brian (1994). Penguin Guide to Jazz. Penguin Books.
ISBN 978-0-140-17949-1.
h. Davis, Gregory; Sussman, Les (2006). Dark Magus: The Jekyll and Hyde Life of Miles Davis. Hal Leonard. ISBN 978-0-879-30875-9.
i. Davis, Miles; Troupe, Quincy (1989). Miles: The Autobiography. Simon & Schuster. ISBN
978-0-671-72582-2.
j. Davis, Miles; Sultanof, Jeff (2002). Miles Davis – Birth of the Cool: Transcribed Score. Hal Leonard. ISBN 978-0-634-00682-1.
k. Early, Gerald (2001). Miles Davis and American Culture. Missouri History Museum. ISBN 978-1-883982-38-6.
l. Einarson,
John (2005). Mr. Tambourine Man: The Life and Legacy of The Byrds’ Gene Clark. Backbeat Books. ISBN 978-0-879-30793-6.
m. Freeman, Philip (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard. ISBN 978-1-617-74521-8.
n. Gelbard,
Jo (2012). Miles and Jo: Love Story in Blue. AuthorHouse. ISBN 978-1-477-28957-0. Archived from the original on February 23, 2017. Retrieved November 13, 2016.
o. Kahn, Ashley (2001). Kind of Blue: The Making of the Miles Davis Masterpiece. Da Capo
Press Inc. ISBN 978-0-306-81067-1.
p. Lees, Gene (2001). You Can’t Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press. ISBN 978-0-300-08965-3.
q. McCurdy, Ronald C. (2004). Meet the Great Jazz Legends: Short Sessions on the Lives,
Times & Music of the Great Jazz Legends. Alfred Music. ISBN 978-1-457-41813-6.
r. Morton, Brian (2005). Miles Davis. Haus Publishing. ISBN 978-1-904-34179-6.
s. Nisenson, Eric (1982). ‘Round about Midnight: A Portrait of Miles Davis. Da Capo
Press. ISBN 978-0-306-80684-1.
t. Orr, Tamra (2012) [2001]. American Jazz: Miles Davis. Mitchell Lane Publishers, Inc. ISBN 978-1-612283-41-8.[unreliable source?]
u. Szwed, John (2004). So What: The Life of Miles Davis. Simon & Schuster. p. 343.
ISBN 978-0-684-85983-5.
v. Tingen, Paul (2001). Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. Billboard Books. ISBN 978-0-8230-8346-6. Archived from the original on December 15, 2019. Retrieved August 6, 2019.
w. Troupe, Quincy
(2002). Miles and Me. University of California Press. ISBN 978-0-520-23471-0.
x. Various (2012). Miles Davis: The Complete Illustrated History. Voyageur Press. ISBN 978-0-7603-4262-6.
y. Waters, Keith (2011). The Studio Recordings of the Miles
Davis Quintet, 1965–68. Oxford University Press. ISBN 978-0-19-539383-5.
z. Williams, Richard (2010). The Blue Moment: Miles Davis’s Kind of Blue and the Remaking of Modern Music. Norton. ISBN 978-0-393-07663-9.
aa. Yanow, Scott (2005). Jazz:
A Regional Exploration. Greenwood Publishing Group. ISBN 978-0-313-32871-8.
bb. Warner, Jennifer (October 27, 2014). Miles Davis: A Biography. BookCaps Study Guides. ISBN 978-1-62917-393-1.
Photo credit: https://www.flickr.com/photos/audreyjm529/2045022175/’]