Miles Davis

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For the singer born Miles Davis, see Miles Jaye. Miles Davis_sentence_0

Miles Davis_table_infobox_0

Miles DavisMiles Davis_header_cell_0_0_0
Background informationMiles Davis_header_cell_0_1_0
Birth nameMiles Davis_header_cell_0_2_0 Miles Dewey Davis IIIMiles Davis_cell_0_2_1
BornMiles Davis_header_cell_0_3_0 (1926-05-26)May 26, 1926

Alton, Illinois, USMiles Davis_cell_0_3_1

DiedMiles Davis_header_cell_0_4_0 September 28, 1991(1991-09-28) (aged 65)

Santa Monica, California, USMiles Davis_cell_0_4_1

GenresMiles Davis_header_cell_0_5_0 JazzMiles Davis_cell_0_5_1
Occupation(s)Miles Davis_header_cell_0_6_0 Miles Davis_cell_0_6_1
InstrumentsMiles Davis_header_cell_0_7_0 Miles Davis_cell_0_7_1
Years activeMiles Davis_header_cell_0_8_0 Miles Davis_cell_0_8_1
LabelsMiles Davis_header_cell_0_9_0 Miles Davis_cell_0_9_1
Associated actsMiles Davis_header_cell_0_10_0 Miles Davis_cell_0_10_1
WebsiteMiles Davis_header_cell_0_11_0 Miles Davis_cell_0_11_1

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz trumpeter, bandleader, and composer. Miles Davis_sentence_1

He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. Miles Davis_sentence_2

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. Miles Davis_sentence_3

Born in Alton, Illinois, and raised in East St. Louis, Davis left to study at the Juilliard School 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. Miles Davis_sentence_4

Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. Miles Davis_sentence_5

In the early 1950s, Miles Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction. Miles Davis_sentence_6

After a widely acclaimed comeback performance at the Newport Jazz Festival in 1955, he signed a long-term contract with Columbia Records and recorded the 1957 album 'Round About Midnight. Miles Davis_sentence_7

It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. Miles Davis_sentence_8

During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). Miles Davis_sentence_9

The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S. Miles Davis_sentence_10

Davis made several lineup 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. Miles Davis_sentence_11

After adding saxophonist Wayne Shorter to his new quintet in 1964, 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), before transitioning into his electric period. Miles Davis_sentence_12

During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin. Miles Davis_sentence_13

This period, beginning with Davis' 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. Miles Davis_sentence_14

His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. Miles Davis_sentence_15

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). Miles Davis_sentence_16

Critics were often unreceptive but the decade garnered Davis his highest level of commercial recognition. Miles Davis_sentence_17

He performed sold-out concerts worldwide, while branching out into visual arts, film, and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure. Miles Davis_sentence_18

In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". Miles Davis_sentence_19

Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period. Miles Davis_sentence_20

Early life Miles Davis_section_0

Miles Dewey Davis III was born on May 26, 1926, to an affluent African-American family in Alton, Illinois, 15 miles (24 kilometers) north of St. Miles Davis_sentence_21 Louis. Miles Davis_sentence_22

He had an older sister, Dorothy Mae (born 1925), and a younger brother, Vernon (born 1929). Miles Davis_sentence_23

His mother, Cleota Mae Henry of Arkansas, was a music teacher and violinist, and his father, Miles Dewey Davis Jr., also of Arkansas, was a dentist. Miles Davis_sentence_24

They owned a 200-acre (81 ha) estate near Pine Bluff, Arkansas with a profitable pig farm. Miles Davis_sentence_25

In Pine Bluff, he and his siblings fished, hunted, and rode horses. Miles Davis_sentence_26

Davis' grandparents were the owners of an Arkansas farm where he would spend many summers. Miles Davis_sentence_27

In 1927, the family moved to East St. Louis, Illinois. Miles Davis_sentence_28

They lived on the second floor of a commercial building behind a dental office in a predominantly white neighbourhood. Miles Davis_sentence_29

Davis' 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. Miles Davis_sentence_30

From 1932 to 1934, Davis attended John Robinson Elementary School, an all-black school, then Crispus Attucks, where he performed well in mathematics, music, and sports. Miles Davis_sentence_31

Davis had previously attended Catholic school; per his religious upbringing. Miles Davis_sentence_32

At an early age he liked music, especially blues, big bands, and gospel. Miles Davis_sentence_33

In 1935, Davis received his first trumpet as a gift from John Eubanks, a friend of his father. Miles Davis_sentence_34

He took lessons from "the biggest influence on my life," Elwood Buchanan, a teacher and musician who was a patient of his father. Miles Davis_sentence_35

His mother wanted him to play the violin instead. Miles Davis_sentence_36

Against the fashion of the time, Buchanan stressed the importance of playing without vibrato and encouraged him to use a clear, mid-range tone. Miles Davis_sentence_37

Davis said that whenever he started playing with heavy vibrato, Buchanan slapped his knuckles. Miles Davis_sentence_38

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. Miles Davis_sentence_39

Just right in the middle. Miles Davis_sentence_40

If I can't get that sound I can't play anything." Miles Davis_sentence_41

The family soon moved to 1701 Kansas Avenue in East St. Louis. Miles Davis_sentence_42

According to Davis "By the age of 12, music had become the most important thing in my life." Miles Davis_sentence_43

On his thirteenth birthday his father bought him a new trumpet, and Davis began to play in local bands. Miles Davis_sentence_44

He took additional trumpet lessons from Joseph Gustat, principal trumpeter of the St. Miles Davis_sentence_45 Louis Symphony Orchestra. Miles Davis_sentence_46

Davis would also play the trumpet in talent shows he and his siblings would put on. Miles Davis_sentence_47

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. Miles Davis_sentence_48

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. Miles Davis_sentence_49

When a drummer asked him to play a certain passage of music, and he couldn't do it, he began to learn music theory. Miles Davis_sentence_50

"I went and got everything, every book I could get to learn about theory." Miles Davis_sentence_51

At Lincoln, Davis met his first girlfriend, Irene Birth (later Cawthon). Miles Davis_sentence_52

He had a band that performed at the Elks Club. Miles Davis_sentence_53

Part of his earnings paid for his sister's education at Fisk University. Miles Davis_sentence_54

Davis befriended trumpeter Clark Terry, who suggested he play without vibrato, and performed with him for several years. Miles Davis_sentence_55

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. Miles Davis_sentence_56

He became the band's musical director, which involved hiring musicians and scheduling rehearsal. Miles Davis_sentence_57

Years later, Davis considered this job one of the most important of his career. Miles Davis_sentence_58

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. Miles Davis_sentence_59

He said later, "I didn't talk to her for two weeks. Miles Davis_sentence_60

And I didn't go with the band either." Miles Davis_sentence_61

In January 1944, Davis finished high school and graduated in absentia in June. Miles Davis_sentence_62

During the next month, his girlfriend gave birth to a daughter, Cheryl. Miles Davis_sentence_63

In July 1944, Billy Eckstine visited St. Louis with a band that included Art Blakey, Dizzy Gillespie, and Charlie Parker. Miles Davis_sentence_64

Trumpeter Buddy Anderson was too sick to perform, so Davis was invited to join. Miles Davis_sentence_65

He played with the band for two weeks at Club Riviera. Miles Davis_sentence_66

After playing with these musicians, he was certain he should move to New York City, "where the action was". Miles Davis_sentence_67

His mother wanted him to go to Fisk University, like his sister, and study piano or violin. Miles Davis_sentence_68

Davis had other interests. Miles Davis_sentence_69

Career Miles Davis_section_1

1944–1948: New York City and the bebop years Miles Davis_section_2

In September 1944, Davis accepted his father's idea of studying at the Institute of Musical Arts, later known as the Juilliard School, in New York City. Miles Davis_sentence_70

After passing the audition, he attended classes in music theory, piano and dictation. Miles Davis_sentence_71

Although Davis would frequently skip said classes. Miles Davis_sentence_72

Much of Davis' time was spent in clubs looking for his idol, Charlie Parker. Miles Davis_sentence_73

According to Davis, Coleman Hawkins told him "finish your studies at Juilliard and forget Bird". Miles Davis_sentence_74

After finding Parker, he became one of a cadre of regulars at Minton's and Monroe's in Harlem who held jam sessions every night. Miles Davis_sentence_75

The other regulars included J. Miles Davis_sentence_76 J. Johnson, Kenny Clarke, Thelonious Monk, Fats Navarro, and Freddie Webster. Miles Davis_sentence_77

Davis reunited with Cawthon and their daughter when they moved to New York City. Miles Davis_sentence_78

Parker became a roommate. Miles Davis_sentence_79

Around this time Davis was paid an allowance of $40 ($582 by 2020). Miles Davis_sentence_80

In mid-1945, Davis failed to register for the year's autumn term at Juilliard and dropped out after three semesters because he wanted to perform full-time. Miles Davis_sentence_81

Years later he criticized Juilliard for concentrating too much on classical European and "white" repertoire, but he praised the school for teaching him music theory and improving his trumpet technique. Miles Davis_sentence_82

He began performing at clubs on 52nd Street with Coleman Hawkins and Eddie "Lockjaw" Davis. Miles Davis_sentence_83

He recorded for the first time on April 24, 1945 when he entered the studio as a sideman for Herbie Fields's band. Miles Davis_sentence_84

During the next year, he recorded as a leader for the first time with the Miles Davis Sextet plus Earl Coleman and Ann Hathaway, one of the few times he accompanied a singer. Miles Davis_sentence_85

In 1945, he replaced Dizzy Gillespie in Charlie Parker's quintet. Miles Davis_sentence_86

On November 26, Davis participated in several recording sessions as part of Parker's group Reboppers that also involved Gillespie and Max Roach, displaying hints of the style he would become known for. Miles Davis_sentence_87

In Parker's tune "Now's the Time", Davis played a solo that anticipated cool jazz. Miles Davis_sentence_88

He then joined a big band led by Benny Carter, performing in St. Louis and remaining with the band in California. Miles Davis_sentence_89

He again played with Parker and Gillespie. Miles Davis_sentence_90

In Los Angeles, Parker had a nervous breakdown that put him in the hospital for several months. Miles Davis_sentence_91

In March 1946, Davis played in studio sessions with Parker and began a collaboration with bassist Charles Mingus that summer. Miles Davis_sentence_92

Cawthon gave birth to Davis's second child, Gregory, in East St. Louis before reuniting with Davis in New York City the following year. Miles Davis_sentence_93

Davis noted that by this time, "I was still so much into the music that I was even ignoring Irene." Miles Davis_sentence_94

He had also turned to alcohol and cocaine. Miles Davis_sentence_95

He was a member of Billy Eckstine's big band in 1946 and Gillespie's in 1947. Miles Davis_sentence_96

He joined a quintet led by Parker that also included Max Roach. Miles Davis_sentence_97

Together they performed live with Duke Jordan and Tommy Potter for much of the year, including several studio sessions. Miles Davis_sentence_98

In one session that May, Davis wrote the tune "Cheryl", named after his daughter. Miles Davis_sentence_99

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". Miles Davis_sentence_100

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. Miles Davis_sentence_101

1948–1950: Miles Davis Nonet and Birth of the Cool Miles Davis_section_3

In August 1948, Davis declined an offer to join Duke Ellington's orchestra as he had entered rehearsals with a nine-piece band with pianist and arranger Gil Evans and baritone saxophonist Gerry Mulligan, taking an active role on what soon became his own project. Miles Davis_sentence_102

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. Miles Davis_sentence_103

These gatherings led to the formation of the Miles Davis Nonet, which included the unusual additions of French horn and tuba; leading to a thickly textured orchestral sound. Miles Davis_sentence_104

The intent was to imitate the human voice through carefully arranged compositions and a relaxed, melodic approach to improvisation. Miles Davis_sentence_105

In September, the band completed their sole engagement as the opening band for Count Basie at the Royal Roost for two weeks. Miles Davis_sentence_106

Davis had to persuade the venue's manager to write the sign "Miles Davis Nonet. Miles Davis_sentence_107

Arrangements by Gil Evans, John Lewis and Gerry Mulligan". Miles Davis_sentence_108

He prevailed only with the help of Monte Kay, the club's artistic director. Miles Davis_sentence_109

Davis returned to Parker's quintet, but relationships within the quintet were growing tense mainly due to Parker's erratic behavior caused by his drug addiction. Miles Davis_sentence_110

Early in his time with Parker, Davis abstained from drugs, ate a vegetarian diet, and spoke of the benefits of water and juice. Miles Davis_sentence_111

Davis and Roach objected to the addition of pianist Duke Jordan, preferring Bud Powell. Miles Davis_sentence_112

In December 1948 Davis quit, claiming he was not being paid. Miles Davis_sentence_113

His departure began a period when he worked mainly as a freelancer and sideman. Miles Davis_sentence_114

His nonet remained active until the end of 1949. Miles Davis_sentence_115

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. Miles Davis_sentence_116

The line-up changed throughout the year and included the additions of tuba player Bill Barber, alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt as his style was considered too bop-oriented, pianist Al Haig, trombone players Mike Zwerin with Kai Winding, French horn players Junior Collins with Sandy Siegelstein and Gunther Schuller, and bassists Al McKibbon and Joe Shulman. Miles Davis_sentence_117

One track featured singer Kenny Hagood. Miles Davis_sentence_118

The presence of white musicians in the group angered some black players, many of whom were unemployed at the time, yet Davis rebuffed their criticisms. Miles Davis_sentence_119

Recording sessions with the nonet for Capitol continued until April 1950. Miles Davis_sentence_120

The Nonet recorded in total a dozen tracks which were released as singles and subsequently compiled on Birth of the Cool (1957). Miles Davis_sentence_121

In May 1949, Davis performed with the Tadd Dameron Quintet with Kenny Clarke and James Moody at the Paris International Jazz Festival. Miles Davis_sentence_122

On his first trip abroad Davis took a strong liking for 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.A. Miles Davis_sentence_123

The trip, he said, "changed the way I looked at things forever". Miles Davis_sentence_124

He began an affair with singer and actress Juliette Gréco. Miles Davis_sentence_125

1949–1955: Signing with Prestige, heroin addiction, and hard bop Miles Davis_section_4

After returning from Paris in mid-1949, he became depressed and found little work, which included a short engagement with Powell in October and guest spots in New York City, Chicago, and Detroit until January 1950. Miles Davis_sentence_126

He was falling behind in hotel rent and attempts were made to repossess his car. Miles Davis_sentence_127

His heroin use became an expensive addiction, and Davis, yet to reach 24 years old, "lost my sense of discipline, lost my sense of control over my life, and started to drift". Miles Davis_sentence_128

In August 1950, during a family trip to East St. Louis and Chicago in an attempt to improve their fortunes, Cawthon gave birth to Davis's second son, Miles IV. Miles Davis_sentence_129

Davis befriended boxer Johnny Bratton and began his interest in the sport. Miles Davis_sentence_130

Davis left Cawthon and his three children in New York City in the hands of a friend, jazz singer Betty Carter. Miles Davis_sentence_131

He remained grateful to her for the rest of his life. Miles Davis_sentence_132

He toured with Eckstine and Billie Holiday and was arrested for heroin possession in Los Angeles. Miles Davis_sentence_133

The story was reported in DownBeat magazine, which caused a further reduction in work, though he was acquitted weeks later. Miles Davis_sentence_134

By the 1950s Davis had become a more skilled player and was experimenting with the middle register of the trumpet alongside harmonies and rhythms. Miles Davis_sentence_135

In January 1951, Davis's fortunes improved when he signed a one-year contract with Prestige after owner Bob Weinstock became a fan of the nonet Davis chose Lewis, trombonist Bennie Green, bassist Percy Heath, saxophonist Sonny Rollins, and drummer Roy Haynes; they recorded what became part of Miles Davis and Horns (1956). Miles Davis_sentence_136

Davis was hired for other studio dates in March, June, and September 1951 and started transcribing scores for record labels to fund his heroin addiction. Miles Davis_sentence_137

During the next month, he recorded his second session for Prestige as band leader. Miles Davis_sentence_138

The material was released on The New Sounds (1951), Dig (1956), and Conception (1956). Miles Davis_sentence_139

Davis supported his heroin habit by playing music and by living the life of a hustler, exploiting prostitutes, and receiving money from friends. Miles Davis_sentence_140

By 1953, his addiction began to impair his playing. Miles Davis_sentence_141

His drug habit became public in a Down Beat interview with Cab Calloway, whom he never forgave as it brought him "all pain and suffering". Miles Davis_sentence_142

He returned to St. Louis and stayed with his father for several months. Miles Davis_sentence_143

Though he continued to use heroin, he met Roach and Mingus in September 1953 on their way to Los Angeles and joined their band, but the trip caused problems. Miles Davis_sentence_144

He returned to his father's home, "determined to kick my habit ... that was the only thing on my mind." Miles Davis_sentence_145

He locked himself inside the guest house "for about seven or eight days" until he had gone through withdrawal. Miles Davis_sentence_146

After the ordeal, he "sat down and started thinking about how I was going to get my life back together". Miles Davis_sentence_147

Davis lived in Detroit for about six months, avoiding New York City where it was easy to get drugs. Miles Davis_sentence_148

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. Miles Davis_sentence_149

He was also "pimping a little". Miles Davis_sentence_150

A widely related story, attributed to Richard "Prophet" Jennings, was that Davis stumbled into Baker's Keyboard Lounge out of the rain, carrying his trumpet in a paper bag under his coat. Miles Davis_sentence_151

He walked to the bandstand, interrupted Roach and Clifford Brown in the middle of performing "Sweet Georgia Brown", and played "My Funny Valentine" before leaving. Miles Davis_sentence_152

Davis was supposedly embarrassed into getting clean by this incident. Miles Davis_sentence_153

He disputed this account, stating that Roach had invited him to play and that his decision to quit heroin was unrelated to the incident. Miles Davis_sentence_154

He said he was inspired to quit by his idol, boxer Sugar Ray Robinson. Miles Davis_sentence_155

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. Miles Davis_sentence_156

He informed Weinstock and management at Blue Note that he was ready to record with a quintet, which he was granted. Miles Davis_sentence_157

He considered the resulting albums Miles Davis Quartet (1954) and Miles Davis Volume 2 (1956) "very important" because he felt his performances were particularly strong. Miles Davis_sentence_158

He was paid roughly $750 (US$7,140 in 2019 dollars) for each album and refused to give away his publishing rights. Miles Davis_sentence_159

Davis abandoned the bebop style and turned to the music of pianist Ahmad Jamal, whose approach and use of space influenced him. Miles Davis_sentence_160

When he returned to the studio in June 1955 to record Miles Davis Quartet, he wanted a pianist like Jamal and picked Red Garland. Miles Davis_sentence_161

Blue Haze (1956), Bags' Groove (1957), Walkin' (1957), and Miles Davis and the Modern Jazz Giants (1959) were recorded after his recovery from heroin addiction. Miles Davis_sentence_162

They documented the evolution of his sound with the Harmon mute, also known as a wah-wah mute, placed close to the microphone, and the use of more spacious and relaxed phrasing. Miles Davis_sentence_163

He assumed a central role in hard bop, which was slower than bebop, less radical in harmony and melody, and often used popular songs and American standards as starting points for improvisation. Miles Davis_sentence_164

Hard bop distanced itself from cool jazz with a harder beat and music inspired by the blues. Miles Davis_sentence_165

A few critics consider Walkin' (April 1954) the album that created the hard bop genre. Miles Davis_sentence_166

Davis gained a reputation for being cold, distant—and easily angered. Miles Davis_sentence_167

He wrote that in 1954 Sugar Ray Robinson "was the most important thing in my life besides music" and adopted Robinson's "arrogant attitude". Miles Davis_sentence_168

He showed contempt for critics and the press. Miles Davis_sentence_169

There were well-publicized confrontations with the public and with other musicians. Miles Davis_sentence_170

An argument with Thelonious Monk during the recording of Bags' Groove was reported. Miles Davis_sentence_171

In mid-1954, Davis reunited with Gréco for the first time since 1949 after she arrived in New York City for film prospects. Miles Davis_sentence_172

The two had been in occasional contact since he left Paris. Miles Davis_sentence_173

Davis being too busy to move to Spain with her, they've agreed to get together the next time he comes to France. Miles Davis_sentence_174

Davis had an operation to remove polyps from his larynx in October 1955. Miles Davis_sentence_175

The doctors told him to remain silent after the operation—but he got into an argument that permanently damaged his vocal cords and gave him a raspy voice for the rest of his life. Miles Davis_sentence_176

He was called the "prince of darkness", adding a patina of mystery to his public persona. Miles Davis_sentence_177

1955–1959: Signing with Columbia, first quintet, and modal jazz Miles Davis_section_5

In July 1955, Davis's fortunes improved considerably when he was invited to the second annual Newport Jazz Festival on July 17, with a line-up of Monk, Heath, drummer Connie Kay, and horn players Zoot Sims and Gerry Mulligan. Miles Davis_sentence_178

He convinced organizer George Wein, a fan of Davis' work, that he should be on the bill, to which Wein agreed. Miles Davis_sentence_179

The performance was praised by critics and audiences alike who considered it to be a highlight of the session as well as helping Davis, the least well known musician in the group, to increase his popularity among affluent white audiences. Miles Davis_sentence_180

He tied with Dizzy Gillespie for best trumpeter in the 1955 Down Beat magazine Readers' Poll. Miles Davis_sentence_181

George Avakian of Columbia Records saw Davis perform at Newport and wanted to sign him to the label. Miles Davis_sentence_182

Davis had one year left on his contract with Prestige, which required him to release four more albums. Miles Davis_sentence_183

He signed a contract with Columbia that included a $4,000 advance (US$38,176 in 2019 dollars) and a condition that his recordings for Columbia would remain unreleased until his agreement with Prestige expired. Miles Davis_sentence_184

At the request of Avakian, he formed the Miles Davis Quintet for a performance at Café Bohemia. Miles Davis_sentence_185

The quintet consisted of Davis on trumpet, Sonny Rollins on tenor saxophone, Red Garland on piano, Paul Chambers on double bass, and Philly Joe Jones on drums. Miles Davis_sentence_186

Rollins was replaced by John Coltrane, completing the membership of the first quintet. Miles Davis_sentence_187

This group appeared on his final albums for Prestige: 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). Miles Davis_sentence_188

The music on all four albums was recorded in two one-day sessions in 1956 with Rudy Van Gelder. Miles Davis_sentence_189

Each album helped establish Davis's quintet as one of the best. Miles Davis_sentence_190

The style of the group was an extension of their experience playing with Davis. Miles Davis_sentence_191

He played long, legato, melodic lines, while Coltrane contrasted with energetic solos. Miles Davis_sentence_192

Their live repertoire was a mix of bebop, standards from the Great American Songbook and pre-bop eras, and traditional tunes. Miles Davis_sentence_193

They appeared on 'Round About Midnight, Davis's first album for Columbia. Miles Davis_sentence_194

In 1956, he left his quintet temporarily to tour Europe as part of the Birdland All-Stars, which included the Modern Jazz Quartet and French and German musicians. Miles Davis_sentence_195

In Paris, he reunited with Gréco and they "remained lovers for many years". Miles Davis_sentence_196

He then returned home, reunited his quintet and toured the US for two months. Miles Davis_sentence_197

Conflict arose on tour as he grew impatient with the drug habits of Jones and Coltrane. Miles Davis_sentence_198

Davis was trying to live a healthier life by exercising and reducing his alcohol. Miles Davis_sentence_199

But he continued to use cocaine. Miles Davis_sentence_200

At the end of the tour, he fired Jones and Coltrane and replaced them with Sonny Rollins and Art Taylor. Miles Davis_sentence_201

In November 1957, Davis went to Paris and recorded the soundtrack to Ascenseur pour l'échafaud directed by Louis Malle (1958). Miles Davis_sentence_202

Consisting of French session 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. Miles Davis_sentence_203

After returning to New York City, Davis revived his quintet with Adderley and Coltrane, who was clean from his drug habit. Miles Davis_sentence_204

Now a sextet, the group recorded material in early 1958 that was released on Milestones (1958), an album that demonstrated Davis's interest in modal jazz. Miles Davis_sentence_205

A performance by Les Ballets Africains drew him to slower, deliberate music that allowed the creation of solos from harmony rather than chords. Miles Davis_sentence_206

In this form of ballet music, the kalimba was played for a long periods on a single chord, weaving in and out of consonance and dissonance. Miles Davis_sentence_207

By May 1958, he had replaced Jones with drummer Jimmy Cobb, and Red Garland left the group, leaving Davis to play piano on "Sid's Ahead" for the album Milestones. Miles Davis_sentence_208

He wanted someone who could play modal jazz, so he hired Bill Evans, a young, white pianist with a background in classical music. Miles Davis_sentence_209

Evans had an impressionistic approach to piano. Miles Davis_sentence_210

His ideas greatly influenced Davis. Miles Davis_sentence_211

But after eight months of touring, a tired Evans left. Miles Davis_sentence_212

Wynton Kelly, his replacement, brought to the group a swinging style that contrasted with Evans's delicacy. Miles Davis_sentence_213

The sextet made their recording debut on Jazz Track (1958). Miles Davis_sentence_214

1957–1963: Collaborations with Gil Evans and Kind of Blue Miles Davis_section_6

By early 1957, Davis was exhausted from recording and touring with his quintet and wished to pursue new projects. Miles Davis_sentence_215

During a two-week residency in Chicago in March, the 30-year-old Davis told journalists of his intention to retire at its conclusion and revealed offers he had received to become a teacher at Harvard University and a musical director at a record label. Miles Davis_sentence_216

Avakian agreed that it was time for Davis to explore something different, but Davis rejected his suggestion of returning to his nonet as he considered that a step backward. Miles Davis_sentence_217

Avakian then suggested that he work with a bigger ensemble, similar to Music for Brass (1957), an album of orchestral and brass-arranged music led by Gunther Schuller featuring Davis as a guest soloist. Miles Davis_sentence_218

Davis accepted and worked with Gil Evans in what became a five-album collaboration from 1957 to 1962. Miles Davis_sentence_219

Miles Ahead (1957) showcased Davis playing a flugelhorn and a rendition "The Maids of Cadiz" by Léo Delibes, the first piece of classical music that Davis recorded. Miles Davis_sentence_220

Evans devised orchestral passages as transitions, thus turning the album into one long piece of music. Miles Davis_sentence_221

Porgy and Bess (1959) includes arrangements of pieces from George Gershwin's opera. Miles Davis_sentence_222

Sketches of Spain (1960) contained music by composers Joaquín Rodrigo and Manuel de Falla and originals by Evans. Miles Davis_sentence_223

The classical musicians had trouble improvising, while the jazz musicians couldn't handle the difficult arrangements, but the album was a critical success, selling over 120,000 copies in the US. Miles Davis_sentence_224

Davis performed with an orchestra conducted by Evans at Carnegie Hall in May 1961 to raise money for charity. Miles Davis_sentence_225

The pair's final album was Quiet Nights (1962), a collection of bossa nova songs released against their wishes. Miles Davis_sentence_226

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. Miles Davis_sentence_227

Davis noted later that "my best friend is Gil Evans"; their work was included in the boxed set Miles Davis & Gil Evans: The Complete Columbia Studio Recordings (1996), which won a Grammy Award for Best Historical Album and Best Album Notes in 1997. Miles Davis_sentence_228

In March and April 1959, Davis recorded what many critics consider his greatest album, Kind of Blue (1959). Miles Davis_sentence_229

He named the album for its mood. Miles Davis_sentence_230

He called back Bill Evans, as the music had been planned around Evans's piano style. Miles Davis_sentence_231

Both Davis and Evans were familiar with George Russell's ideas about modal jazz. Miles Davis_sentence_232

But Davis neglected to tell pianist Wynton Kelly that Evans was returning, so Kelly appeared on only one song, "Freddie Freeloader". Miles Davis_sentence_233

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. Miles Davis_sentence_234

Released in August 1959, Kind of Blue was an instant success, with widespread radio airplay and rave reviews from critics. Miles Davis_sentence_235

It remains the best selling jazz album of all time. Miles Davis_sentence_236

In October 2008, the album reached 4× platinum certification from the Recording Industry Association of America for selling over four million copies in the US alone. Miles Davis_sentence_237

In 2009, the US House of Representatives voted 409–0 to pass a resolution that honored it as a national treasure. Miles Davis_sentence_238

During the success of Kind of Blue, Davis found himself involved with the law. Miles Davis_sentence_239

On August 25, 1959, during a recording session at the Birdland nightclub in New York City for the US Armed Services, he took a break outside the club. Miles Davis_sentence_240

As he was escorting a blonde-haired woman to a taxi, policeman Gerald Kilduff told him to "move on". Miles Davis_sentence_241

Davis said that he was working at the club, and he refused to move. Miles Davis_sentence_242

Kilduff arrested him and grabbed him as he tried to protect himself. Miles Davis_sentence_243

Witnesses said the policeman punched Davis in the stomach with a nightstick without provocation. Miles Davis_sentence_244

Two detectives held the crowd back, while a third approached Davis from behind and beat him in the head. Miles Davis_sentence_245

Davis was taken to jail, charged for assaulting an officer, then taken to the hospital where he received five stitches. Miles Davis_sentence_246

He was released on a $525 bail (US$4,605 in 2019 dollars). Miles Davis_sentence_247

By January 1960, he was acquitted of disorderly conduct and third-degree assault. Miles Davis_sentence_248

He later stated the incident "changed my whole life and whole attitude again, made me feel bitter and cynical again when I was starting to feel good about the things that had changed in this country". Miles Davis_sentence_249

Davis and his sextet toured to support Kind of Blue. Miles Davis_sentence_250

He persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Miles Davis_sentence_251

Coltrane then departed to form his quartet, though he returned for some tracks on Davis's album Someday My Prince Will Come (1961). Miles Davis_sentence_252

Its front cover shows a photograph of his wife, Frances Taylor, after Davis demanded that Columbia depict black women on his album covers. Miles Davis_sentence_253

In 1957, Davis began a relationship with Frances Taylor, a dancer he had met in 1953 at Ciro's in Los Angeles. Miles Davis_sentence_254

They married on December 21, 1959 in Toledo, Ohio. Miles Davis_sentence_255

The relationship involved numerous incidents of Davis' domestic violence towards Taylor. Miles Davis_sentence_256

He later wrote, "Every time I hit her, I felt bad because a lot of it really wasn't her fault but had to do with me being temperamental and jealous." Miles Davis_sentence_257

One reason for his behavior was that in 1963 he had increased his use of alcohol and cocaine to reduce joint pain caused by sickle cell anemia. Miles Davis_sentence_258

He hallucinated, "looking for this imaginary person" in his house while wielding a kitchen knife. Miles Davis_sentence_259

Soon after the photograph for the album E.S.P. Miles Davis_sentence_260

(1965) was taken, Taylor left him for the final time. Miles Davis_sentence_261

She filed for divorce in 1966; it was finalized in February 1968. Miles Davis_sentence_262

Davis later recalled that "Frances was the best wife I ever had and I made a mistake when I broke up with her." Miles Davis_sentence_263

1963–1968: Second quintet Miles Davis_section_7

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. Miles Davis_sentence_264

Rollins left to join them soon after, leaving Davis to pay over $25,000 (US$211,304 in 2019 dollars) to cancel upcoming gigs and quickly assemble a new group. Miles Davis_sentence_265

Following auditions, he found his new band in tenor saxophonist George Coleman, bassist Ron Carter, pianist Victor Feldman, and drummer Frank Butler. Miles Davis_sentence_266

By May 1963, Feldman and Butler were replaced by pianist Herbie Hancock and 17-year-old drummer Tony Williams who made Davis "excited all over again". Miles Davis_sentence_267

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). Miles Davis_sentence_268

The quintet played essentially the same bebop tunes and standards that Davis's previous bands had played, but they approached them with structural and rhythmic freedom and occasionally breakneck speed. Miles Davis_sentence_269

In 1964, Coleman was replaced by saxophonist Sam Rivers until Davis persuaded Wayne Shorter to leave Art Blakey. Miles Davis_sentence_270

This quintet lasted through 1968. Miles Davis_sentence_271

Shorter became the group's principal composer, and the album E.S.P. Miles Davis_sentence_272

(1965) was named after his composition. Miles Davis_sentence_273

While touring Europe, the group made its first album, Miles in Berlin (1965). Miles Davis_sentence_274

Davis needed medical attention for hip pain, which had worsened since his Japanese tour during the previous year. Miles Davis_sentence_275

He underwent hip replacement surgery in April 1965, with bone taken from his shin, but it failed. Miles Davis_sentence_276

After his third month in the hospital, he discharged himself due to boredom and went home. Miles Davis_sentence_277

He returned to the hospital in August after a fall required the insertion of a plastic hip joint. Miles Davis_sentence_278

In November 1965, he had recovered enough to return to performing with his quintet, which included gigs at the Plugged Nickel in Chicago. Miles Davis_sentence_279

Teo Macero returned as his engineer and record producer after their rift over Quiet Nights had healed. Miles Davis_sentence_280

In January 1966, Davis spent three months in the hospital due to a liver infection. Miles Davis_sentence_281

When he resumed touring, he performed more at colleges because he had grown tired of the typical jazz venues. Miles Davis_sentence_282

Columbia president Clive Davis noted that in 1966 his sales had declined to around 40,000–50,000 per album, compared to as many as 100,000 per release a few years before. Miles Davis_sentence_283

Matters were not helped by the press reporting his apparent financial troubles and imminent demise. Miles Davis_sentence_284

After his appearance at the 1966 Newport Jazz Festival, he returned to the studio with his quintet for a series of productive sessions. Miles Davis_sentence_285

He started a relationship with actress Cicely Tyson, who helped him reduce his alcohol consumption. Miles Davis_sentence_286

Material from the 1966–1968 sessions was released on Miles Smiles (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). Miles Davis_sentence_287

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. Miles Davis_sentence_288

Through Nefertiti the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. Miles Davis_sentence_289

In 1967, the group began to play their concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of change. Miles Davis_sentence_290

His bands performed this way until his hiatus in 1975. Miles Davis_sentence_291

Miles in the Sky and Filles de Kilimanjaro—which tentatively introduced electric bass, electric piano, and electric guitar on some tracks—pointed the way to the fusion phase of Davis's career. Miles Davis_sentence_292

He also began experimenting with more rock-oriented rhythms on these records. Miles Davis_sentence_293

By the time the second half of Filles de Kilimanjaro was recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock. Miles Davis_sentence_294

Davis soon took over the compositional duties of his sidemen. Miles Davis_sentence_295

1968–1975: The electric period Miles Davis_section_8

In September 1968, Davis married 23-year-old model and songwriter Betty Mabry. Miles Davis_sentence_296

In his autobiography, Davis described her as a "high-class groupie, who was very talented but who didn't believe in her own talent". Miles Davis_sentence_297

Mabry, a familiar face in the New York City counterculture, helped introduce Davis to popular rock, soul, and funk musicians. Miles Davis_sentence_298

Jazz critic Leonard Feather visited Davis's apartment and was shocked to find him listening to albums by The Byrds, Aretha Franklin, and Dionne Warwick. Miles Davis_sentence_299

He also liked James Brown, Sly and the Family Stone, and Jimi Hendrix, whose group Band of Gypsys particularly made an impression on Davis. Miles Davis_sentence_300

Davis filed for divorce from Mabry in 1969, after accusing her of having an affair with Jimi Hendrix. Miles Davis_sentence_301

In a Silent Way (1969) was recorded in a single studio session on February 18, 1969, with Shorter, Hancock, Holland, and Williams alongside keyboardists Chick Corea and Josef Zawinul and guitarist John McLaughlin. Miles Davis_sentence_302

The album contains two side-long tracks that Macero pieced together from different takes recorded at the session. Miles Davis_sentence_303

When the album was released in July 1969, some critics accused him of "selling out" to the rock and roll audience. Miles Davis_sentence_304

Nevertheless, it reached number 134 on the US Billboard Top LPs chart, his first album since My Funny Valentine to reach the chart. Miles Davis_sentence_305

In a Silent Way was his entry into jazz fusion. Miles Davis_sentence_306

The touring band of 1969–1970—with Shorter, Corea, Holland, and DeJohnette—never completed a studio recording together, and became known as Davis's "lost quintet". Miles Davis_sentence_307

In October 1969, Davis was shot at five times while in his car with one of his two lovers, Marguerite Eskridge. Miles Davis_sentence_308

The incident left him with a graze and Eskridge unharmed. Miles Davis_sentence_309

In 1970, Marguerite gave birth to their son Erin. Miles Davis_sentence_310

For the double album Bitches Brew (1970), he hired Jack DeJohnette, Airto Moreira, and Bennie Maupin. Miles Davis_sentence_311

The album contained long compositions, some over twenty minutes, that were never played in the studio but were constructed from several takes by Macero and Davis. Miles Davis_sentence_312

Other studio techniques included splicing, multitrack recording, and tape loops. Miles Davis_sentence_313

Bitches Brew peaked at No. Miles Davis_sentence_314

35 on the Billboard Album chart. Miles Davis_sentence_315

In 1976 it was certified gold for selling over 500,000 records. Miles Davis_sentence_316

By 2003, it had sold one million copies. Miles Davis_sentence_317

In March 1970, Davis began to perform as the opening act for various rock acts, allowing Columbia to market Bitches Brew to a larger audience. Miles Davis_sentence_318

He was so offended by Clive Davis's suggestion to perform at the Fillmore East that he threatened to switch record labels, but he reconsidered and shared a bill with the Steve Miller Band and Neil Young with Crazy Horse on March 6 and 7. Miles Davis_sentence_319

Biographer Paul Tingen wrote, "Miles' newcomer status in this environment" led to "mixed audience reactions, often having to play for dramatically reduced fees, and enduring the 'sell-out' accusations from the jazz world", as well as being "...attacked by sections of the black press for supposedly genuflecting to white culture". Miles Davis_sentence_320

The 1970 tours included the 1970 Isle of Wight Festival on August 29 when he performed to an estimated 600,000 people, the largest of his career. Miles Davis_sentence_321

Plans to record with Hendrix ended after the guitarist's death; his funeral was the last that Davis attended. Miles Davis_sentence_322

Several live albums with a transitional sextet/septet including Corea, DeJohnette, Holland, Moreira, saxophonist Steve Grossman, and keyboardist Keith Jarrett were recorded during this period, including Miles Davis at Fillmore (1970) and Black Beauty: Miles Davis at Fillmore West (1973). Miles Davis_sentence_323

By 1971, Davis had signed a contract with Columbia that paid him $100,000 a year (US$631,306 in 2019 dollars) for three years in addition to royalties. Miles Davis_sentence_324

He recorded a soundtrack album (1971's Jack Johnson) for the 1970 documentary film about heavyweight boxer Jack Johnson, containing two long pieces of 25 and 26 minutes in length with Hancock, McLaughlin, Sonny Sharrock, and Billy Cobham. Miles Davis_sentence_325

He was committed to making music for African-Americans who liked more commercial, pop, groove-oriented music. Miles Davis_sentence_326

By November 1971, DeJohnette and Moreira had been replaced in the touring ensemble by drummer Leon "Ndugu" Chancler and percussionists James Mtume and Don Alias. Miles Davis_sentence_327

Live-Evil (1971) was released in the same month. Miles Davis_sentence_328

Showcasing former Stevie Wonder touring bassist Michael Henderson, who replaced Holland in the autumn of 1970, the album demonstrated that Davis's ensemble had transformed into a funk-oriented group while retaining the exploratory imperative of Bitches Brew. Miles Davis_sentence_329

In 1972, composer-arranger Paul Buckmaster introduced Davis to the music of German avant-garde composer Karlheinz Stockhausen, leading to a period of creative exploration. Miles Davis_sentence_330

Biographer J. K. Chambers wrote, "The effect of Davis' study of Stockhausen could not be repressed for long ... Davis' own 'space music' shows Stockhausen's influence compositionally." Miles Davis_sentence_331

His recordings and performances during this period were described as "space music" by fans, Feather, and Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music". Miles Davis_sentence_332

The studio album On the Corner (1972) blended the influence of Stockhausen and Buckmaster with funk elements. Miles Davis_sentence_333

Davis invited Buckmaster to New York City to oversee the writing and recording of the album with Macero. Miles Davis_sentence_334

The album reached No. Miles Davis_sentence_335

1 on the Billboard jazz chart but peaked at No. Miles Davis_sentence_336

156 on the more heterogeneous Top 200 Albums chart. Miles Davis_sentence_337

On the Corner elicited a favorable review from Ralph J. Gleason of Rolling Stone, but Davis felt that Columbia marketed it to the wrong audience. Miles Davis_sentence_338

"The music was meant to be heard by young black people, but they just treated it like any other jazz album and advertised it that way, pushed it on the jazz radio stations. Miles Davis_sentence_339

Young black kids don't listen to those stations; they listen to R&B stations and some rock stations." Miles Davis_sentence_340

In October 1972, he broke his ankles in a car crash. Miles Davis_sentence_341

He took painkillers and cocaine to cope with the pain. Miles Davis_sentence_342

Looking back at his career after the incident, he wrote, "Everything started to blur." Miles Davis_sentence_343

After recording On the Corner, he assembled a group with Henderson, Mtume, Carlos Garnett, guitarist Reggie Lucas, organist Lonnie Liston Smith, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. Miles Davis_sentence_344

Only Smith was a jazz instrumentalist; consequently, the music emphasized rhythmic density and shifting textures instead of solos. Miles Davis_sentence_345

This group was recorded live for In Concert (1973), but Davis found it unsatisfactory, leading him to drop the tabla and sitar and play keyboards. Miles Davis_sentence_346

He also added guitarist Pete Cosey. Miles Davis_sentence_347

The compilation studio album Big Fun (1974) contains four long improvisations recorded between 1969 and 1972. Miles Davis_sentence_348

Studio activity in the 1970s culminated in sessions throughout 1973 and 1974 for Get Up with It (1974), a compilation that included four long pieces (comprising over ninety minutes of new music) alongside four shorter recordings from 1970 and 1972. Miles Davis_sentence_349

The album contained "He Loved Him Madly", a thirty-minute tribute to the recently deceased Duke Ellington that presaged later developments in ambient music. Miles Davis_sentence_350

In the United States, it performed comparably to On the Corner, reaching number 8 on the jazz chart and number 141 on the pop chart. Miles Davis_sentence_351

He then concentrated on live performance with a series of concerts that Columbia released on the double live albums Agharta (1975), Pangaea (1976), and Dark Magus (1977). Miles Davis_sentence_352

The first two are recordings of two sets from February 1, 1975 in Osaka, by which time Davis was troubled by pneumonia, osteoarthritis, sickle-cell anemia, depression, bursitis, and stomach ulcers; he relied on alcohol, codeine, and morphine to get through the engagements. Miles Davis_sentence_353

His shows were routinely panned by critics who mentioned his habit of performing with his back to the audience. Miles Davis_sentence_354

Cosey later asserted that "the band really advanced after the Japanese tour", but Davis was again hospitalized, for his ulcers and a hernia, during a tour of the US while opening for Herbie Hancock. Miles Davis_sentence_355

Hancock had eclipsed his former employer from a commercial standpoint with Head Hunters (1973) and Thrust (1974), two albums that were marketed to pop audiences in the aftermath of the On the Corner farrago and peaked at number 13 on the Billboard pop chart. Miles Davis_sentence_356

After appearances at the 1975 Newport Jazz Festival in July and the Schaefer Music Festival in New York City on September 5, Davis dropped out of music. Miles Davis_sentence_357

1975–1980: Hiatus Miles Davis_section_9

In his autobiography, Davis wrote frankly about his life during his hiatus from music. Miles Davis_sentence_358

He called his Upper West Side brownstone a wreck and chronicled his heavy use of alcohol and cocaine, in addition to his sexual encounters with many women. Miles Davis_sentence_359

He also stated that "Sex and drugs took the place music had occupied in my life," Drummer Tony Williams recalled that by noon (on average) Davis would be sick from the previous night's intake. Miles Davis_sentence_360

In December 1975, he had regained enough strength to undergo a much needed hip replacement operation. Miles Davis_sentence_361

In March 1976, Rolling Stone reported rumors of his imminent demise, citing his health problems during the previous tour. Miles Davis_sentence_362

In December 1976, Columbia was reluctant to renew his contract and pay his usual large advances. Miles Davis_sentence_363

But after his lawyer started negotiating with United Artists, Columbia matched their offer, establishing the Miles Davis Fund to pay him regularly. Miles Davis_sentence_364

Pianist Vladimir Horowitz was the only other musician with Columbia who had a similar status. Miles Davis_sentence_365

In 1978, Julie Coryell interviewed Davis. Miles Davis_sentence_366

Concerned about his health, she had him stay with a friend in Norwalk, Connecticut. Miles Davis_sentence_367

Davis asked Coryell's husband, fusion guitarist Larry Coryell, to participate in sessions with keyboardists Masabumi Kikuchi and George Pavlis, bassist T. Miles Davis_sentence_368 M. Stevens, and drummer Al Foster. Miles Davis_sentence_369

Davis played the arranged piece uptempo, abandoned his trumpet for the organ, and had Macero record the session without the band's knowledge. Miles Davis_sentence_370

After Coryell declined a spot in a band that Davis was beginning to put together, Davis returned to his reclusive lifestyle in New York City. Miles Davis_sentence_371

Soon after, Marguerite Eskridge had Davis jailed for failing to pay child support to their son Erin, which cost him $10,000 (US$39,199 in 2019 dollars) for release on bail. Miles Davis_sentence_372

A recording session that involved Buckmaster and Gil Evans was halted, with Evans leaving after failing to receive the payment he was promised. Miles Davis_sentence_373

In August 1978, Davis hired a new manager, Mark Rothbaum, who had worked with him since 1972. Miles Davis_sentence_374

Despite the dearth of new material, Davis placed in the Top 10 trumpeter poll of Down Beat magazine in 1979. Miles Davis_sentence_375

By 1979, Davis had rekindled his relationship with actress Cicely Tyson, with whom he overcame his cocaine addiction and regained his enthusiasm for music. Miles Davis_sentence_376

The two married on November 26, 1981, in a ceremony at Bill Cosby's home in Massachusetts that was officiated by politician and civil rights activist Andrew Young. Miles Davis_sentence_377

Their tumultuous marriage ended with Tyson filing for divorce in 1988, which was finalized in 1989. Miles Davis_sentence_378

In October 1979, his contract with Columbia was up for negotiation. Miles Davis_sentence_379

Label president Clive Davis was replaced by George Butler, who had visited Davis several times during the previous two years to encourage him to return to the studio. Miles Davis_sentence_380

To help his situation, Davis had Buckmaster come over to collaborate on new music. Miles Davis_sentence_381

After arriving, Buckmaster organized an intervention for Davis, who was living in squalor among cockroach infestations, in the dark with his curtains always closed. Miles Davis_sentence_382

His sister Dorothy cleaned his house with help from Buckmaster, Tyson, and neighbor Chaka Khan. Miles Davis_sentence_383

Davis later thanked Buckmaster for helping him. Miles Davis_sentence_384

1980–1985: Comeback Miles Davis_section_10

Having played the trumpet little throughout the previous three years, Davis found it difficult to reclaim his embouchure. Miles Davis_sentence_385

His first post-hiatus studio appearance took place on May 1, 1980. Miles Davis_sentence_386

A day later, Davis was hospitalized due to a leg infection. Miles Davis_sentence_387

He recorded The Man with the Horn (1981) from June 1980 to May 1981 with Macero producing. Miles Davis_sentence_388

A large band was abandoned in favor of a combo with saxophonist Bill Evans (not to be confused with pianist Bill Evans) and bassist Marcus Miller. Miles Davis_sentence_389

Both would collaborate with him during the next decade. Miles Davis_sentence_390

The Man with the Horn received a poor critical reception despite selling well. Miles Davis_sentence_391

In June 1981, Davis returned to the stage for the first time since 1975 in a ten-minute guest solo as part of Mel Lewis's band at the Village Vanguard. Miles Davis_sentence_392

This was followed by appearances with a new band, a four-night run at Kix in Boston, and two shows at Avery Fisher Hall on July 5 as part of the Kool Jazz Festival. Miles Davis_sentence_393

Recordings from a mixture of dates from 1981, including the Kix and Avery Fisher Hall gigs, were released on We Want Miles (1982), which earned him a Grammy Award for Best Jazz Instrumental Performance by a Soloist. Miles Davis_sentence_394

In January 1982, while Tyson was working in Africa, Davis "went a little wild" with alcohol, and suffered a stroke that temporarily paralyzed his right hand. Miles Davis_sentence_395

Tyson returned home and cared for him. Miles Davis_sentence_396

After three months of treatment with a Chinese acupuncturist, he was able to play the trumpet again. Miles Davis_sentence_397

He listened to his doctor's warnings and gave up alcohol and drugs. Miles Davis_sentence_398

He credited Tyson with helping his recovery, which involved exercise, piano playing, and visits to spas. Miles Davis_sentence_399

She encouraged him to draw, which he pursued for the rest of his life. Miles Davis_sentence_400

Davis resumed touring in May 1982 with a line-up that included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album Star People (1983). Miles Davis_sentence_401

In mid-1983, he worked on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984. Miles Davis_sentence_402

He brought in producer, composer, and keyboardist Robert Irving III, who had collaborated with him on The Man with the Horn. Miles Davis_sentence_403

With a seven-piece band that included Scofield, Evans, Irving, Foster, and Darryl Jones, he played a series of European performances that were positively received. Miles Davis_sentence_404

In December 1984, while in Denmark, he was awarded the Léonie Sonning Music Prize. Miles Davis_sentence_405

Trumpeter Palle Mikkelborg had written "Aura", a contemporary classical piece, for the event which impressed Davis to the point of returning to Denmark in early 1985 to record his next studio album, Aura (1989). Miles Davis_sentence_406

Columbia was dissatisfied with the recording and delayed its release. Miles Davis_sentence_407

Also in 1984, Davis met 34-year old sculptor Jo Gelbard. Miles Davis_sentence_408

Gelbard would teach Davis how to paint and the two were frequent collaborators and soon romantically engaged. Miles Davis_sentence_409

In May 1985, one month into a tour, Davis signed a contract with Warner Bros. that required him to give up his publishing rights. Miles Davis_sentence_410

Trumpeter Wynton Marsalis appeared unannounced onstage during Davis' performance at the inaugural Vancouver International Jazz Festival in 1986. Miles Davis_sentence_411

Marsalis whispered into Davis' ear that "someone" had told him to do so. Miles Davis_sentence_412

Davis responded by ordering him off the stage. Miles Davis_sentence_413

Davis had become increasingly irritated at Columbia's delay in releasing Aura. Miles Davis_sentence_414

The breaking point appears to have come when a producer at Columbia asked him to call Marsalis and wish him a happy birthday. Miles Davis_sentence_415

The tour in 1985 included a performance in London in July in which Davis performed on stage for five hours. Miles Davis_sentence_416

Jazz critic John Fordham concluded, "The leader is clearly enjoying himself." Miles Davis_sentence_417

By 1985, Davis was diabetic and required daily injections of insulin. Miles Davis_sentence_418

He released You're Under Arrest, his final album for Columbia, in September 1985. Miles Davis_sentence_419

It included cover versions of two pop songs: "Time After Time" by Cyndi Lauper and Michael Jackson's "Human Nature". Miles Davis_sentence_420

He considered releasing an album of pop songs, and he recorded dozens of them, but the idea was rejected. Miles Davis_sentence_421

He said that many of today's jazz standards had been pop songs in Broadway theater and that he was simply updating the standards repertoire. Miles Davis_sentence_422

Davis collaborated with a number of figures from the British post-punk and new wave movements during this period, including Scritti Politti. Miles Davis_sentence_423

At the invitation of producer Bill Laswell, he recorded some trumpet parts during sessions for Public Image Ltd.'s Album, according to John Lydon in the liner notes of their Plastic Box box set. Miles Davis_sentence_424

In Lydon's words, however, "Strangely enough, we didn't use [his contributions]." Miles Davis_sentence_425

According to Lydon in the Plastic Box notes, Davis favorably compared Lydon's singing voice to his trumpet sound during these sessions. Miles Davis_sentence_426

This period also saw Davis move from his funk inspired sound of the early 70s to a more melodic style. Miles Davis_sentence_427

1986–1991: Final years Miles Davis_section_11

After taking part in the recording of the 1985 protest song "Sun City" as a member of Artists United Against Apartheid, Davis appeared on the instrumental "Don't Stop Me Now" by Toto for their album Fahrenheit (1986). Miles Davis_sentence_428

Davis intended to collaborate with Prince, but the project was dropped. Miles Davis_sentence_429

Davis also collaborated with Zane Giles and Randy Hall on the Rubberband sessions in 1985 but those would remain unreleased until 2019. Miles Davis_sentence_430

Instead, he worked with Marcus Miller, and Tutu (1986) became the first time he used modern studio tools such as programmed synthesizers, sampling, and drum loops. Miles Davis_sentence_431

Released in September 1986, its front cover is a portrait of Davis by Irving Penn. Miles Davis_sentence_432

In 1987, he won a Grammy Award for Best Jazz Instrumental Performance, Soloist. Miles Davis_sentence_433

Also in 1987, Davis contacted American journalist Quincy Troupe to work with him on his autobiography. Miles Davis_sentence_434

The two had met the previous year when Troupe conducted a 2 day long interview. Miles Davis_sentence_435

The interview was then published by Spin as an 45 page article. Miles Davis_sentence_436

In 1988, Davis had a small part as a street musician in the Christmas comedy film Scrooged starring Bill Murray. Miles Davis_sentence_437

He also collaborated with Zucchero Fornaciari in a version of Dune Mosse (Blue's), published in 2004 in Zu & Co. of the Italian bluesman. Miles Davis_sentence_438

In November 1988, he was inducted into the Knights of Malta at a ceremony at the Alhambra Palace in Spain (hence the "Sir" title on his gravestone). Miles Davis_sentence_439

Later that month, Davis cut his European tour short after he collapsed and fainted after a two-hour show in Madrid and flew home. Miles Davis_sentence_440

Rumors of his health were made public after the American magazine Star, in its February 21, 1989 edition, published that Davis had contracted AIDS, prompting his manager Peter Shukat to issue a statement the following day to deny the claim. Miles Davis_sentence_441

Shukat revealed Davis had been in the hospital for a mild case of pneumonia and the removal of a benign polyp on his vocal cords and was resting comfortably in preparation for his 1989 tours. Miles Davis_sentence_442

Davis later blamed one of his former wives or girlfriends for starting the rumor and decided against taking legal action. Miles Davis_sentence_443

He was interviewed on 60 Minutes by Harry Reasoner. Miles Davis_sentence_444

In October 1989, he received a Grande Medaille de Vermeil from Paris mayor Jacques Chirac. Miles Davis_sentence_445

In 1990, he received a Grammy Lifetime Achievement Award. Miles Davis_sentence_446

In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. Miles Davis_sentence_447

Davis followed Tutu with Amandla (1989) and soundtracks to four films: Street Smart, Siesta, The Hot Spot, and Dingo. Miles Davis_sentence_448

His last albums were released posthumously: the hip hop-influenced Doo-Bop (1992) and Miles & Quincy Live at Montreux (1993), a collaboration with Quincy Jones from the 1991 Montreux Jazz Festival where, for the first time in three decades, he performed songs from Miles Ahead, Porgy and Bess, and Sketches of Spain. Miles Davis_sentence_449

On July 8, 1991, Davis returned to performing material from his past at the 1991 Montreux Jazz Festival with a band and orchestra conducted by Quincy Jones. Miles Davis_sentence_450

The set consisted of arrangements from his albums recorded with Gil Evans. Miles Davis_sentence_451

The show was followed by a concert billed as "Miles and Friends" at the Grande halle de la Villette in Paris two days later, with guest performances by musicians from throughout his career, including John McLaughlin, Herbie Hancock, and Joe Zawinul. Miles Davis_sentence_452

In Paris, he was awarded the Chevalier of the Legion of Honor. Miles Davis_sentence_453

After returning to America, he stopped in New York City to record material for Doo-Bop, then returned to California to play at the Hollywood Bowl on August 25, his final live performance. Miles Davis_sentence_454

Davis would become increasingly aggressive in his final year due in part to the medication he was taking. Miles Davis_sentence_455

His aggression would take the form of violence towards his partner Jo Gelbard. Miles Davis_sentence_456

Death Miles Davis_section_12

In early September 1991, Davis checked into St. Miles Davis_sentence_457 John's Hospital near his home in Santa Monica, California, for routine tests. Miles Davis_sentence_458

Doctors suggested he have a tracheal tube implanted to relieve his breathing after repeated bouts of bronchial pneumonia. Miles Davis_sentence_459

The suggestion provoked an outburst from Davis that led to an intracerebral hemorrhage followed by a coma. Miles Davis_sentence_460

According to Jo Gelbard, on September 26, Davis painted his final painting, composed of dark, ghostly figures, dripping blood and "his imminent demise." Miles Davis_sentence_461

After several days on life support, his machine was turned off and he died on September 28, 1991 in the arms of Gelbard. Miles Davis_sentence_462

He was 65 years old. Miles Davis_sentence_463

His death was attributed to the combined effects of a stroke, pneumonia, and respiratory failure. Miles Davis_sentence_464

According to Troupe, Davis was taking azidothymidine (AZT), a type of antiretroviral drug used for the treatment of HIV and AIDS, during his treatments in hospital. Miles Davis_sentence_465

A funeral service was held on October 5, 1991, at St. Peter's Lutheran Church on Lexington Avenue in New York City that was attended by around 500 friends, family members, and musical acquaintances, with many fans standing in the rain. Miles Davis_sentence_466

He was buried in Woodlawn Cemetery in the Bronx, New York City, with one of his trumpets, near the site of Duke Ellington's grave. Miles Davis_sentence_467

At the time of his death, Davis' estate was valued at more than $1 million. Miles Davis_sentence_468

In his will, Davis left 20 percent to his daughter Cheryl Davis; 40 percent to his son Erin Davis; 10 percent to nephew Vincent Wilburn Jr. and 15 percent each to his brother Vernon Davis and his sister Dorothy Wilburn. Miles Davis_sentence_469

He excluded his two sons Gregory and Miles IV. Miles Davis_sentence_470

Views on his earlier work Miles Davis_section_13

Late in his life, from the "electric period" onwards, Davis repeatedly explained his reasons for not wishing to perform his earlier works, such as Birth of the Cool or Kind of Blue. Miles Davis_sentence_471

In his view, remaining stylistically static was the wrong option. Miles Davis_sentence_472

He commented: "'So What' or Kind of Blue, they were done in that era, the right hour, the right day, and it happened. Miles Davis_sentence_473

It's over ... What I used to play with Bill Evans, all those different modes, and substitute chords, we had the energy then and we liked it. Miles Davis_sentence_474

But I have no feel for it anymore, it's more like warmed-over turkey." Miles Davis_sentence_475

When Shirley Horn insisted in 1990 that Miles reconsider playing the ballads and modal tunes of his Kind of Blue period, he demurred. Miles Davis_sentence_476

"Nah, it hurts my lip," was the reason he gave. Miles Davis_sentence_477

Bill Evans, who played piano on Kind of Blue, said: "I would like to hear more of the consummate melodic master, but I feel that big business and his record company have had a corrupting influence on his material. Miles Davis_sentence_478

The rock and pop thing certainly draws a wider audience." Miles Davis_sentence_479

Throughout his later career, Davis declined offers to reinstate his '60s quintet. Miles Davis_sentence_480

Many books and documentaries focus more extensively on his earlier work, with 1975 typically being the cutoff date. Miles Davis_sentence_481

According to an article by The Independent, from 1975 onwards a decline in critical praise for Davis' output began to form with many viewing the era as "worthless" : "There is a surprisingly widespread view that, in terms of the merits of his musical output, Davis might as well have died in 1975". Miles Davis_sentence_482

In a 1982 interview in Downbeat, Wynton Marsalis said: "They call Miles's stuff jazz. Miles Davis_sentence_483

That stuff is not jazz, man. Miles Davis_sentence_484

Just because somebody played jazz at one time, that doesn't mean they're still playing it." Miles Davis_sentence_485

Despite his contempt for Davis' later work; Marsalis' work is "laden with ironic references to Davis' music of the '60s." Miles Davis_sentence_486

Davis did not necessarily disagree; lambasting what he saw as Marsalis's stylistic conservatism, Davis said "Jazz is dead... it's finito! Miles Davis_sentence_487

It's over and there's no point apeing the shit." Miles Davis_sentence_488

Writer Stanley Crouch criticised Davis' work from In a Silent Way onwards. Miles Davis_sentence_489

Legacy and influence Miles Davis_section_14

Miles Davis is considered one of the most innovative, influential, and respected figures in the history of music. Miles Davis_sentence_490

Based on professional rankings of his albums and songs, the aggregate website Acclaimed Music lists him as the 16th most acclaimed recording artist in history. Miles Davis_sentence_491

The Guardian described him as "a pioneer of 20th-century music, leading many of the key developments in the world of jazz." Miles Davis_sentence_492

He has been called "one of the great innovators in jazz", and had the titles Prince of Darkness and the Picasso of Jazz bestowed upon him. Miles Davis_sentence_493

The Rolling Stone Encyclopedia of Rock & Roll said, "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis_sentence_494

Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music." Miles Davis_sentence_495

William Ruhlmann of AllMusic wrote, "To examine his career is to examine the history of jazz from the mid-1940s to the early 1990s, since he was in the thick of almost every important innovation and stylistic development in the music during that period ... Miles Davis_sentence_496

It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward." Miles Davis_sentence_497

Francis Davis of The Atlantic notes that Davis' career can be seen as a critique of the jazz music played time, specifically bebob. Miles Davis_sentence_498

Music writer Christopher Smith wrote: Miles Davis_sentence_499

His approach, owing largely to the African-American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians. Miles Davis_sentence_500

Musicians and admirers of Davis work include Carlos Santana, Herbie Hancock, Flea, The Roots, Wayne Shorter. Miles Davis_sentence_501

In 2016, digital publication The Pudding in an article examining Davis' legacy found that 2,452 Wikipedia pages mention Davis, with over 286 citing him as an influence. Miles Davis_sentence_502

Kind of Blue remains the best-selling jazz album of all time. Miles Davis_sentence_503

On November 5, 2009, U.S. Representative John Conyers of Michigan sponsored a measure in the United States House of Representatives to commemorate the album on its 50th anniversary. Miles Davis_sentence_504

The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music". Miles Davis_sentence_505

It passed with a vote of 409–0 on December 15, 2009. Miles Davis_sentence_506

The trumpet Davis used on the recording is displayed on the campus of the University of North Carolina at Greensboro. Miles Davis_sentence_507

It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. Miles Davis_sentence_508

The gift was the reason why the jazz program at UNCG is named the Miles Davis Jazz Studies Program. Miles Davis_sentence_509

In 1986, the New England Conservatory awarded Davis an honorary doctorate for his contributions to music. Miles Davis_sentence_510

Since 1960 the National Academy of Recording Arts and Sciences (NARAS) honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. Miles Davis_sentence_511

In 2001, The Miles Davis Story, a two-hour documentary film by Mike Dibb, won an International Emmy Award for arts documentary of the year. Miles Davis_sentence_512

Since 2005, the Miles Davis Jazz Committee has held an annual Miles Davis Jazz Festival. Miles Davis_sentence_513

Also in 2005, a London exhibition was held demostrating his paintings, 'The Last Miles: The Music of Miles Davis, 1980-1991' was released detailing his final years and eight of his albums from the 1960s and 70s were reissued in celebration of the 50th anniversary of his signing to Columbia records. Miles Davis_sentence_514

In 2006, Davis was inducted into the Rock and Roll Hall of Fame. Miles Davis_sentence_515

In 2012, the U.S. Miles Davis_sentence_516

Postal Service issued commemorative stamps featuring Davis. Miles Davis_sentence_517

Miles Ahead was a 2015 American music film directed by Don Cheadle, co-written by Cheadle with Steven Baigelman, Stephen J. Rivele, and Christopher Wilkinson, which interprets the life and compositions of Davis. Miles Davis_sentence_518

It premiered at the New York Film Festival in October 2015. Miles Davis_sentence_519

The film stars Cheadle, Emayatzy Corinealdi as Frances Taylor, Ewan McGregor, Michael Stuhlbarg, and Lakeith Stanfield. Miles Davis_sentence_520

That same year a statue of him was erected in his home city, Alton, Illinois and listeners of BBC Radio and Jazz FM voted Davis the greatest jazz musician. Miles Davis_sentence_521

Publications such as The Guardian have also ranked Davis amongst the best. Miles Davis_sentence_522

On May 27, 2016, American pianist and record producer Robert Glasper released a tribute album entitled Everything's Beautiful which features 11 reinterpretations of Davis songs. Miles Davis_sentence_523

In 2018, American rapper Q-Tip played Miles Davis in a theatre production, My Funny Valentine. Miles Davis_sentence_524

Q-Tip had previously played Davis in 2010. Miles Davis_sentence_525

In 2019, the documentary Miles Davis: Birth of the Cool, directed by Stanley Nelson, premiered at the Sundance Film Festival. Miles Davis_sentence_526

Birth of the cool was later released on PBS' American Masters series. Miles Davis_sentence_527

Davis has however been subject to criticism. Miles Davis_sentence_528

In 1990, writer Stanley Crouch, labelled Davis "the most brilliant sellout in the history of jazz," An 1993 essay by Robert Walser entitled The Musical Quarterly claims that "Davis has long been infamous for missing more notes than any other major trumpet player." Miles Davis_sentence_529

Also in the essay is a quote by music critic James Lincoln Collier who states that "if his influence was profound, the ultimate value of his work is another matter," and calls Davis an "adequate instrumentalist" but "not a great one." Miles Davis_sentence_530

In 2013 The A.V. Miles Davis_sentence_531

Club published an article "Miles Davis beat his wives and made beautiful music," In the article, writer Sonia Saraiya praises Davis as a musician, but criticises him as a person, in particular, his abuse of his wives. Miles Davis_sentence_532

Others such as Francis Davis have criticised his treatment of women describing it as "contemptible". Miles Davis_sentence_533

Awards and honors Miles Davis_section_15

Grammy Awards Miles Davis_sentence_534

Miles Davis_unordered_list_0

  • Miles Davis won eight Grammy Awards and received thirty-two nominations.Miles Davis_item_0_0

Miles Davis_table_general_1

YearMiles Davis_header_cell_1_0_0 CategoryMiles Davis_header_cell_1_0_1 WorkMiles Davis_header_cell_1_0_2
1960Miles Davis_cell_1_1_0 Best Jazz Composition of More Than Five Minutes DurationMiles Davis_cell_1_1_1 Sketches of SpainMiles Davis_cell_1_1_2
1970Miles Davis_cell_1_2_0 Best Jazz Performance, Large Group or Soloist with Large GroupMiles Davis_cell_1_2_1 Bitches BrewMiles Davis_cell_1_2_2
1982Miles Davis_cell_1_3_0 Best Jazz Instrumental Performance, SoloistMiles Davis_cell_1_3_1 We Want MilesMiles Davis_cell_1_3_2
1986Miles Davis_cell_1_4_0 Best Jazz Instrumental Performance, SoloistMiles Davis_cell_1_4_1 TutuMiles Davis_cell_1_4_2
1989Miles Davis_cell_1_5_0 Best Jazz Instrumental Performance, SoloistMiles Davis_cell_1_5_1 AuraMiles Davis_cell_1_5_2
1989Miles Davis_cell_1_6_0 Best Jazz Instrumental Performance, Big BandMiles Davis_cell_1_6_1 AuraMiles Davis_cell_1_6_2
1990Miles Davis_cell_1_7_0 Lifetime Achievement AwardMiles Davis_cell_1_7_1 Miles Davis_cell_1_7_2
1992Miles Davis_cell_1_8_0 Best R&B Instrumental PerformanceMiles Davis_cell_1_8_1 Doo-BopMiles Davis_cell_1_8_2
1993Miles Davis_cell_1_9_0 Best Large Jazz Ensemble PerformanceMiles Davis_cell_1_9_1 Miles & Quincy Live at MontreuxMiles Davis_cell_1_9_2

Other awards Miles Davis_sentence_535

Miles Davis_table_general_2

YearMiles Davis_header_cell_2_0_0 AwardMiles Davis_header_cell_2_0_1 SourceMiles Davis_header_cell_2_0_2
1955Miles Davis_cell_2_1_0 Voted Best Trumpeter, Down Beat Readers' PollMiles Davis_cell_2_1_1 Miles Davis_cell_2_1_2
1957Miles Davis_cell_2_2_0 Voted Best Trumpeter, Down Beat Readers' PollMiles Davis_cell_2_2_1 Miles Davis_cell_2_2_2
1961Miles Davis_cell_2_3_0 Voted Best Trumpeter, Down Beat Readers' PollMiles Davis_cell_2_3_1 Miles Davis_cell_2_3_2
1984Miles Davis_cell_2_4_0 Sonning Award for Lifetime Achievement in MusicMiles Davis_cell_2_4_1 Miles Davis_cell_2_4_2
1986Miles Davis_cell_2_5_0 Doctor of Music, honoris causa, New England ConservatoryMiles Davis_cell_2_5_1 Miles Davis_cell_2_5_2
1988Miles Davis_cell_2_6_0 Knight Hospitaller by the Order of St. JohnMiles Davis_cell_2_6_1 Miles Davis_cell_2_6_2
1989Miles Davis_cell_2_7_0 Governor's Award from the New York State Council on the ArtsMiles Davis_cell_2_7_1 Miles Davis_cell_2_7_2
1990Miles Davis_cell_2_8_0 St. Louis Walk of FameMiles Davis_cell_2_8_1 Miles Davis_cell_2_8_2
1991Miles Davis_cell_2_9_0 Australian Film Institute Award for Best Original Music Score for Dingo, shared with Michel LegrandMiles Davis_cell_2_9_1 Miles Davis_cell_2_9_2
1991Miles Davis_cell_2_10_0 Knight of the Legion of HonorMiles Davis_cell_2_10_1 Miles Davis_cell_2_10_2
1998Miles Davis_cell_2_11_0 Hollywood Walk of FameMiles Davis_cell_2_11_1 Miles Davis_cell_2_11_2
2006Miles Davis_cell_2_12_0 Rock and Roll Hall of FameMiles Davis_cell_2_12_1 Miles Davis_cell_2_12_2
2006Miles Davis_cell_2_13_0 Hollywood's RockwalkMiles Davis_cell_2_13_1 Miles Davis_cell_2_13_2
2008Miles Davis_cell_2_14_0 Quadruple platinum certification for Kind of BlueMiles Davis_cell_2_14_1 Miles Davis_cell_2_14_2
2019Miles Davis_cell_2_15_0 Quintuple platinum certification for Kind of BlueMiles Davis_cell_2_15_1 Miles Davis_cell_2_15_2

Discography Miles Davis_section_16

Main article: Miles Davis discography Miles Davis_sentence_536

Filmography Miles Davis_section_17

Miles Davis_table_general_3

YearMiles Davis_header_cell_3_0_0 FilmMiles Davis_header_cell_3_0_1 Credited asMiles Davis_header_cell_3_0_2 RoleMiles Davis_header_cell_3_0_5 NotesMiles Davis_header_cell_3_0_6
ComposerMiles Davis_header_cell_3_1_0 PerformerMiles Davis_header_cell_3_1_1 ActorMiles Davis_header_cell_3_1_2
1958Miles Davis_cell_3_2_0 Elevator to the GallowsMiles Davis_cell_3_2_1 YesMiles Davis_cell_3_2_2 YesMiles Davis_cell_3_2_3 Miles Davis_cell_3_2_4 Miles Davis_cell_3_2_5 Described by critic Phil Johnson as "the loneliest trumpet sound you will ever hear, and the model for sad-core music ever since. Hear it and weep."Miles Davis_cell_3_2_6
1968Miles Davis_cell_3_3_0 SymbiopsychotaxiplasmMiles Davis_cell_3_3_1 YesMiles Davis_cell_3_3_2 YesMiles Davis_cell_3_3_3 Miles Davis_cell_3_3_4 Miles Davis_cell_3_3_5 Miles Davis_cell_3_3_6
1970Miles Davis_cell_3_4_0 Jack JohnsonMiles Davis_cell_3_4_1 YesMiles Davis_cell_3_4_2 YesMiles Davis_cell_3_4_3 Miles Davis_cell_3_4_4 Miles Davis_cell_3_4_5 Basis for the 1971 album Jack JohnsonMiles Davis_cell_3_4_6
1972Miles Davis_cell_3_5_0 ImagineMiles Davis_cell_3_5_1 Miles Davis_cell_3_5_2 Miles Davis_cell_3_5_3 YesMiles Davis_cell_3_5_4 HimselfMiles Davis_cell_3_5_5 Cameo, uncreditedMiles Davis_cell_3_5_6
1985Miles Davis_cell_3_6_0 Miami ViceMiles Davis_cell_3_6_1 Miles Davis_cell_3_6_2 Miles Davis_cell_3_6_3 YesMiles Davis_cell_3_6_4 Ivory JonesMiles Davis_cell_3_6_5 TV series (1 episode – "Junk Love")Miles Davis_cell_3_6_6
1986Miles Davis_cell_3_7_0 Crime StoryMiles Davis_cell_3_7_1 Miles Davis_cell_3_7_2 Miles Davis_cell_3_7_3 YesMiles Davis_cell_3_7_4 Jazz musicianMiles Davis_cell_3_7_5 Cameo, TV series (1 episode – "The War")Miles Davis_cell_3_7_6
1987Miles Davis_cell_3_8_0 SiestaMiles Davis_cell_3_8_1 YesMiles Davis_cell_3_8_2 YesMiles Davis_cell_3_8_3 Miles Davis_cell_3_8_4 Miles Davis_cell_3_8_5 Only one song is composed by Miles Davis in cooperation with Marcus Miller ("Theme For Augustine").Miles Davis_cell_3_8_6
1988Miles Davis_cell_3_9_0 ScroogedMiles Davis_cell_3_9_1 Miles Davis_cell_3_9_2 YesMiles Davis_cell_3_9_3 YesMiles Davis_cell_3_9_4 Street musicianMiles Davis_cell_3_9_5 CameoMiles Davis_cell_3_9_6
1990Miles Davis_cell_3_10_0 The Hot SpotMiles Davis_cell_3_10_1 Miles Davis_cell_3_10_2 YesMiles Davis_cell_3_10_3 Miles Davis_cell_3_10_4 Miles Davis_cell_3_10_5 Composed by Jack Nitzsche, also featuring John Lee HookerMiles Davis_cell_3_10_6
1991Miles Davis_cell_3_11_0 DingoMiles Davis_cell_3_11_1 YesMiles Davis_cell_3_11_2 YesMiles Davis_cell_3_11_3 YesMiles Davis_cell_3_11_4 Billy CrossMiles Davis_cell_3_11_5 Soundtrack is composed by Miles Davis in cooperation with Michel Legrand.Miles Davis_cell_3_11_6


Credits to the contents of this page go to the authors of the corresponding Wikipedia page: en.wikipedia.org/wiki/Miles Davis.