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General information  

  • Real name : Miles Dewey Davis III
  • Place of birth : Alton
  • Date of birth : 26/05/1926
  • Place of death : California
  • Date of death : 28/09/1991

Alias  

  • Davis Miles
  • Miles

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Miles Davis (1926)

Miles Dewey Davis III

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  Summary  

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.

On October 7, 2008, his 1959 album Kind of Blue received its fourth platinum certification from the Recording Industry Association of America , for shipments of at least four million copies in the United States. Miles Davis was inducted into the Rock and Roll Hall of Fame in 2006. Davis was noted as "one of the key figures in the history of jazz".

On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the US House of Representatives to recognize and commemorate the album Kind of Blue on its 50th anniversary. 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." It passed, unanimously, with a vote of 409–0 on December 15, 2009.

  Biography  

  Early life (1926–44)
Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.

Davis' mother, Cleota Mae Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato. Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything." Clark Terry was another important early influence.

By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high school.

In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to continue formal academic studies.

  New York and the bebop years begin (1944–48)


In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music.

Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.

Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.

Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also acknowledged that, while greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years.

Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers. In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947.

Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig on piano, and Curley Russell on bass.


With Parker's quintet, Davis went into the studio several times, already showing hints of the style for which he would become known. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that would follow. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York. In 1948, Parker returned to New York, and Davis rejoined his group.


The relationships within the quintet, however, were growing tense. Parker's erratic behavior (attributable to his well-known drug addiction) and artistic choices became sources of friction. In December 1948, disputes over money began to strain their relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost.

For Davis, his departure from Parker's group marked the beginning of a period in which he worked mainly as a freelancer and as a sideman in some of the most important combos on the New York jazz scene.

  Birth of the Cool (1948–49)
In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene of the time. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that was to be associated with the combo).

Davis took an active role in the project, so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.

The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's artistic director.

The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone , Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording

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

A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, Birth of the Cool, gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis' group.

For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.

The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians .

This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.

  Hard bop and the "Blue Period" (1950–54)
The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke , and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.

Many of his new and old friends tried to persuade him to stay in France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The depression was due in part to his separation from Gréco, in part to his feeling underappreciated by the critics (who were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two children.

These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their own . For the next four years, Davis supported his habit partly with his music and partly by living the life of a hustler. By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed some of his friends . He himself had been arrested for drug possession while on tour in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to Down Beat.

Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and literally locking himself in a room until he had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard Jennings was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.

Despite all the personal turmoil, the 1950–54 period was actually quite fruitful for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.

In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis.

The most important Prestige recordings of this period (Dig, Blue Haze, Bags' Groove, Miles Davis and the Modern Jazz Giants, and Walkin') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.

With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues. A few critics go as far as to call Walkin' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time .

Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper. Among the several factors that contributed to this reputation were his contempt for the critics and specialized press and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had a near fight with Thelonious Monk during the recording of Bags' Groove, received wide exposure in the specialized press.)

The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice, earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.

  First great quintet and sextet (1955–58)

Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.

None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young , a Detroit player who had been on the New York scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley.

The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes. The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.

With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received 'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: Relaxin' with the Miles Davis Quintet, Steamin' with the Miles Davis Quintet, Workin' with the Miles Davis Quintet, and Cookin' with the Miles Davis Quintet. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene.

The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians. Davis played some gigs at the Cafe Bohemia with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film Ascenseur pour l'échafaud. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.

Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded Milestones, an album anticipating the new directions he was preparing to give to his music.

Almost immediately after the recording of Milestones, Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans——a young white pianist with a strong classical background——and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record . Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.

  Recordings with Gil Evans (1957–63)
In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, Miles Ahead , showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.

In 1958, Davis and Evans were back in the studio to record Porgy and Bess, an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.

Sketches of Spain (1959–1960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. Miles Davis at Carnegie Hall includes Rodrigo's Concierto de Aranjuez, along with other compositions recorded in concert with an orchestra under Evans' direction.

Sessions with Davis and Evans in 1962 resulted in the album Quiet Nights, a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, whom he didn't speak to for more than two years. This was the last time Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that "my best friend is Gil Evans."

  Kind of Blue (1959–64)
In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his magnum opus, Kind of Blue. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style. Both Davis and Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956. Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album. "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven to be both highly popular and enormously influential. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum . In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.

The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program."

In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on." Davis explained that he worked at the nightclub and refused to move. The officer said that he would arrest Davis and grabbed him as Davis protected himself. Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation. Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head. Davis attempted to pursue the case in the courts, before eventually dropping the proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New York clubs.

Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris and the Live in Stockholm album.

In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.

The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the Seven Steps to Heaven album, In Europe , My Funny Valentine , and Four and More . The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.

Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on Miles in Tokyo! .

By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin . On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to Columbia Records.

  Second great quintet (1964–68)
By the time of E.S.P. , Davis' lineup consisted of Wayne Shorter, Herbie Hancock , Ron Carter , and Tony Williams . The last of his acoustic bands, this group is often referred to as the second great quintet.

A two-night Chicago performance in late 1965 is captured on The Complete Live at the Plugged Nickel 1965, released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. It is reasonable to point out, though, that while some of the titles remain the same as the tunes employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no comparison. It could even be said that the listening experience to these standards as live performances is as much of a radical take on the jazz of the time as the new compositions of the studio albums listed below.

The recording of Live at the Plugged Nickel was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of studio recordings: Miles Smiles , Sorcerer , Nefertiti , Miles in the Sky , and Filles de Kilimanjaro . The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975.

Miles in the Sky and Filles de Kilimanjaro, on which electric bass, electric piano, and electric guitar were tentatively introduced on some tracks, pointed the way to the subsequent fusion phase of Davis' career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of Filles de Kilimanjaro had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.

  Electric Miles (1968–75)

Davis' influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix, many of whom he met through Betty Mabry , a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.

Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976. This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from Bitches Brew, In a Silent Way, and the 1960s quintet albums, along with an occasional standard.

In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally." His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music." Both Bitches Brew and In a Silent Way feature "extended" compositions that were never actually "played straight through" by the musicians in the studio. Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques. Both records, especially Bitches Brew, proved to be big sellers. Starting with Bitches Brew, Davis' albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, the Grateful Dead, Neil Young, and Santana. Several live albums were recorded during the early 1970s at these performances: Live at the Fillmore East, March 7, 1970: It's About That Time , Black Beauty , and Miles Davis at Fillmore: Live at the Fillmore East .

By the time of Live-Evil in December 1970, Davis' ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of Live-Evil were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set The Cellar Door Sessions, which was recorded over four nights in December 1970. In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis' own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him. The resulting album, 1971's A Tribute to Jack Johnson, contained two long pieces that featured musicians including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971.

As Davis stated in his autobiography, he wanted to make music for the young African-American audience. On the Corner blended funk elements with the traditional jazz styles he had played his entire career. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted by the "traditional" jazz radio stations. After recording On the Corner, Davis put together a new group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in the Philharmonic Hall for the album In Concert , was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune.

Big Fun was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It collected recordings from the previous five years. Get Up With It included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis' most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: Dark Magus, Agharta, and Pangaea. Dark Magus captures a 1974 New York concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only Agharta was available in the US; Pangaea and Dark Magus were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on Dark Magus), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by osteoarthritis , sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs , and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order."

After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest." In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his house as a wreck, and detailing his drug and sex addictions. In 1976, Rolling Stone reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his exile from performing; these sessions bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of Down Beat. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis' musical descendants would be in the realm of New Wave rock, and in particular the styling of Prince.

  Last decade (1981–91)

By 1979, Davis had rekindled his relationship with actress Cicely Tyson. With Tyson, Davis would overcome his cocaine addiction and regain his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved to be particularly arduous. While recording The Man with the Horn (sessions were spread sporadically over 1979–1981), Davis played mostly wahwah with a younger, larger band.

The initial large band was eventually abandoned in favor of a smaller combo featuring saxophonist Bill Evans and bass player Marcus Miller, both of whom would be among Davis' most regular collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. The Man with the Horn was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording We Want Miles from the ensuing tour, received positive reviews.


By late 1982, Davis' band included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album Star People. In mid-1983, while working on the tracks for Decoy, an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on The Man with the Horn. With a seven-piece band, including Scofield, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones , Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of Aura, an orchestral tribute to Davis composed by Danish trumpeter Palle Mikkelborg.

You're Under Arrest, Davis' next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the TV show Miami Vice as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" .


You're Under Arrest also proved to be Davis' final album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis' more recent fusion recordings as not being "'true' jazz", comments Davis initially shrugged off, calling Marsalis "a nice young man, only confused". This changed after Marsalis appeared, unannounced, onstage in the midst of Davis' performance at the inaugural Vancouver International Jazz Festival in 1986. Marsalis whispered into Davis' ear that "someone" had told him to do so; Davis responded by ordering him off the stage.

Davis grew irritated at Columbia's delay releasing Aura. The breaking point in the label-artist relationship appears to have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed with Warner Brothers shortly thereafter.

Davis collaborated with a number of figures from the British new wave movement during this period, including Scritti Politti. At the invitation of producer Bill Laswell, Davis recorded some trumpet parts during sessions for Public Image Ltd.'s Album, according to Public Image's John Lydon in the liner notes of their Plastic Box box set. In Lydon's words, however, "strangely enough, we didn't use ." (Also according to Lydon in the Plastic Box notes, Davis favorably compared Lydon's singing voice to his trumpet sound.)

Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, Tutu , would be his first to use modern studio tools—programmed synthesizers, samples and drum loops—to create an entirely new setting for his playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of Sketches of Spain and won a Grammy in 1987.

He followed Tutu with Amandla, another collaboration with Miller and George Duke, plus the soundtracks to four movies: Street Smart, Siesta, The Hot Spot , and Dingo. He continued to tour with a band of constantly rotating personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released posthumously, were the hip hop-influenced studio album Doo-Bop and Miles & Quincy Live at Montreux, a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from his 1940s and 1950s recordings for the first time in decades.

In 1988 he had a small part as a street musician in the film Scrooged, starring Bill Murray. In 1989, Davis was interviewed on 60 Minutes by Harry Reasoner. He received the Grammy Lifetime Achievement Award in 1990.

In early 1991, he appeared in the Rolf de Heer film Dingo as a jazz musician. In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis' last on film.

Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65. He is buried in Woodlawn Cemetery in The Bronx.

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  Played movies  

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  Albums 

  Tracks  

Name Duration Released
Gingerbread Boy 05:56 20/09/2011
Agitation 05:26 20/09/2011
Waiting for Miles 00:41 2007
S'posin' 06:09 2006
Stablemates 04:51 2006
A Foggy Day 05:19 2006
What's New 03:41 2005
'Round About Midnight 05:37 2005
A Night in Tunisia 07:30 2005
Archie Moore 04:45 2003
Johnny Bratton 08:18 2003
Willie Nelson 06:41 2003
Splash: Interlude 1/Interlude 2/Interlude 3 10:08 11/2001
Dual Mr. Anthony Tillmon Williams Process 13:23 11/2001
Two Faced 18:03 11/2001
Mademoiselle Mabry 16:37 11/2001
Splashdown: Interlude 1 /Interlude 2 08:03 11/2001
Tempus Fugit 00:00 2001
Now's The Time 00:00 2001
It's About That Time/The Theme 14:03 2001
Spanish Key 11:16 2001
Tadd's Delight 04:28 2000
Dear Old Stockholm 07:51 2000
Little Melonae 07:22 2000
On the Corner 16:42 1999
Rated X 06:41 1999
John McLaughlin 04:22 24/11/1998
Rated X / Billy Preston 14:34 1998
Black Satin / What If / Agharta Prelude Dub 16:06 1998
In a Silent Way / Shhh/Peaceful / It's About That Time 15:20 1998
Intruder 04:52 1996
In A Silent Way 01:49 1996
Wrinkle 07:17 1996
Mr. Pastorius 03:32 1996
New Blues 05:35 1996
Stella by Starlight 12:49 08/07/1995
Thanks For Everything 00:00 30/06/1992
Chocolate Chip 00:00 30/06/1992
Summer Madness 00:00 30/06/1992
The Doo Bop Song 00:00 30/06/1992
Mystery 00:00 30/06/1992
Street Lady 00:00 30/06/1992
High Speed Chase 00:00 30/06/1992
Music Room 00:00 1991
Concert on the Runway 00:00 1991
Kimberley Trumpet in Paris 00:00 1991
Arrival 00:00 1991
Paris Walking I 00:00 1991
Kimberley Trumpet 00:00 1991
Dream 00:00 1991
Trumpet Cleaning 00:00 1991
Going Home 00:00 1991
Letter as Hero 00:00 1991
Jam Session 00:00 1991
Dingo Howl 00:00 1991
Club Entrance 00:00 1991
Departure 00:00 1991
Don't Stop Me Now 03:01 1990
Big Time 05:40 18/05/1989
Cobra 05:15 18/05/1989
Catémbe 05:35 18/05/1989
Jilli 05:05 18/05/1989
Amandla 05:20 18/05/1989
Jo-Jo 04:51 18/05/1989
Hannibal 05:49 18/05/1989
Orange 08:41 02/1989
Yellow 06:55 02/1989
White 06:07 02/1989
Intro 04:48 02/1989
Indigo 06:06 02/1989
Electric Red 04:19 02/1989
Blue 06:36 02/1989
Green 08:13 02/1989
Red 06:05 02/1989
Pointless Mama Blues 02:51 1988
That's the Stuff You Gotta Watch 03:05 1988
Sippin' At Bells 03:18 1988
Little Willie Leaps 03:57 1988
Bring It On Home 03:06 1988
Deep Sea Blues 03:16 1988
Theme for Augustine / Wind / Seduction / Kiss 06:33 11/1987
Siesta / Kitt's Kiss / Lost in Madrid, Part 2 06:54 11/1987
Lost in Madrid, Part 1 01:48 11/1987
Afterglow 01:41 11/1987
Claire / Lost in Madrid, Part 5 04:33 11/1987
Lost in Madrid, Part 4 / Rat Dance / The Call 01:41 11/1987
Conchita / Lament 06:43 11/1987
Submission 02:32 11/1987
Portia 06:18 12/1986
Tomaas 05:38 12/1986
Tutu 05:15 12/1986
Full Nelson 05:06 12/1986
Don't Lose Your Mind 05:49 12/1986
Perfect Way 04:35 12/1986
Backyard Ritual 04:49 12/1986
Splatch 04:46 12/1986
Intro: MD 1 07:17 09/09/1985
Human Nature 04:30 09/09/1985
One Phone Call 04:34 09/09/1985
You're Under Arrest 06:14 09/09/1985
Time After Time 03:37 09/09/1985
Katia 07:37 09/09/1985
Katia Prelude 00:40 09/09/1985
Ms. Morrisine 04:57 09/09/1985
That's Right 11:13 06/1984
What It Is 04:32 06/1984
That's What Happened 03:34 06/1984
Freaky Deaky 04:33 06/1984
Code M.D. 05:59 06/1984
Robot 415 01:09 06/1984
Decoy 08:33 06/1984
U'N'I 05:58 1983
Star People 18:50 1983
Speak 08:37 1983
It Gets Better 10:09 1983
Come Get It 11:03 1983
Star On Cicely 04:31 1983
Fast Track 15:13 1982
Ife 34:06 1982
Jean Pierre 10:39 1982
Untitled compostion #04 13:17 1982
Shout 05:51 07/1981
Back Seat Betty 11:16 07/1981
Fat Time 09:57 07/1981
Ursula 10:46 07/1981
The Man With The Horn 06:35 07/1981
Aïda 08:12 07/1981
Directions, No. 1 06:51 1981
Fun 04:12 1981
Water on the Pond 07:04 1981
So Near, So Far 05:18 1981
Song of Our Country 03:27 1981
Circle in the Round 26:17 11/1979
Blues No. 2 06:51 11/1979
Love for Sale 11:52 11/1979
It's About That Time 09:59 1977
Sanctuary 04:01 1977
Miles Runs the Voodoo Down 12:22 1977
Directions 10:46 1977
Moja, Pt. 1 12:28 1977
Prelude 26:01 1976
Maiysha 12:20 1976
Zimbabwe 41:48 1975
He Loved Him Madly 32:05 11/1974
Orange Lady 13:49 1974
Great Expectations 27:23 1974
Black Satin 05:16 09/1972
On the Corner; New York Girl; Thinkin' One Thing and Doin' Another; Vote for Miles 19:55 09/1972
Medley: Gemini/Double Image 05:53 17/11/1971
Little Church 03:14 17/11/1971
Sivad 15:13 17/11/1971
Right Off 26:53 24/02/1971
Thursday Miles 26:55 12/1970
Wednesday Miles 24:14 12/1970
Bitches Brew 27:00 04/1970
Pharaoh's Dance 20:06 04/1970
Shhh/Peaceful 18:16 10/1969
Peaceful 05:42 10/1969
Shhh 06:14 10/1969
Petits Machins 08:07 29/01/1969
Tout de Suite 14:07 29/01/1969
Frelon Brun 05:39 29/01/1969
Introduction by Teruo Isono 00:00 1969
Madness 00:00 1968
Hand Jive 00:00 1968
Fall 00:00 1968
Nefertiti 00:00 1968
Paraphernalia 12:36 1968
Stuff 16:58 1968
Riot 00:00 1968
Pinocchio 00:00 1968
Footprints 09:46 24/01/1967
Circle 05:52 24/01/1967
Orbits 04:37 24/01/1967
Pee Wee 04:45 1967
Prince of Darkness 06:26 1967
Vonetta 05:35 1967
Limbo 07:16 1967
The Sorcerer 05:08 1967
Masqualero 08:51 1967
Joshua/Go-Go 11:14 1966
Eighty-One 06:11 20/11/1965
E.S.P. 05:27 20/11/1965
R.J. 03:56 20/11/1965
Little One 07:21 20/11/1965
Milestones 00:00 08/1964
Autumn Leaves 00:00 08/1964
Joshua 00:00 08/1964
I Thought About You 00:00 08/1964
Fran-Dance 07:08 1964
Bye Bye Blackbird 09:11 1964
Straight, No Chaser 08:52 1964
Aos Pes Da Cruz 04:15 12/1963
Once Upon A Summertime 03:24 12/1963
Song No. 2 01:36 12/1963
I Fall in Love Too Easily 06:44 10/1963
Seven Steps to Heaven 06:23 10/1963
Basin Street Blues 10:27 10/1963
Pfrancing 08:31 12/1961
Old Folks 05:14 12/1961
Someday My Prince Will Come 09:04 12/1961
Well, You Needn't 06:20 05/1961
Diane 07:49 05/1961
Something I Dreamed Last Night 06:15 05/1961
Salt Peanuts 06:08 05/1961
Surrey with the Fringe on Top 09:10 05/1961
Old Devil Moon 03:20 05/1961
When I Fall in Love 04:24 05/1961
Solea 12:15 1960
Saeta 05:06 1960
The Pan Piper 03:52 1960
Will o' the Wisp 03:47 1960
Concierto de Aranjuez 16:19 1960
Flamenco Sketches 09:26 17/08/1959
All Blues 11:33 17/08/1959
Blue in Green 05:37 17/08/1959
Freddie Freeloader 09:46 17/08/1959
Final 03:05 1958
Florence Sur Les Champs Élysées 02:50 1958
The Buzzard Song 04:07 1958
My Man's Gone Now 06:14 1958
Motel 03:56 1958
Julien Dans L'Ascenseur 02:07 1958
Two Bass Hit 05:13 1958
Fisherman, Strawberry and Devil Crab 04:06 1958
Assassinat 02:02 1958
Sur L'Autoroute 02:15 1958
Sid's Ahead 12:59 1958
Prayer 04:39 1958
Nuit Sur Les Champs-Élysées 02:25 1958
L' Assassinat de Carala 02:10 1958
Chez Le Photographe Du Motel 03:50 1958
Oh Bess, Oh Where's My Bess 04:18 1958
Générique 02:45 1958
Au Bar du Petit Bac 02:50 1958
Summertime 03:17 1958
There's A Boat That's Leaving Soon For New York 03:23 1958
Séquence Voiture 02:56 1958
Visite Du Vigile 02:00 1958
Gone, Gone, Gone 02:03 1958
I Loves You, Porgy 03:39 1958
On Green Dolphin Street 09:48 1958
Le Petit Bal 02:40 1958
Évasion De Julien 00:53 1958
Gone 03:37 1958
Here Come De Honey Man 01:18 1958
Ascenseur 01:57 1958
Diner au Motel 03:58 1958
Bess, You Is My Woman Now 05:10 1958
It Ain't Necessarily So 04:23 1958
Love Me or Leave Me 06:54 10/1957
You Don't Know What Love Is 04:20 10/1957
Solar 04:41 10/1957
Blue 'n' Boogie 08:15 10/1957
Walkin' 13:24 10/1957
Half Nelson 04:48 09/1957
Ahmad's Blues 07:26 09/1957
Trane's Blues 08:35 09/1957
The Theme 02:01 09/1957
Four 07:15 09/1957
It Never Entered My Mind 05:26 09/1957
Deception 02:45 17/08/1957
Budo 02:32 17/08/1957
Venus de Milo 03:10 17/08/1957
Darn That Dream 03:26 17/08/1957
Moon Dreams 03:17 17/08/1957
Rouge 03:13 17/08/1957
Jeru 03:10 17/08/1957
Israel 02:15 17/08/1957
Move 02:32 17/08/1957
Rocker 03:03 17/08/1957
Boplicity 02:59 17/08/1957
Godchild 03:07 17/08/1957
All of You 07:05 18/03/1957
Ah-Leu-Cha 05:55 18/03/1957
Blues for Pablo 05:18 1957
You're My Everything 05:18 1957
Miles Ahead 03:29 1957
If I Were a Bell 08:15 1957
My Ship 04:28 1957
The Duke 03:35 1957
Doxy 04:51 1957
The Maids of Cadiz 03:53 1957
I Don't Wanna Be Kissed 03:05 1957
But Not for Me 04:34 1957
Springsville 03:27 1957
Lament 02:14 1957
Oleo 05:10 1957
Woody 'n' You 05:02 1957
The Meaning of the Blues 02:48 1957
Airegin 04:57 1957
It Could Happen to You 06:37 1957
New Rhumba 04:37 1957
Bags' Groove 11:12 1957
I Could Write a Book 05:09 1957
Tune Up 13:11 02/1956
Blues by Five 09:58 02/1956
My Funny Valentine 06:01 02/1956
In Your Own Sweet Way 04:40 1956
Tasty Pudding 03:20 1956
Vierd Blues 07:00 1956
Whispering 03:03 1956
No Line 05:48 1956
Blue Room 03:00 1956
Compulsion 05:53 1956
Down 02:51 1956
'Round Midnight 07:12 1956
Morpheus 02:21 1956
Serpent's Tooth 07:08 1956
For Adults Only 05:33 1956
Floppy 06:00 1956
Willie The Wailer 04:26 1956
How Am I to Know? 04:37 04/1955
There Is No Greater Love 05:16 04/1955
Just Squeeze Me 06:13 04/1955
Minor March 08:14 1955
Bitty Ditty 06:34 1955
Dr. Jackle 08:52 1955
How Deep Is The Ocean 00:00 1952
Would'n You 00:00 1952
Donna 00:00 1952
Chance It 00:00 1952
Denial 05:39 12/1951
It's Only A Paper Moon 05:23 12/1951
Dig 07:33 12/1951
Hibeck 03:07 1951
Prezervation 02:44 1951
Bluing 09:55 1951
Odjenar 02:52 1951
Intoit 03:22 1951
My Old Flame 06:36 1951
Conception 04:03 1951
Duet for Saxophone and Guitar 02:41 1951
Indian Summer 02:35 1951
Ezz-Thetic 02:54 1951
So What 02:44 1951
Yesterdays 02:27 1951
I May Be Wrong 03:28 1951
Inamorata 13:59
Improvisation #1 04:29
What I Say 13:12
Yesternow 17:05

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Whole or part of the information contained in this card come from the Wikipedia article "Miles Davis", licensed under CC-BY-SA full list of contributors here.