Miles davis jazz musician biography example
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Similarly, Get Up With It (1975) collected recordings from the previous five years. Initially, Dave Liebman played saxophones and flute with the band; in 1974 he was replaced by Sonny Fortune.
Playing in the jazz clubs of New York, Davis was in frequent contact with users and dealers of recreational drugs, and by 1950, in common with many of his contemporaries, he had developed a serious heroin addiction.
By the time he was a teenager, he had already discovered his passion for the trumpet, inspired by the pioneering sounds of Louis Armstrong and the fiery improvisations of Dizzy Gillespie.
His first professional music job came when he joined the Eddie Randall band in St. Louis in 1941. In 1949 he visited Europe for the first time and performed at the Paris Jazz Festival in May.
Between 1950 and 1955, Davis mainly recorded as a leader for Prestige Records and Blue Note records in a variety of small group settings.
By the time of Star People (1983), Davis's band included guitarist John Scofield, with whom Davis worked closely on both Star People and 1984's Decoy, an underdeveloped, experimental mixture of soul music and electronica.
By 1948, he had served his apprenticeship as a sideman, both on stage and record, and a recording career of his own was beginning to blossom.
Hancock and Joe Zawinul were brought in to assist Corea on electric keyboards, and the young guitarist John McLaughlin made the first of his many appearances with Miles at this time. Davis noted that many accepted jazz standards were in fact a pop song from Broadway theater, and that he was simply selecting more recent pop songs to perform.
The group played essentially the same repertoire of bebop and standards that earlier Davis bands did, but tackled them with increasing structural and rhythmic freedom and (in the case of the up-tempo material) at breakneck speed. In May, the new band played two dates as part of the Newport Jazz Festival. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, the Grateful Dead, and Santana.
In reality, he neglected his studies and immediately looked for Charlie Parker. Davis also began experimenting with more rock-oriented rhythms on these records, and by the time the second half of Filles de Kilimanjaro had been recorded, Dave Holland and Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would contribute to future recording sessions.
In 1963, Davis's long-time rhythm section of Kelly, Chambers, and Cobb departed. Both records, especially Bitches Brew, proved to be huge sellers for Davis, and he was accused of "selling out" by many of his former fans, while simultaneously attracting many new fans who listened to Davis alongside the more popular rock acts of the late 1960s.
Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; the group can be heard on In Tokyo (July 1964). Working with producer Teo Macero, Davis created what many critics regard as his finest electric, rock-influenced album, though its use of editing and studio technology would be fully appreciated only upon the release of the five-CD The Complete Jack Johnson Sessions in 2003.
The album’s pioneering use of electric pianos, guitars and synthesisers blurred the lines between genres, paving the way for a host of fusion artists in the subsequent decades. After some gigs at New York's Royal Roost, Davis was signed by Capitol Records.