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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. Critics were often unreceptive but the decade garnered Davis his highest level of commercial recognition. Īfter 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). His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. This period, beginning with Davis's 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. 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.
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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. The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S.ĭavis made several line-up changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. 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).
It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s.
After a widely acclaimed comeback performance at the Newport Jazz Festival, he signed a long-term contract with Columbia Records and recorded the album 'Round About Midnight in 1955. 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. Shortly after, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz.
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Louis, Davis left to study at Juilliard in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. īorn in Alton, Illinois, and raised in East St. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. A great sense of belonging and continuity stems from interpreting this common repertoire, encouraging intercultural and international dialogue.Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader, and composer. Horn music maintains a vast, lively musical repertoire constantly enriched since the seventeenth century. Players rarely learn alone, however musical practice is often acquired in horn schools. Education in the practice is traditionally oral and imitative. This great social mix is one of the hallmarks of current horn practice. Drawn together by their shared fascination for this instrumental music, players come from all backgrounds. Playing the horn is a performative art open to musical creativity and practised on festive occasions. With twelve notes, its range enables compositions with a singing melody, accompanied by a second voice and harmonized with a bass score as an integral part of the art of playing horns, singing enables players to develop cohesion and convivial solidarity. The timbre of the instrument is clear and piercing, especially in high notes, and the instrument’s sound range is based on natural resonance with rich harmonics. The pitch, accuracy and quality of the notes produced are influenced by the musician’s breath and the instrumental technique is based on the players’ body control. The musical art of horn players, an instrumental technique linked to singing, breath control, vibrato, resonance of place and conviviality, brings together the techniques and skills used to play the horn.