Encyclopedia of African American History

(Marvins-Underground-K-12) #1
186  Culture, Identity, and Community: From Slavery to the Present

Brew (1969). Album sales exceeded expectations, and it
was the fi rst in Davis’s career to go gold. Musical elements
included the use of various mutings, modal melodies, free
improvisation, electronic instruments and unique harmo-
nies. In order to deliver such an outstanding performance,
Miles surrounded himself with a new core of musicians
with fresh ideas. Chick Corea, Keith Jarrett, Joe Zawinal,
and Herbie Hancock represent some of the new talent
brought to Miles’s arena. Miles also experimented with the
use of improvisations in a cheerless format and a tonal am-
biguous bop style during the time Wayne Shorter served as
his accompanist. And the rhythm section was freed to fi nd
unique ways of expressing 4/4 rhythms.
From 1975 to 1980, Davis disappeared from the jazz
scene aft er announcing his retirement. Many jazz critics felt
that his career-ending proclamation was associated with a
number of health issues, including an ongoing addiction
to heroin and cocaine. However, Miles returned in early
1980 to record a series of albums that crossed a number of
genres. His new release, Th e Man with the Horn, was well-
received by followers of Miles as well as jazz critics. Th is
recording became the most popular since the Grammy-
winning Bitches Brew. Following the success of this album,
Miles entered the studio to record We Want Miles and Star
People. Again, Miles added a number of new performers
for this recording session and public performances. Among
the many performers employed were Bill Evans III on sax-
ophone (1980–1984), Brandford Marsalis on saxophone
(1984–1985), John Scofi eld on guitar (1982–1985), Robert
Irving III on synthesizer (1980–1983), and Mino Cinelu on
percussion (1982–1984).
Miles continued to experiment with diff erent styles
well into the 1980s. He recorded popular music of the rock
band Scritti Politti and rock singer Cyndi Lauper. In 1985,
he collaborated on the “Sun City” antiapartheid recording
that protested social issues in South Africa. Following the
successful release of this recording, Davis became involved
in a number of new initiatives. He appeared in the television
show Miami Vice, featured in the fi lm Durango, and com-
pleted a number of commercials for New York City radio
stations. Davis was the recipient of an honorary doctorate
in 1986 from the New England Conservatory of Music for
his longstanding achievements, which had covered a period
of more than 40 years. Th e National Association of Record-
ing Artists awarded him a Grammy in 1990 for lifetime
achievement.

and peers of Miles Davis. Th is album had a very avant-garde
sound. Th e fi lm score Ascenseur Pour Lechafaud (“Lift to
the Scaff old”) was completed by Miles in 1957. Louis Mulle
directed this fi lm, which was recognized as a major success
in France, England, and the United States. Th e entire sound-
track was recorded at a Paris radio station. Each solo in the
recording had its unique character. Th ere is a strong-willed
use of “echo” in “Generique” and “Chey le photograph du
Motel” and a muted trumpet solo in “Diner au Motel,” and
“Au bardu Petit Back” incorporates a luscious improvisa-
tion, whereas “Champs-Elysees” exhibits a rock blues style.
Davis shocked his followers when he moved toward part-
nering jazz with rock. Th e recording Filles De Kilimanjaro
reinforced the partnership when Miles utilized a wak-wak
pedal connected to his electronic trumpet and integrated
multiple electronic keyboards and electric guitar.
One of the best recordings to feature an open fusion
between soul, jazz, and rock and roll is the album Bitches


Miles Davis at a concert in Tel Aviv, 19 87. (AP Photo)


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