Miles Davis

Trackimage Playbut Trackname Playbut Trackname
So What 09:25 Tools
Blue in Green 05:38 Tools
Freddie Freeloader 09:49 Tools
All Blues 11:36 Tools
Flamenco Sketches 09:27 Tools
'Round Midnight 00:00 Tools
Pharaoh's Dance 20:05 Tools
Move 02:32 Tools
Bitches Brew 27:00 Tools
Stella By Starlight 04:46 Tools
Miles Runs the Voodoo Down 14:05 Tools
Milestones 06:02 Tools
Jeru 03:14 Tools
Budo 04:17 Tools
Flamenco Sketches (Alternate Take) 09:32 Tools
Summertime 03:23 Tools
Moon Dreams 03:22 Tools
Spanish Key 17:30 Tools
Bye Bye Blackbird 08:00 Tools
Boplicity 03:02 Tools
John McLaughlin 04:23 Tools
Venus de Milo 03:13 Tools
Godchild 00:00 Tools
On Green Dolphin Street 09:50 Tools
Deception 02:50 Tools
Sanctuary 10:53 Tools
Israel 02:19 Tools
Rocker 03:06 Tools
Rouge 03:16 Tools
My Funny Valentine 02:37 Tools
Two Bass Hit 03:45 Tools
The Pan Piper 03:55 Tools
It Never Entered My Mind 04:04 Tools
Dear Old Stockholm 04:13 Tools
Walkin' 13:25 Tools
Darn That Dream 03:26 Tools
Fran-Dance 05:51 Tools
All of You 07:00 Tools
Love for Sale 11:53 Tools
Straight, No Chaser 10:41 Tools
Someday My Prince Will Come 05:35 Tools
Ah-Leu-Cha 05:48 Tools
Autumn Leaves 09:04 Tools
Time After Time 03:36 Tools
Will O' the Wisp 03:52 Tools
Miles Ahead 03:29 Tools
Solea 12:15 Tools
Freddie Freeloader (False Start) 00:00 Tools
Freddie Freeloader (Studio Sequence 1) 00:51 Tools
Four 04:01 Tools
Circle 05:52 Tools
Oleo 05:10 Tools
My Ship 04:30 Tools
Feio 11:49 Tools
I Thought About You 04:57 Tools
Black Satin 06:21 Tools
Seven Steps to Heaven 06:23 Tools
Flamenco Sketches - Alternate Take 09:32 Tools
Mystery 03:57 Tools
Blue in Green (Studio Sequence) 01:58 Tools
Freddie Freeloader (Studio Sequence 2) 01:29 Tools
Concierto de Aranjuez (Adagio) 16:23 Tools
Generique 02:45 Tools
Human Nature 00:00 Tools
E.S.P. 05:30 Tools
I Fall In Love Too Easily 06:44 Tools
Tutu 05:17 Tools
Nefertiti 07:50 Tools
New Rhumba 04:37 Tools
If I Were a Bell 12:06 Tools
Sid's Ahead 13:14 Tools
Tadd's Delight 04:26 Tools
Footprints 09:46 Tools
Générique 02:45 Tools
Yesterdays 03:44 Tools
Blues for Pablo 00:00 Tools
A Night in Tunisia 00:00 Tools
It Ain't Necessarily So 04:23 Tools
Bess, You Is My Woman Now 02:58 Tools
Billy Boy 07:21 Tools
Little Melonae 07:50 Tools
Dr. Jackle 05:46 Tools
My Man's Gone Now 06:17 Tools
So What - Studio Sequence 1 01:54 Tools
Gone 01:38 Tools
Song of Our Country 03:28 Tools
Gone, Gone, Gone 03:37 Tools
Chez le photographe du motel 03:54 Tools
Airegin 04:22 Tools
Tempus Fugit 06:45 Tools
Right Off 10:31 Tools
Flamenco Sketches - Studio Sequence 1 01:09 Tools
The Maids of Cadiz 03:53 Tools
Au bar du petit bac 02:55 Tools
One and One 06:09 Tools
Julien dans l'ascenseur 00:00 Tools
Springsville 03:27 Tools
L'Assassinat de Carala 00:00 Tools
Nature Boy 06:17 Tools
Flamenco Sketches - Studio Sequence 2 01:09 Tools
The Duke 03:34 Tools
Sur L'Autoroute 00:00 Tools
Half Nelson 04:49 Tools
I Loves You, Porgy 00:00 Tools
Here Come De Honey Man 00:00 Tools
Ghetto Walkin' 03:04 Tools
Compulsion 00:00 Tools
In Your Own Sweet Way 00:00 Tools
When I Fall in Love 04:21 Tools
Chocolate Chip 04:41 Tools
Round Midnight 05:57 Tools
Portia 06:18 Tools
My old flame 00:00 Tools
In a Silent Way/It's About That Time 15:20 Tools
Sweet Sue, Just You 00:00 Tools
Solar 00:00 Tools
Teo 09:35 Tools
Dîner au motel 00:00 Tools
Fran-Dance - Alternate take 05:50 Tools
High Speed Chase 04:40 Tools
You're My Everything 05:20 Tools
Fall 00:00 Tools
Great Expectations 27:22 Tools
The Theme 00:00 Tools
Old Folks 00:00 Tools
Summer Night 00:00 Tools
Enigma 03:21 Tools
Little Church 03:17 Tools
Tune Up 00:00 Tools
Yesternow 00:00 Tools
You Don't Know What Love Is 04:19 Tools
Joshua 06:58 Tools
Blow 00:00 Tools
The Meaning of the Blues 00:00 Tools
Yardbird Suite 00:00 Tools
When Lights Are Low 13:12 Tools
Weirdo 00:00 Tools
Fantasy 00:00 Tools
Lament 00:00 Tools
There's a Boat That's Leaving Soon for New York 03:23 Tools
The Doo Bop Song 05:03 Tools
It Could Happen to You 00:00 Tools
Buzzard Song 00:00 Tools
Visite du vigile 00:00 Tools
I Could Write a Book 05:08 Tools
He Loved Him Madly 32:18 Tools
How Deep Is the Ocean 04:42 Tools
Eighty-One 06:13 Tools
Masqualero 08:51 Tools
Pinocchio 05:05 Tools
So What - Live April 9th, 1960 17:29 Tools
Riot 00:00 Tools
Sonya 00:00 Tools
Concierto de Aranjuez: Adagio 16:23 Tools
Maiysha 00:00 Tools
Hand Jive 00:00 Tools
Prayer (Oh Doctor Jesus) 04:39 Tools
Basin Street Blues 00:00 Tools
Fishermen, Strawberry And Devil Crab 00:00 Tools
In A Silent Way 00:00 Tools
I'll Remember April 00:00 Tools
Duke Booty 04:56 Tools
I Waited for You 00:00 Tools
Petits machins (Little Stuff) 00:00 Tools
Bird of Paradise 00:00 Tools
Now's the Time 00:00 Tools
Some Day My Prince Will Come 00:00 Tools
Well You Needn't 05:31 Tools
Shhh / Peaceful - LP Mix 18:14 Tools
Smooch 03:07 Tools
Miles 00:00 Tools
Rated X 00:00 Tools
Agitation 00:00 Tools
So Near, So Far 00:00 Tools
Blue Haze 00:00 Tools
Madness 00:00 Tools
Tomaas 00:00 Tools
Orbits 04:36 Tools
Splatch 04:45 Tools
Conception 04:03 Tools
Old Devil Moon 00:00 Tools
Doxy 04:54 Tools
Honky Tonk 00:00 Tools
Full Nelson 00:00 Tools
Perfect Way 00:00 Tools
Green Haze 00:00 Tools
Sivad 00:00 Tools
Embraceable You 00:00 Tools
Blues By Five 00:00 Tools
Générique - BOF "Ascenseur pour l'échafaud" 02:09 Tools
Pfrancing 08:31 Tools
Violets 09:02 Tools
On The Corner 00:00 Tools
Mystery (reprise) 00:00 Tools
Blue 'n' Boogie 00:00 Tools
It's About That Time 00:00 Tools
Straight, No Chaser (Alternate Take) 00:00 Tools
Directions 00:00 Tools
There Is No Greater Love 05:15 Tools
Surrey With the Fringe On Top 00:00 Tools
Frelon Brun 05:38 Tools
Concierto De Aranjuez (Part One) 00:00 Tools
Scrapple from the Apple 00:00 Tools
Baby Won't You Please Come Home 00:00 Tools
Salt Peanuts 00:00 Tools
Mood 00:00 Tools
Something I Dreamed Last Night 06:12 Tools
Gingerbread Boy 00:00 Tools
I Don't Wanna Be Kissed (By Anyone but You) 00:00 Tools
Out of the Blue 00:00 Tools
Iris 08:31 Tools
Au Privave 00:00 Tools
Prince Of Darkness 06:25 Tools
What I Say 00:00 Tools
Easy Living 00:00 Tools
The Doo-Bop Song 00:00 Tools
Concierto de Aranjuez (Adagio) - Master 16:19 Tools
Symphony Sid Announces the Band (Live) 01:02 Tools
Backyard Ritual 00:00 Tools
Lonely Fire 00:00 Tools
Tout de suite 00:00 Tools
Dolores 00:00 Tools
No Blues 00:00 Tools
Pee Wee 00:00 Tools
In a Silent Way - LP Mix 19:52 Tools
R.J. 00:00 Tools
Donna 00:00 Tools
Little One 00:00 Tools
The Sorcerer 00:00 Tools
Dig 00:00 Tools
New York Girl 00:00 Tools
Concierto De Aranjuez (Part Two Ending) 00:00 Tools
Final (Take 1) 02:54 Tools
It's Only a Paper Moon 05:23 Tools
Florence sur les Champs-Élysées 00:00 Tools
Stuff 00:00 Tools
Diane 07:50 Tools
Trane's Blues 00:00 Tools
Out of Nowhere 00:00 Tools
Don't Lose Your Mind 00:00 Tools
Maiysha (So Long) 07:29 Tools
Ornithology 00:00 Tools
Paraphernalia 00:00 Tools
Whispering 00:00 Tools
Oh Bess, Oh Where's My Bess 00:00 Tools
Final (Take 2) 00:00 Tools
Trevere 00:00 Tools
Down 00:00 Tools
Alone Together 00:00 Tools
Limbo 00:00 Tools
Evasion De Julien 00:00 Tools
Freedom Jazz Dance 23:13 Tools
Morpheus 02:22 Tools
Drad Dog 00:00 Tools
Gone (Take 4) 00:00 Tools
Why Do I Love You 00:00 Tools
Fran Dance 00:00 Tools
Yaphet 00:00 Tools
Fran-Dance (Alternate Take) 00:00 Tools
Flamenco Sketches [Alternate Take][*] 00:00 Tools
Thinkin' One Thing And Doin' Another 00:00 Tools
Évasion de Julien 00:00 Tools
Le petit bal (Take 1) 00:00 Tools
Two Faced 00:00 Tools
Love Me or Leave Me 06:56 Tools
Black Comedy 00:00 Tools
Two Bass Hit (Alternate Take) 00:00 Tools
Miles Runs The Voodoo Down - 45-rpm single edit 02:52 Tools
Take Five 00:00 Tools
Jean Pierre 10:42 Tools
Guinnevere 00:00 Tools
Vonetta 00:00 Tools
Bags' Groove (Take 1) 11:11 Tools
Orange Lady 00:00 Tools
Selim 00:00 Tools
Ahmad's Blues 00:00 Tools
Blue Room 00:00 Tools
Filles de Kilimanjaro 12:00 Tools
S'il Vous Plait 00:00 Tools
Mademoiselle Mabry 00:00 Tools
Frelon Brun (Brown Hornet) 00:00 Tools
Flamenco Sketches [alternate take] 00:00 Tools
Nem um Talvez 00:00 Tools
Ray's Idea 00:00 Tools
Vote For Miles 00:00 Tools
Hannibal 05:48 Tools
Back Seat Betty 00:00 Tools
Ife 23:53 Tools
DR. Jekyll 00:00 Tools
Once Upon a Summertime 00:00 Tools
Recollections 00:00 Tools
Well, You Needn't 00:00 Tools
Corcovado 00:00 Tools
C.T.A. 00:00 Tools
Bluing 00:00 Tools
Wait Till You See Her 00:00 Tools
Nuit Sur Les Champs-Élysées (Take 1) 00:00 Tools
Woody'n You 00:00 Tools
Milestones (alternate take) 00:00 Tools
Just Squeeze Me 00:00 Tools
A Gal in Calico 05:18 Tools
Calypso Frelimo 00:00 Tools
Country Son 00:00 Tools
The Theme (Take 1) 00:00 Tools
Water Babies 00:00 Tools
Red China Blues 00:00 Tools
Chance It 00:00 Tools
The Leap 00:00 Tools
Amandla 04:49 Tools
There's No You 00:00 Tools
Double Image 00:00 Tools
Darn That Dream (Live) 03:25 Tools
Don't Blame Me 02:50 Tools
The Big Green Serpent 00:00 Tools
Helen Butte 00:00 Tools
Splash 00:00 Tools
Nuit Sur Les Champs-Élysées (Take 2) 00:00 Tools
I See Your Face Before Me 00:00 Tools
Shhh / Peaceful 00:00 Tools
Tasty Pudding 00:00 Tools
Talking Shit 00:00 Tools
Nothing Like You 00:00 Tools
This Is Jazz 08:24 Tools
Blues No. 2 00:00 Tools
Sweet Pea 00:00 Tools
Mademoiselle Mabry (Miss Mabry) 00:00 Tools
Moon Dreams (Live) 00:00 Tools
Funky Tonk 00:00 Tools
Denial 00:00 Tools
Mr. Pastorius 05:42 Tools
Jeru - Digitally Remastered 98 00:00 Tools
But Not for Me (Take 2) 00:00 Tools
Move (Live) 00:00 Tools
The Theme (Take 2) 00:00 Tools
Corrado 00:00 Tools
Mtume 00:00 Tools
Billy Preston 00:00 Tools
The Buzzard Song 00:00 Tools
On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote For Miles 00:00 Tools
Swing Spring 00:00 Tools
Mr. Freedom X 00:00 Tools
Vierd Blues 00:00 Tools
Somethin' Else 00:00 Tools
They Can't Hold Me Down 00:00 Tools
On the Corner / New York Girl / Thinkin' of one Thing and Doin' Another / Vote for Miles 00:00 Tools
Little Willie Leaps 00:00 Tools
Lazy Susan 00:00 Tools
Flamenco Sketches [Alternate] 09:31 Tools
Bemsha Swing 00:00 Tools
Rubberband of life (feat. Ledisi) 00:00 Tools
Fat Time 00:00 Tools
One For Daddy-O 00:00 Tools
Crazeology 00:00 Tools
Aos Pes Da Cruz 00:00 Tools
Aida 08:08 Tools
But Not for Me (Take 1) 00:00 Tools
Go Ahead John 00:00 Tools
Dual Mr. Anthony Tillmon Williams Process 00:00 Tools
I Didn't 06:05 Tools
Silence Is the Way 00:00 Tools
Lady Bird 00:00 Tools
Helen Butte/Mr. Freedom X 23:20 Tools
White 00:00 Tools
Godchild (Live) 00:00 Tools
S'il Vous Plait (Live) 00:00 Tools
Kelo 00:00 Tools
Take Off 00:00 Tools
Will You Still Be Mine? 00:00 Tools
Capricorn 00:00 Tools
Jazz Selections 00:00 Tools
The Little Blue Frog (alt) 12:16 Tools
No Line 00:00 Tools
Floppy 00:00 Tools
Code M.D. 00:00 Tools
Madness (Alternate take) 00:00 Tools
Donna Lee 02:32 Tools
Jean-Pierre 00:00 Tools
Jeru - 2000 - Remaster 00:00 Tools
Stablemates 00:00 Tools
Tune-Up 00:00 Tools
Intro 00:00 Tools
What It Is 00:00 Tools
Theme From Jack Johnson 25:31 Tools
For Adults Only 00:00 Tools
Song No. 2 00:00 Tools
Prayer 00:00 Tools
The Little Blue Frog (mst) 09:09 Tools
Billie's Bounce 00:00 Tools
Shout 00:00 Tools
It Never Entered My Mind - Remastered 00:00 Tools
Decoy 00:00 Tools
Willie the Wailer 04:27 Tools
Séquence voiture (Take 1) 00:00 Tools
Flamenco Sketches (Alternate T 09:31 Tools
Assassinat (Take 2) Julien dans l'ascenseur 00:00 Tools
Ascent 00:00 Tools
Take it or Leave It 00:00 Tools
Assassinat (Take 3) L'assassinat de Carala 00:00 Tools
Cool Jazz 00:00 Tools
Cobra 05:17 Tools
Directions II 00:00 Tools
Interlude 00:00 Tools
Round About Midnight 00:00 Tools
Big Time 05:41 Tools
Florence Sur Les Champs-Elysees 02:52 Tools
Directions I 00:00 Tools
Ezz-Thetic 00:00 Tools
Kind of Blue 00:00 Tools
Bags' Groove (Take 2) 00:00 Tools
Final (Take 3) Chez le photographe du motel 00:00 Tools
Paradise (feat. Medina Johnson) 00:00 Tools
Moja (Part 1) 00:00 Tools
Catembe 05:36 Tools
Fran-Dance [Alternate Take] 05:50 Tools
Night in Tunisia 00:00 Tools
Ms. Morrisine 00:00 Tools
'Round About Midnight 00:00 Tools
Sippin' At Bells 00:00 Tools
So What [Studio Sequence] 00:00 Tools
Flamenco Sketches [Studio Sketches 2] 00:00 Tools
Go-Go (Theme And Announcement) 00:00 Tools
I Don't Wanna Be Kissed 00:00 Tools
Jilli 05:06 Tools
Générique - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Robot 415 00:00 Tools
On the Green Dolphin Street 00:00 Tools
But Not for Me 00:00 Tools
Motel (Diner au motel) 00:00 Tools
Song No. 1 00:00 Tools
Yellow 00:00 Tools
Move - 2000 - Remaster 06:13 Tools
The Time of the Barracudas 00:00 Tools
Song for Selim 00:00 Tools
Will O' The Wisp - master 00:00 Tools
Little Church - Remix 00:00 Tools
Budo (hallucination) 00:00 Tools
Jo-Jo 04:49 Tools
Willie Nelson 00:00 Tools
Ascenseur (Evasion de Julien) 00:00 Tools
Flamenco Sketches [Studio Sketches] 00:00 Tools
K.C. Blues 00:00 Tools
Budo (hallucinations) 00:00 Tools
Orange 00:00 Tools
Hand Jive (First Alternate Take) 00:00 Tools
Blue 00:00 Tools
I'm Leaving You 00:00 Tools
Woody 'N You 00:00 Tools
Star People 00:00 Tools
Inamorata and Narration By Conrad Roberts 00:00 Tools
The Man With The Horn 00:00 Tools
Red 00:00 Tools
My Funny Valentine - Live 00:00 Tools
Speak 00:00 Tools
Bluebird 00:00 Tools
Milestones - Alternate take 00:00 Tools
Medley: Gemini / Double Image 00:00 Tools
Freedom Jazz Dance (Evolution of the Groove) 00:00 Tools
Why Do I Love You (Live) 00:00 Tools
Prelude 00:00 Tools
Water On The Pond 00:00 Tools
Right On Brotha 00:00 Tools
Green 00:00 Tools
So What (Studio Sequence 1) 00:00 Tools
Country Son (Alternate Take) 00:00 Tools
Masqualero (alternate take) 00:00 Tools
L'Assassinat De Carala - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Fast Track 00:00 Tools
Ursula 10:43 Tools
Two Bass Hit - Alternate take 00:00 Tools
Fisherman, Strawberry and Devil Crab 00:00 Tools
Straight No Chaser 00:00 Tools
Hand Jive (Second Alternate Take) 00:00 Tools
Shhh/Peaceful - Original LP Mix From 1969 00:00 Tools
Odjenar 00:00 Tools
That Old Devil Moon 03:26 Tools
Freaky Deaky 00:00 Tools
The Man I Love (Take 2) 00:00 Tools
Bag's Groove 00:00 Tools
All of You - Live from Olympia Theatre, Paris 00:00 Tools
In A Silent Way / It's About That Time 00:00 Tools
Electric Red 00:00 Tools
Oh Bess, Oh Where's My Bess? 00:00 Tools
Florence Sur Les Champs Elysees 00:00 Tools
I Wants To Stay Here (aka I Loves You Porgy) 00:00 Tools
The Ghetto Walk 26:46 Tools
Chasin' The Bird 00:00 Tools
You're Under Arrest 00:00 Tools
Splashdown 00:00 Tools
Katia 00:00 Tools
Changes 00:00 Tools
Symphony Sid Announces the Band 00:00 Tools
Indigo 00:00 Tools
Tadd's Delight - Alternate take 00:00 Tools
Kix 00:00 Tools
Bye Bye (Theme) 00:00 Tools
Florence sur les champs-elysées 00:00 Tools
Budo (Hallucination) (live) 00:00 Tools
Intoit 00:00 Tools
In a Silent Way (Rehearsal) 00:00 Tools
New Blues 00:00 Tools
My Funny Valentine (Live) 00:00 Tools
How Am I to Know? 00:00 Tools
That's Right 00:00 Tools
I Loves You, Porgy (Take 1, Second Version) 00:00 Tools
Violet 00:00 Tools
The Man I Love 07:56 Tools
Feio (Bonus Track) 00:00 Tools
Early Minor 00:00 Tools
Venus De Milo - 2000 Digital Remaster 00:00 Tools
Katia Prelude 00:00 Tools
That's What Happened 00:00 Tools
Rubberband 06:12 Tools
'Round Midnight - Live (1955 Version) 00:00 Tools
The Serpent's Tooth (Take 2) 00:00 Tools
Directions - Live at Fillmore East June 17, 1970 00:00 Tools
Introduction 01:10 Tools
Max Is Making Wax 00:00 Tools
Tune Up/When Lights Are Low 00:00 Tools
The Little Blue Frog 00:00 Tools
So Emotional (feat. Lalah Hathaway) 00:00 Tools
Blue Xmas (To Whom It May Concern) 00:00 Tools
Dear Old Stockholm - Mono Version 07:48 Tools
How Deep Is the Ocean? 00:00 Tools
Water Babies - Session Reel 00:00 Tools
Spanish Key - alternate take 00:00 Tools
Star On Cicely 00:00 Tools
Moja (Part 2) 00:00 Tools
Blues for Pablo (Take 1) 00:00 Tools
Zimbabwe 00:00 Tools
Florence Sur Les Champs-Élysées - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Solea - master 00:00 Tools
Spring Is Here 00:00 Tools
Sur L'Autoroute - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Flamenco Sketches (Studio Sequence 1) 00:00 Tools
Freddie Freeloader (Studio Sequence 2) (Previously Unreleased) 00:00 Tools
S'posin' 00:00 Tools
Woody 'N' You 00:00 Tools
So What (Studio Sequence 1) (Previously Unreleased) 00:00 Tools
Julien Dans L'Ascenseur - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Blue In Green (Studio Sequence) (Previously Unreleased) 00:00 Tools
Bess, Oh Where's My Bess 00:00 Tools
The Man I Love (Take 1) 00:00 Tools
Flamenco Sketches (Studio Sequence 1) (Previously Unreleased) 00:00 Tools
Wili (Part 1) 14:20 Tools
Come Get It 00:00 Tools
Moose The Mooche 00:00 Tools
Limbo (alternate take) 00:00 Tools
Prelude To A Kiss 00:00 Tools
Flamenco Sketches (Studio Sequence 2) 00:00 Tools
Little Blue Frog 00:00 Tools
Sequence voiture (Take 1) 00:00 Tools
It Gets Better 00:00 Tools
Flamenco Sketches (Studio Sequence 2) (Previously Unreleased) 00:00 Tools
One Phone Call/Street Scenes 00:00 Tools
Straight, No Chaser - Alternate take 00:00 Tools
Scrapple the Apple 00:00 Tools
The Squirrel 00:00 Tools
Moose The Mooch 00:00 Tools
Directions - Live 00:00 Tools
Chez Le Photographe Du Motel - Bof Ascenseur Pour L'Echafaud 00:00 Tools
E.S.P 00:00 Tools
Love, I've Found You 00:00 Tools
Au Bar Du Petit Bac - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Nuit Sur Les Champs-Élysées - Take 1 00:00 Tools
Feio [*] 00:00 Tools
Le Petit Bal (Take 2) (Au Bar Du Petit Bac) 00:00 Tools
John McLaughlin - alternate take 06:39 Tools
Moon Dreams (2) 00:00 Tools
Spanish Key (alternate take) 00:00 Tools
Drad-Dog 00:00 Tools
All the Things You Are 00:00 Tools
Nuit sur les Champs-Élysées (Take 3) 00:00 Tools
Sivad - Live at the Cellar Door, Washington, DC - December 1970 00:00 Tools
Milestones - Remix 00:00 Tools
It Never Entered My Mind (Higher & Higher) 04:03 Tools
Budo (Alternate Take) 00:00 Tools
Godchild - 2000 Digital Remaster 00:00 Tools
Tatu (Part 1) 18:47 Tools
'Round Midnight - Mono Version 00:00 Tools
Bags' Groove (Take 1) - RVG Remaster 00:00 Tools
Petits Machins 00:00 Tools
Dîner Au Motel - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Confirmation 00:00 Tools
Ah-Leu-Cha [alternate take] 00:00 Tools
Pinocchio (Alternate Take) 00:00 Tools
Évasion De Julien - Bof Ascenseur Pour L'Echafaud 00:00 Tools
Give It Up 00:00 Tools
Move (2) 00:00 Tools
Straight, No Chaser - live 10:57 Tools
Wili (Part 2) 00:00 Tools
Springsville (Remake Take 7) 00:00 Tools
Airegin - RVG Remaster 00:00 Tools
Hibeck 00:00 Tools
Jeru - Rudy Van Gelder;2000 - Remaster 00:00 Tools
So What - live 00:00 Tools
Don't Sing Me the Blues 00:00 Tools
I Loves You, Porgy [Take 1, Second Version] 00:00 Tools
The Way You Look Tonight 02:52 Tools
Intruder 00:00 Tools
Yesterday 00:00 Tools
Don't Explain to Me Baby 00:00 Tools
Move (3) 00:00 Tools
Tout de suite (Alternate Take) 00:00 Tools
Helen Butte / Mr. Freedom X - Unedited Master 00:00 Tools
Neo 00:00 Tools
Mademoiselle Mabry - New Mix 00:00 Tools
John McLaughlin (alternate take) 00:00 Tools
Nuit sur les Champs-Élysées (Take 4) 00:00 Tools
Visite Du Vigile - Bof Ascenseur Pour L'Echafaud 00:00 Tools
So What (Previously Unreleased) 00:00 Tools
Stella by starlight - Live 00:00 Tools
All Blues - live 00:00 Tools
Sequence Voiture (Take 2) (Sur l'Autoroute) 00:00 Tools
Boplicity - 2000 Digital Remaster 00:00 Tools
Deception - 2000 Digital Remaster 00:00 Tools
Bye Bye Blackbird (Alternate Take) 00:00 Tools
Another Hairdo 00:00 Tools
Godchild (2) 00:00 Tools
Bitty Ditty 00:00 Tools
Donna - 2001 Digital Remaster 00:00 Tools
Nuit Sur Les Champs-Élysées (Take 3) (Générique) 00:00 Tools
Black Comedy (alternate take) 00:00 Tools
The Serpent's Tooth (Take 1) 00:00 Tools
Budo (Hallucinations) (live) 00:00 Tools
The Serpent's Tooth 00:00 Tools
That Old Black Magic 00:00 Tools
Motel 00:00 Tools
Visit Du Vigile 00:00 Tools
L'assassinat de Carala - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Great Expectations (Single Edit) 00:00 Tools
Wrinkle 00:00 Tools
Nuit Sur Les Champs-Élysées (Take 4) Florence Sur Les Champs-Élysées 00:00 Tools
Assassinat (Take 1) Visite du vigile 00:00 Tools
Ah-Leu-Cha - live 05:54 Tools
Circle In The Round 00:00 Tools
Ah-Leu-Cha - Mono Version 00:00 Tools
So What - Live from Olympia Theatre, Paris 00:00 Tools
Bags' Groove - Album Version - (take 1) 00:00 Tools
Tadd's Delight (Alternate Take) 00:00 Tools
Little Blue Frog (Single Edit) 00:00 Tools
Move - Digitally Remastered 98 00:00 Tools
Willie Nelson (take 2) 00:00 Tools
Minor March 00:00 Tools
All Blues/The Theme 00:00 Tools
Bitches Brew - Live 26:59 Tools
Woodyn' You 00:00 Tools
Assassinat (Take 1) Visit De Vigile 00:00 Tools
In A Silent Way - Original LP Mix From 1969 19:52 Tools
Le petit bal (Take 2) 00:00 Tools
The Mask - Live at Fillmore East June 17, 1970 00:00 Tools
Konda 00:00 Tools
Flamenco Sketches [Alternate T 00:00 Tools
Ah-Leu-Cha (Take 5) 00:00 Tools
Gondwana 00:00 Tools
Bye, Bye Black Bird 00:00 Tools
I Don't Wanna Be Kissed ( By Anyone But You) 00:00 Tools
Walkin 13:25 Tools
Bag's Groove (Take 1) 00:00 Tools
Motel- Dîner au Motel 00:00 Tools
Nne (Part 2) 00:00 Tools
Walkin' - Live 05:22 Tools
Nuit sur les Champs-Elysees (Take 2) 00:00 Tools
Carnival Time 00:00 Tools
Shhh - Peaceful 00:00 Tools
Filles De Kilimanjaro (Girls of Kilimanjaro) 00:00 Tools
All Of You - Mono Version 00:00 Tools
Introduction By Willis Connover - live 00:00 Tools
Le Petit Bal (Take 2) Au bar du Petit Bac 00:00 Tools
Bags' Groove 00:00 Tools
Budo - Rudy Van Gelder Edition 00:00 Tools
Bye Bye Blackbird - Mono Version 00:00 Tools
Dear Old Stockholm (Alternate Take) 00:00 Tools
Chance It - 1998 Digital Remaster 00:00 Tools
Maze 00:00 Tools
It's About That Time/The Theme 00:00 Tools
Walkin' - Live Version 00:00 Tools
Israel - 2000 Digital Remaster 00:00 Tools
Assassinat (Take 1) 00:00 Tools
I Loves You Porgy 00:00 Tools
Teo's Bag 05:54 Tools
Moon Dreams - 2000 Digital Remaster 00:00 Tools
Concierto De Aranjuez (Adagio) - rehearsal 00:00 Tools
Archie Moore 00:00 Tools
Ascenseur- Évasion de Julien 00:53 Tools
Side Car I 00:00 Tools
Cheryl 03:00 Tools
Summertime (from 'Porgy Bess') 00:00 Tools
Freedom Jazz Dance - Master Take 00:00 Tools
Spanish Key/The Theme 00:00 Tools
Side Car II 00:00 Tools
It's About That Time - Live at Fillmore East June 17, 1970 00:00 Tools
Bird Gets the Worm 00:00 Tools
U'n'I 00:00 Tools
Nice Work If You Can Get It 00:00 Tools
I Don't Wanna Be Kissed (By Anyone But You) (Alternate Take) 00:00 Tools
Assassinat (Take 2) 00:00 Tools
Springsville (Alternate Take) 00:00 Tools
Sweet Sue, Just You (First Version) 00:00 Tools
On Green Dolphin Street - Live from Olympia Theatre, Paris 00:00 Tools
Séquence Voiture (Take 2) Sur l'autoroute 00:00 Tools
Willie Nelson (take 3) 00:00 Tools
Assassinat (Take 3) 00:00 Tools
Nuit Sur Les Champs-Elysees (Take 3) (Generique) 00:00 Tools
Softly As in a Morning Sunrise 00:00 Tools
It's About That Time - Live 00:00 Tools
Jabali 00:00 Tools
All Blues (Live) 00:00 Tools
Final (Take 3) 00:00 Tools
All Of You (Alternate Take) 00:00 Tools
Rocker - 2000 Digital Remaster 00:00 Tools
Buzzy 00:00 Tools
Ascenseur 00:00 Tools
Concierto De Aranjuez (Adagio) - part one, alternate take 00:00 Tools
Blues for Pablo (Alternate Take) 00:00 Tools
Blue Room - Take 2 00:00 Tools
Fun 00:00 Tools
Miles Davis Comments 00:00 Tools
Inamorata 00:00 Tools
Stardust 04:18 Tools
Deep Sea Blues 00:00 Tools
Dancing In The Dark 04:08 Tools
Medley: Gemini/Double Image 05:53 Tools
Bag's Groove (Take 2) 00:00 Tools
Jeru (Rudy Van Gelder) 00:00 Tools
Tadd's Delight - Mono Version 00:00 Tools
Will O' the Wisp (master) 00:00 Tools
So What (Live) 15:24 Tools
Sometin' Else 00:00 Tools
On The Corner (Unedited Master) 19:25 Tools
Two Bass Hit - Live 00:00 Tools
Smooch (Bonus) 00:00 Tools
Frelon Brun - New Mix 00:00 Tools
Miles Runs The Voodoo Down (Single Edit) 00:00 Tools
Sugar Ray 00:00 Tools
Prelude, Pt. 2 00:00 Tools
Bitches Brew - Live at Fillmore East June 17, 1970 00:00 Tools
Spanish Key - Live 00:00 Tools
In A Silent Way (DJ Cam) 00:00 Tools
Prelude (Part I) 00:00 Tools
Chance It (Alternate Take) 00:00 Tools
Willie Nelson (insert 2) 00:00 Tools
Shhh (SEA4 Miles Remix, King Britt) 00:00 Tools
Sweet Sue, Just You (Alternate Take) 00:00 Tools
Willie Nelson (insert 1) 00:00 Tools
Fran-Dance - Live 00:00 Tools
Shhh-Peaceful 00:00 Tools
Introduction By Mort Fega 00:00 Tools
Corcovado (Quiet Nights Of Quiet Stars) 00:00 Tools
Wee Dot 00:00 Tools
Spanish Key (Single Edit) 00:00 Tools
Moon Dreams [Live] 03:45 Tools
Final (Take 3) (Chez Le Photographe Du Motel) 00:00 Tools
Good Bait 00:00 Tools
Black Satin (On the Corner DJ Krush remix) 06:21 Tools
Go Ahead John (part two B) 00:00 Tools
The Theme - Live 00:00 Tools
Assassinat (take 1) (Visite du vigile) 00:00 Tools
Weirdo - Rudy Van Gelder 1998 - Remaster 00:00 Tools
Introduction by Norman Granz - Live from Konserthuset, Stockholm 00:00 Tools
Medley: The Meaning of the Blues/Lament 00:00 Tools
Dear Old Stockholm - Rudy Van Gelder Edition;1998 Digital Remaster 00:00 Tools
On The Corner - Take 4 00:00 Tools
Pointless Mama Blues 00:00 Tools
In A Silent Way - New Mix 00:00 Tools
Bye Bye Blackbird - live 00:00 Tools
'Round Midnight - Live from Olympia Theatre, Paris 00:00 Tools
Venus De Milo - Digitally Remastered 98 00:00 Tools
Johnny Bratton (insert 1) 00:00 Tools
Why Do I Love You? 00:00 Tools
Sanctuary - Live 00:00 Tools
Introduction By Willis Connover 00:00 Tools
Florence sur les Champs-Élysées - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Motel (Dîner au motel) 00:00 Tools
Willie Nelson (remake take 1) 00:00 Tools
Lover Man 00:00 Tools
Someday My Prince Will Come (Alternate Take) 05:34 Tools
Darn That Dream - 2000 Digital Remaster 00:00 Tools
The Meaning Of The Blues/Lament (Alternate Take) 00:00 Tools
Nuit Sur Les Champs-Élysées - Take 2 00:00 Tools
Walkin'/The Theme 00:00 Tools
Will O' The Wisp (from "El Amor Brujo") 00:00 Tools
How Deep Is The Ocean - 1998 Digital Remaster 00:00 Tools
This Is It 00:00 Tools
Rated X (Doc Scott) 00:00 Tools
Oleo - Live from Olympia Theatre, Paris 00:00 Tools
pharoah's dance 00:00 Tools
The Theme - Live from Olympia Theatre, Paris 00:00 Tools
Johnny Bratton (take 4) 00:00 Tools
Devil May Care 00:00 Tools
All Blues / The Theme 00:00 Tools
Walkin' - Live from Olympia Theatre, Paris 00:00 Tools
Infinity Promenade 00:00 Tools
Move - Remastered 00:00 Tools
Assassinat (take 2) (Julien dans l'ascenseur) 00:00 Tools
Duran (take 4) 05:37 Tools
Dewey Square 00:00 Tools
Tatu (Part 2) 00:00 Tools
Springsville - Mono Version 00:00 Tools
I Loves You, Porgy [Take 1, Second Version][*] 00:00 Tools
Solea (master) 00:00 Tools
Two Faced - New Mix 00:00 Tools
Seven Steps To Heaven - Live 00:00 Tools
Concierto De Aranjuez - part two, alternate take 00:00 Tools
Indian Summer 00:00 Tools
I Loves You, Porgy (From "Porgy & Bess") 00:00 Tools
Concierto de Aranjuez (Adagio) (Master) 16:19 Tools
Introduction by Gene Norman - Live Version 01:35 Tools
It Never Entered My Mind - Live Version 00:00 Tools
Thriving On a Riff 00:00 Tools
Bags' Groove [Take 2] 00:00 Tools
Donna (Alternate Take) 00:00 Tools
Le Petit Bal (Take 2) - Au Bar Du Petit Bac 00:00 Tools
I've Always Got the Blues 00:00 Tools
Budo [*] 00:00 Tools
The Theme - Live at Fillmore East June 17, 1970 00:00 Tools
Chieftain 00:00 Tools
Lift to the Scaffold 00:00 Tools
Au bar du Petit Bac - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Miles Runs The Voodoo Down - Live 14:01 Tools
Doxy - RVG Remaster 00:00 Tools
Blue Xmas 00:00 Tools
Prezervation 00:00 Tools
52ND Street Theme 00:00 Tools
Agitation - Live October 28, 1967 Konigin Elizabethzaal, Antwerp, Belgium 00:00 Tools
The Maids of Cadiz - Mono Version 00:00 Tools
Turnaround 00:00 Tools
Concierto De Aranjuez (Adagio) (alternate ending) 00:00 Tools
Woody N You 00:00 Tools
Saeta (full version of master) 00:00 Tools
Inamorata and Narration 00:00 Tools
Symphony Sid Introduction 00:00 Tools
Willie Nelson (remake take 2) 00:00 Tools
Heavy Metal Prelude 00:00 Tools
Move - Rudy Van Gelder;2000 - Remaster 00:00 Tools
On The Corner (Take 4) 00:00 Tools
Tempus Fugit (Alternate Take) 00:00 Tools
Chez le photographe du motel - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Fran Dance - Live from Konserthuset, Stockholm 00:00 Tools
Cool Blues 00:00 Tools
But Not for Me [Take 1] 00:00 Tools
The Hymn 00:00 Tools
Spanish Key / The Theme 00:00 Tools
Dual Mr. Tillman Anthony 00:00 Tools
Nuit sur les Champs-Elysees (Take 1) 00:00 Tools
Moon Dreams - Digitally Remastered 98 00:00 Tools
U-Turnaround 00:00 Tools
Marmaduke 00:00 Tools
Chance It (aka Max Is Making Wax) - Live Version 00:00 Tools
On The Corner (Bill Laswell) 00:00 Tools
What I Say - Live at the Cellar Door, Washington, DC - December 1970 00:00 Tools
Jeru - Remastered 00:00 Tools
At Last 00:00 Tools
The Theme - Live (1958 Version) 00:00 Tools
One And One (Unedited Master) 00:00 Tools
The Duke - Mono Version 00:00 Tools
Go Ahead John (part two C) 00:00 Tools
Go-Go (Theme And Re-Introduction) 00:00 Tools
Julien dans l'ascenseur - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Moon Dreams - Remastered 00:00 Tools
Prelude (Part One) 00:00 Tools
Freedom Jazz Dance - Session Reel 00:00 Tools
Right Off (take 10) 00:00 Tools
Dear Old Stockholm - 1998 Digital Remaster 00:00 Tools
In A Silent Way/Shhh/Peaceful/It's About That Time 00:00 Tools
Introduction - Live from Tivoli Konsertsal, Copenhagen 00:00 Tools
Will You Still Be Mine 00:00 Tools
Well You Needn't - 1998 Digital Remaster;Rudy Van Gelder Edition 00:00 Tools
The Pan Piper - take 1 00:00 Tools
Concierto De Aranjuez (Adagio) - alternate ending 00:00 Tools
Ali (take 3) 00:00 Tools
Bye Bye Blackbird (Live) 00:00 Tools
For Europeans Only 00:00 Tools
Solea - Excerpt 00:00 Tools
Miles Ahead - Mono Version 00:00 Tools
Saeta (master) 00:00 Tools
Bye Bye Blackbird - Live from Olympia Theatre, Paris 00:00 Tools
On Green Dolphin Street (Album Version) 00:00 Tools
In A Silent Way (DJ Cam Remix) 05:06 Tools
Bring It On Home 00:00 Tools
My Ship - Mono Version 00:00 Tools
Out Of The Blue - Album - Remastered 00:00 Tools
Duran 00:00 Tools
All Blues (Album Version) 00:00 Tools
Peace 00:00 Tools
Paraphernalia - Live at Fillmore West April 11, 1970 00:00 Tools
Nuit sur les champs-élysées - Take 3 00:00 Tools
So What (Live April 9th, 1960) 00:00 Tools
Ascenseur (Évasion de Julien) 00:00 Tools
Miles Stone 00:00 Tools
Moose the Moochie 00:00 Tools
Duet for Saxophone and Guitar 00:00 Tools
Mystery - reprise 00:00 Tools
Introduction by Andre Francis 00:00 Tools
Ali (take 4) 00:00 Tools
Right Off (take 10A) 00:00 Tools
The Hen 00:00 Tools
The Pan Piper (take 1) 00:00 Tools
Duran (take 6) 11:19 Tools
Hand Jive - Alternate Take 00:00 Tools
Sur l'autoroute - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Hand Jive - Second Alternate Take 00:00 Tools
Dexterity 00:00 Tools
Miles Runs The Voodoo Down - Live at the Newport Jazz Festival, Newport, RI, 00:00 Tools
Dran Than Dream 00:00 Tools
Right Off (take 11) 00:00 Tools
Right Off (take 12) 00:00 Tools
Go Ahead John (part two A) 00:00 Tools
Improvisation #1 00:00 Tools
Prelude (Part Two) 00:00 Tools
Song Of Our Country (Take 14) 00:00 Tools
Song Of Our Country - take 9 00:00 Tools
Makin' Whopee 00:00 Tools
Gingerbread Boy - Live (1966 Version) 00:00 Tools
Spanish Key - single 00:00 Tools
Honky Tonk (take 2) 00:00 Tools
Rouge - 2000 Digital Remaster 00:00 Tools
Sanctuary - Live (1969 Version) 00:00 Tools
Intro: MD 1/Something's On Your Mind/MD 2 00:00 Tools
Blues for Pablo - Mono Version 00:00 Tools
Pacific Express 00:00 Tools
Steeplechase 00:00 Tools
Footprints - Live October 28, 1967 Konigin Elizabethzaal, Antwerp, Belgium 00:00 Tools
Minnie 00:00 Tools
Little High People (take 7) 00:00 Tools
Pinocchio (Alernate take) 00:00 Tools
Yesternow (take 16) 00:00 Tools
Quasimodo 00:00 Tools
Final - Take 1 00:00 Tools
Nuit sur les champs-élysées - Take 4 00:00 Tools
Song Of Our Country - take 14 00:00 Tools
Baby, Won't You Make Up Your Mind 00:00 Tools
Nem um Talvez (take 4A) 00:00 Tools
Assassinat - take 1 00:00 Tools
I Thought About You (Live) 00:00 Tools
Medley: Jean Pierre/You're Under Arrest/Then There Were None 00:00 Tools
Constellation 00:00 Tools
Song Of Our Country (take 9) 00:00 Tools
Walkin' (Live) 00:00 Tools
Mr. Foster 00:00 Tools
Rated X (Jamie Myerson) 00:00 Tools
S'Posin 00:00 Tools
Saeta - full version of master 00:00 Tools
Drum Conversation 00:00 Tools
Bongo Bop 00:00 Tools
Nem um Talvez (take 17) 00:00 Tools
June Night 00:00 Tools
Little Church (take 7) 00:00 Tools
Perhaps 00:00 Tools
I Thought About You - Mono Version 00:00 Tools
Nem um Talvez (take 19) 00:00 Tools
Gershwin: I Loves You, Porgy 00:00 Tools
How Am I to Know 00:00 Tools
Final - Take 2 00:00 Tools
The Squirrel (short version) 00:00 Tools
Motel - Diner Au Motel 00:00 Tools
All Of You - Live 00:00 Tools
It Never Entered My Mind - 1998 - Remaster 00:00 Tools
Yesternow (new take 4) 00:00 Tools
Salt Peanuts - Live Version 00:00 Tools
Seven Steps to Heaven - Edit 00:00 Tools
Concierto de Aranjuez (part two, alternate take) 00:00 Tools
New Rhumba - Mono Version 00:00 Tools
Dr. Jekyll - Mono Version 00:00 Tools
I Love What We Make Together (feat. Randy Hall) 00:00 Tools
Well You Need It 00:00 Tools
Woody 'N You - Live Version 00:00 Tools
Séquence voiture (Take 2) 00:00 Tools
Assassinat - take 2 00:00 Tools
Selim (take 4B) 00:00 Tools
Move (Digitally Remastered 98) 00:00 Tools
Hand Jive [First Alternate Take][*] 00:00 Tools
Au bar du petite bac 00:00 Tools
Lament - Mono Version 00:00 Tools
Splash - New Mix 00:00 Tools
Oleo - RVG Remaster 00:00 Tools
The Meaning of the Blues - Mono Version 00:00 Tools
In a Silent Way/It's About That Time: In a Silent Way/It's About ... 00:00 Tools
Seven Steps To Heaven (take 3) 00:00 Tools
Honky Tonk (take 5) 00:00 Tools
I Loves You, Porgy (From Porgy & Bess) 00:00 Tools
Footprints - Live at Fillmore West April 11, 1970 00:00 Tools
Masquaiero 00:00 Tools
Four - live 00:00 Tools
It's About That Time / The Theme - Live 00:00 Tools
Song #2 00:00 Tools
Rifftide 00:00 Tools
Go Ahead John (part one remake) 00:00 Tools
Flamenco Sketches (alternate) 00:00 Tools
The Theme (Second Concert) - Live from Konserthuset, Stockholm 00:00 Tools
Little Church (take 10) 00:00 Tools
So What - Live at Kurhaus, Den Haag, Holland - April 1960 00:00 Tools
Assassinat - take 3 00:00 Tools
Dîner au motel - BOF "Ascenseur pour l'échafaud" 00:00 Tools
Maids Of Cadiz 00:00 Tools
Little High People (take 8) 00:00 Tools
Two Bass Hit - Mono Version 00:00 Tools
Nefertiti - Edit 00:00 Tools
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Miles Davis (Miles Dewey Davis III, Alton, Illinois, May 26, 1926 – Santa Monica, California, September 28, 1991) was an American 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. Many well-known musicians rose to prominence as members of Davis' ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, and Keith Jarrett; guitarists John McLaughlin, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones, ; and drummers Philly Joe Jones, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster. Miles Davis was born on May 26, 1926, to a relatively affluent 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 (Henry) 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. 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 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 (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) 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 (both Davis and Roach objected to having Duke Jordan as a pianist and would have preferred Bud Powell) became sources of friction. In December 1948, disputes over money (Davis claims he was not being paid) 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. In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' house had become the meeting place for several young musicians and composers (including Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan) unhappy with the increasingly virtuoso instrumentalism 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 (Johnson was touring at the time), 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 sessions. The presence of white musicians in the group angered some African American 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 (Mulligan and Dave Brubeck in particular). 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. 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 (who remained in Europe after the tour), 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 Greco. Many of his new and old friends (Davis, in his autobiography, mentions Clarke) 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 Greco, 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 (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and drummer Art Blakey). 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 (Navarro and Freddie Webster). 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. 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 (and of course many of them recorded or played with Davis). 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. 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 (19 at the time), 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 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 recruited alto saxophonist Julian "Cannonball" Adderley. 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 (1958 Miles, also known as 58 Sessions). 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. 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 (1957), 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 (1961) 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." 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 (4 million copies sold). 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." Later in 1959, while taking a break outside the famous Birdland nightclub in New York City, Davis along with others were told by a police officer to clear the side walk and subsequently didn't. The officer said that he would arrest Miles and reached for his cuffs when Miles leaned toward him (boxing style), the police officer fell backward with his cuffs falling. Seconds later a detective came up behind Miles and hit him on the head with a baton resulting in blood getting on his suit. Miles was then arrested, where in the station police harassed him by bumping into him on purpose. 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 (where Davis and Coltrane had played a few months before) 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 (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964). 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! (July 1964). 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 (September 1964). 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. By the time of E.S.P. (1965), Davis' lineup consisted of Wayne Shorter, Herbie Hancock, Ron Carter (bass), and Tony Williams (drums). 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 whilst 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 (1966), Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968). 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. Davis' influences included late-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 (later Betty Davis), 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" (more than 20 minutes each) 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, 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: Miles Davis at Fillmore West, 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 1970, 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 (some of whom were not credited on the record) 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 (1972) 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: Live at Philharmonic Hall (1972), 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 (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, Get Up With It (1974) 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 (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), 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." Davis characterized this period in his memoirs as a colorful time when wealthy women lavished him with sex and drugs. In reality, he had become completely dependent on various drugs, spending nearly all of his time propped up on a couch in his apartment watching television, leaving only to find more drugs. 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 (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) 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. 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 (later of The Rolling Stones), 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. 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 a Davis performance. 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 (his contributions)." (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 (1986), would be his first to use modern studio tools — programmed synthesizers, samples and drum loops — to create an entirely new setting for Davis' 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. He received the Grammy Lifetime Achievement Award in 1990. In 1989, Miles was interviewed on the television show '60 minutes' by Harry Reasoner. 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 a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65. He is buried in Woodlawn Cemetery in The Bronx. Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of jazz music. He has been described as “one of the great innovators in jazz”. The Rolling Stone Encyclopedia of Rock & Roll noted "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 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". His album Kind of Blue is the best-selling album in the history of jazz music and was praised by the United States House of Representatives to "pass a symbolic resolution honoring the masterpiece and reaffirming jazz as a national treasure." As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. These include Wayne Shorter, Cannonball Adderley, Herbie Hancock, Lalo Schifrin, Tangerine Dream, Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela , John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting, Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Vassar Clements, Snooky Young, Prince and Christian Scott. Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows: Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance. 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. In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music. Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.

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