How did John Coltrane and Miles Davis get on
Still with Atlantic Records, for whom he had recorded , his first record with his new group was also his debut playing the , the hugely successful . Around the end of his tenure with Davis, Coltrane had begun playing , an unconventional move considering the instrument's near obsolescence in jazz at the time. His interest in the straight saxophone most likely arose from his admiration for and the work of his contemporary, , even though Miles Davis claimed to have given Coltrane his first soprano saxophone. The new soprano sound was coupled with further exploration. For example, on the Gershwin tune "But Not for Me", Coltrane employs the kinds of restless harmonic movement () used on (movement in rather than conventional ) over the A sections instead of a conventional progression. Several other tracks recorded in the session utilized this harmonic device, including "26-2," "Satellite," "," and "."
Miles Davis Quintet, * John Coltrane, ..
Coltrane was freelancing in Philadelphia in the summer of 1955 while studying with guitarist when he received a call from . Davis, whose success during the late forties had been followed by several years of decline in activity and reputation, due in part to his struggles with addiction, was again active, and was about to form a quintet. Coltrane was with this edition of the Davis band (known as the "First Great Quintet" to distinguish it from Davis's later group with ) from October 1955 through April 1957 (with a few absences), a period during which Davis released several influential recordings which revealed the first signs of Coltrane's growing ability. This classic First Quintet, best represented by two marathon recording sessions for Prestige in 1956 that resulted in the albums issued as , , , and , some of the most treasured titles in Davis's early discography, disbanded in mid April due partly to Coltrane's problematic heroin addiction.
Bitches Brew soon became a best-selling album. As a result, Davis was featured on the cover of Rolling Stone magazine—becoming the first jazz artist to be so recognized.
Miles Davis: All of You: The Last Tour 1960 - All About Jazz
In 1945, Miles Davis elected, with his father's permission, to drop out of Juilliard and become a full-time jazz musician. A member of the Charlie Parker Quintet at the time, Davis made his first recording as a bandleader in 1946 with the Miles Davis Sextet.
Miles Davis: All of You: The Last Tour 1960 jazz review by C ..
Honoring his body of work, in 1990, Miles Davis received a Lifetime Achievement Grammy Award. In 1991, he played with at the Montreux Jazz Festival. The two performed a retrospective of Davis's early work, some of which he had not played in public for more than 20 years.
John Coltrane with Miles Davis - Amsterdam 1960 - Past Daily
His solos, whether ruminating on a whispered ballad melody or jabbing against a beat, have been models for generations of jazz musicians. Other trumpeters play faster and higher, but more than in any technical feats Mr. Davis's influence lay in his phrasing and sense of space. "I always listen to what I can leave out," he would say.
Chillout 7 - Jazz, Miles Davis, John Coltrane ..
Davis quickly developed a talent for playing the trumpet under the private tutelage of Elwood Buchanan, a friend of his father who directed a music school. Buchanan emphasized playing the trumpet without vibrato, which was contrary to the common style used by trumpeters such as , and which would come to influence and help develop the Miles Davis style.
Miles Davis & John Coltrane, New York City 1959 | Don …
Fittingly, his recording with Quincy Jones would bring Miles Davis his final Grammy, awarded posthumously in 1993. The honor was just another testament to the musician's profound and lasting influence on jazz.
How Miles Davis and John Coltrane Ruined Jazz | Lifestyle
During this period, critics were fiercely divided in their estimation of Coltrane, who had radically altered his style. Audiences, too, were perplexed; in France he was famously booed during his final tour with Davis. In 1961, magazine indicted Coltrane, along with , as players of "Anti-Jazz" in an article that bewildered and upset the musicians. Coltrane admitted some of his early solos were based mostly on technical ideas. Furthermore, Dolphy's angular, voice-like playing earned him a reputation as a figurehead of the "New Thing" (also known as "Free Jazz" and "Avant-Garde") movement led by , which was also denigrated by some jazz musicians (including Trane's old boss, Miles Davis) and critics. But as Coltrane's style further developed, he was determined to make each performance "a whole expression of one's being", as he would call his music in a 1966 interview.