Miles davis about that time
Miles Davis Quotes (Author of Miles)
Live at the Fillmore East (March 7, 1970): It's About That Time
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Miles Davis' trumpet 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. Equally important, Mr. Davis never settled into one style; every few years he created a new lineup and format for his groups. Each phase brought denunciations from critics; each, except for the most recent one, has set off repercussions throughout modern jazz. Davis came of age in the be-bop era; many successive styles -- cool jazz, hard-bop, modal jazz, jazz-rock, jazz-funk -- were sparked or ratified by his example.
Goodreads helps you follow your favorite authors. Be the first to learn about new releases! Follow Author. Every day I find something creative to do with my life. The note is only 20 percent. The attitude of the motherfucker who plays it is 80 percent. If anybody wants to keep creating they have to be about change.
Live at the Fillmore East March 7, It's About that Time is a live double album by Miles Davis. Sony Music Entertainment released the album in
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Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate. But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons.
But critics savaged it, as they did most of his work in that era, and it contributed to strife between Davis and Columbia Records; he soon jumped ship for Warner Bros. What happened next has scarcely been documented, even though it represents a significant turn in his career and shows how restlessly he continued to alchemize history and the present, into his last years. Wilburn and a cast of other young musicians. The executives at Warner Bros. Hall said. But the film makes clear that what really tortured Davis was everything except music: the stubborn racism he confronted, his own well-documented and often violent misogyny, his addictions, the ambient distrust he carried with him daily. Music, in fact, was his therapy.