Name	Antibes
Region	Provence-Alpes-Côte d'Azur
Department	Alpes-Maritimes
Arrondissement	Grasse
Image coat of arms	Antibes-blason.jpg
Insee	06004
Postal code	06600
Mayor	Jean Leonetti
Term	2008–2014
Intercommunality	Sophia Antipolis
Longitude	7.123889
Latitude	43.580834
Elevation m	9
Elevation min m	0
Elevation max m	163
Area km2	26.48
Population	76994
Population date	2008 }}

Antibes (, ; Provençal Occitan: ''Antíbol'' in classical norm or ''Antibo'' in Mistralian norm) is a resort town in the Alpes-Maritimes department in southeastern France.

It lies on the Mediterranean in the Côte d'Azur, located between Cannes and Nice. The town of Juan-les-Pins is within the commune of Antibes. The Sophia-Antipolis technology park is northwest of Antibes.

History

Antibes was founded as a 5th century BC Greek colony settled by Phocaeans from Massilia, called Ἀντίπολις, ''Antípolis'' (literally, the "city across"). Due to its naturally protected port, the town of Antibes has long been an important trading centre.

Rome gradually increased its hold over the Mediterranean coast and in 43 BC, Antipolis was officially incorporated in the propraetorial (senatorial from 27 BC) province of ''Gallia Narbonensis'' in which it remained for the next 500 years. Antipolis grew into the largest town in the region and a main entry point into Gaul. Roman artifacts such as aqueducts, fortified walls and amphoræ can still be seen today.

After the Roman Empire disintegrated in 476 AD various barbarian tribes seized Antibes. This resulted in destruction and a long period of instability. In the 10th century, Antibes found a protector in Seigneur Rodoart, who built extensive fortified walls around the town and a castle in which to live. For the next 200 years, the town experienced a period of renewal.

Prosperity was short-lived, as the whole region fell into disarray for several centuries. The inhabitants of Antibes stayed behind their strong city walls as a succession of wars and epidemics ravaged the countryside. By the end of the 15th century, the region was under the protection and control of King Louis XI of France. Relative stability returned, but the small port of Antibes fell into obscurity.

From around the middle of the 19th century the area around Antibes regained its popularity as wealthy people from around Europe discovered the its natural beauty and built luxurious homes here.

In 1926, the old Château Grimaldi in Antibes was bought by the local municipality and later restored for use as a museum. Pablo Picasso came to the town in 1946, having visited his friend and fellow painter Gerald Murphy and his wife Sara there in 1923, and was invited to stay in the castle. During his six month stay Picasso painted and drew as well as crafting ceramics and tapestries. When he departed Picasso left a number of his works to the municipality. The castle has since become the Picasso Museum.

Population

Twenty-five percent of the town's inhabitants are under the age of 25.

Climate

Antibes enjoys a Mediterranean climate.

Culture

Sport is an important part of the local culture; the town hosts the National Training Centre for basketball. On 25 May 1999 the town was the first in the départment to sign the State Environment Charter, which pledges to actively conserve the natural environment.

Sights

Beaches

There are 48 beaches along the 25 km of coastline that surround Antibes and Juan les Pins.

Museums

Archaeology Museum

This museum sits atop the Promenade Amiral de Grasse in the old Bastion St Andre, a 17th century fortress. The museum's collection focuses on the classical history of Antibes. Many artifacts, sculptures and amphorae found in local digs and shipwrecks from the harbour are displayed here. The views of the sea and mountains from the promenade are also spectacular.

Naval Museum of Napoleon

Housed in a 17th century stone fort and tower, this museum presents a collection of Napoleonic memorabilia, paintings and naval models. Several wall paintings show historic moments in Napoleon's reign and there are also pieces of his clothing such as one of the hats he once wore.

Picasso Museum

This museum houses one of the world's greatest Picasso collections: 24 paintings, 44 drawings, 32 lithographs, 11 oils on paper, 80 pieces of ceramics, 2 sculptures and 5 tapestries.

La Tour Museum

This small museum in the centre of town brings the contemporary history of Antibes to life through its exhibit of costumes, tools, photographs and other objects used by the local people.

Absinthe Museum

The Absinthe Museum is located in a basement in the Roman foundations of Old Antibes. It is dedicated to the manufacture and appreciation of this green liqueur.

Parks and Gardens

The Exflora Park

The Exflora Park is a five hectare garden open to the public. Next to the large olive grove, there are different styles of Mediterranean gardens, from ancient Rome to the exuberant Riviera of the 19th century. Fountains and ponds stretch along the terrace, making a waterway 500m long. Antibes is renowned for rose production, and rose bushes line the path leading to the sea. The luxuriance of the exotic garden and palm grove is reminiscent of the belle époque, when English gardeners succeeded in planting flowers that bloom in winter, the season when the aristocracy visited the Côte d'Azur. A little further on is the Théâtre de Verdure, inspired by Italian gardens, and a panoramic viewpoint with a glorious view of the sea and the Iles des Lerins. In the style of Provençal gardens of the 18th century, there is a maze with sculpted hedges. Further on, Islamic gardens are featured, with an orange grove where the ground is patterned with terracotta irrigation pipes similar to those in the celebrated Seville Cathedral in Spain. The vegetable gardens and orchards in the Arsat are planted in hollows as in Morocco to protect them from the sun and maximise shadow and humidity. A representation of a Moroccan house pays homage to the painter MAJORELLE, creator of the beautiful blue garden in Marrakesh. In another area, the winter garden contains plants that flower in winter, such as mimosa and camellias.

The Eilenroc Gardens

Villa Eilenroc was built on a rock in the middle of a virtual desert. The area was transformed into a glorious garden through the patience and talent of Jacques Greber, landscape architect and consultant to the Great Exhibition in New York in 1939. He was commissioned by Mr Beaumont to create this luxuriant park of 11 hectares. The gardens with all their luxuriant vegetation lie thirty metres above the sea with a view across the bay of the Cap. Planted with traditional mediterranean species such as marine and parasol pines, Alep and Canary pines, Cyprus, oaks, olive trees, arbutus, lavender, thyme, rosemary, eucalyptus, ficus, etc., as well as three km of pittosporum hedges, a whole part of the park has been created with plants found in the Antibes area in 1920.

Thuret Park

In 1857, Gustave Thuret discovered the wonderful, unspoilt Cap d'Antibes and bought five hectares of land where he built a villa and began the creation of a glorious park. Bequeathed to the state by his heirs, the Jardin botanique de la Villa Thuret is now managed by the INRA (National Institute of Agronomic Research). The superb collection of trees and exotic plants, and the rich earth, provide many opportunities for learning, and the cross-fertilisation of plant species that grow on the mediterranean coast.

Garoupe Lighthouse

The old lighthouse of Antibes provides one of the best views in the region from its lofty hilltop. To get here, you must walk about one kilometre up the Chemin de Calvaire from the Plage de la Salis. It makes for a nice half-day stroll.

Church of the Immaculate Conception

The central church in Antibes was first built in the 11th century with stones used from earlier Roman structures. Its current façade was constructed in the 18th century and blends Latin classical symmetry and religious fantasy. The interior houses some impressive pieces such as a Baroque altarpiece and life-sized wooden carving of Christ's death from 1447.

Hôtel du Cap-Eden Roc

This villa, set in "a forest" at the tip of the Cap d'Antibes peninsula, re-creates a nineteenth-century château. Since 1870 the glamorous white-walled Hotel du Cap on the French Riviera has been one of the most storied and luxurious resorts in the world. Guests who flocked there included Marlene Dietrich, the Duke and Duchess of Windsor and Winston Churchill. Elizabeth Taylor and Richard Burton conducted an affair and honeymooned there.

Ports

There are many yachting harbours which provide moorings for a range of ships ranging from fishing vessels to full sized yachts.

Port Vauban: The largest yachting harbour in Europe, with more than 2,000 moorings, can accommodate craft of more than 100 metres. This old port was the heart of the ancient Greek city of Antipolis and has a long and colourful history which includes Ligurians, Romans and Crusaders on their way to the Holy Land. Today, it is the largest marina in Europe, serving both local fishing boats and luxury yachts.

Port Galice: 542 moorings

Port de la Salis: 233 moorings

Port du Croûton: 390 moorings

Port de l'Olivette: Situated in the sheltered cove of the same name, this is a harbour for sailors and their wooden fishing boats who enjoy the old marine, provencal traditions.

Culture

Theatre and music

The Theatre Antibea, Theatre des Heures Bleues and Café Theatre La Scene sur Mer all offer a variety of performances from orchestra music to dramatic plays. Music of all types, from live jazz to DJs spinning techno, can be found in the bars and nightclubs and there are a number of festivals and special outdoor concerts during the summer. Jazz is still the specialty around here, and the Juan les Pins Jazz Festival is one of the best in the world.

Festivals

Antibes and Juan les Pins host a number of festivals, mainly during the summer months. There's not much in the way of traditional cultural festivals in Antibes; most of the festivals focus on music and contemporary activities.

Jazz à Juan remains one of the top jazz festivals in the world. Since its inception in 1960, it has attracted many famous Jazz artists each year to play outdoors.(July).

Antibes Yacht Show

The Antique Show of Antibes attracts thousands of collectors for two weeks in April. It's one of the largest shows of its kind in France (April).

Voiles d'Antibes is one of the world's biggest gatherings of old teak and brass sailing vessels. They converge on the port for one of the most regal regattas in the Mediterranean (June).

The Festival of Saint Peter is the annual celebration of the patron saint of fishermen. A colourful procession through the town is followed by all the local fishermen adorning their boats and floating along the coast (June).

The Festival of Sacred Music takes place in Antibes Cathedral, which has renowned acoustics. Sacred music is the theme of this popular festival, which attracts huge crowds each year (January).

Transport

The Gare d'Antibes is the railway station serving the town, offering connections to Nice, Cannes, Marseille, Paris and several other destinations. The railway station is in the centre of town. The nearest airport is Nice Côte d'Azur Airport.

Personalities

Flocke and Rasputin (aka Flocon et Rasputine), polar bears living at Marineland

Graham Greene lived in a small apartment in Antibes in his later years

M83, electronic band

Guillaume Musso, writer

Halima Soussi, basketball player

Nicolas de Stael, painter

Luc-Arthur Vebobe, basketball player

Gloria Guinness then Princess Fakhry married Thomas "Loel" Guinness in April 1951

Pablo Picasso, painter

Twin cities

Ålborg, Denmark Bodrum, Turkey Desenzano del Garda, Italy Eilat, Israel Kinsale, Ireland Newport Beach, California, United States Olympia, Greece Schwäbisch Gmünd, Germany

See also

Communes of the Alpes-Maritimes department

Fort Carré

Juan-les-Pins

Route Napoléon

Stade du Fort Carré

References

INSEE

External links

Antibes official website

Antibes pictures website

Category:Communes of Alpes-Maritimes Category:French Riviera Category:Populated places established in the 6th century BC Category:Ancient Greek cities Category:Archaeological sites in France Category:Massalian colonies Category:Roman towns and cities in Provence

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name	Miles Dewey Davis III
background	non_vocal_instrumentalist
birth name	Miles Dewey Davis III
birth date	May 26, 1926
birth place	Alton, Illinois, United States
death date	September 28, 1991
death place	Santa Monica, California, US
instrument	Trumpet, flugelhorn, piano, organ, vocals
genre	Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap
occupation	Bandleader, composer, trumpeter, artist
years active	1944–1975, 1980–1991
associated acts	Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans
website	}}

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, 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, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster.

On October 7, 2008, his 1959 album ''Kind of Blue'' received its fourth platinum certification from the Recording Industry Association of America (RIAA), for shipments of at least four million copies in the United States. Miles Davis was inducted into the Rock and Roll Hall of Fame in 2006. Davis was noted as "one of the key figures in the history of jazz".

On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the US House of Representatives to recognize and commemorate the album ''Kind of Blue'' on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music." It passed, unanimously, with a vote of 409–0 on December 15, 2009.

Biography

Early life (1926–44)

Miles Dewie Davis was born on May 26, 1926, to an affluent African American 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.

New York and the bebop years begin (1944–48)

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.

Birth of the Cool (1948–49)

In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment 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 instrumental techniques 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

The presence of white musicians in the group angered some black 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.

Hard bop and the "Blue Period" (1950–54)

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 Gréco.

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 Gréco, 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. A widely-related story, attributed to Richard (Prophet) Jennings was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.

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.

First great quintet and sextet (1955–58)

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 alto saxophonist Julian "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 successfully recruited Cannonball Adderley for his standing group. 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.

Recordings with Gil Evans (1957–63)

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."

Kind of Blue (1959–64)

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."

In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on." Davis explained that he worked at the nightclub and refused to move. The officer said that he would arrest Davis and grabbed him as Davis protected himself. Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation. Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head. 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.

Second great quintet (1964–68)

By the time of ''E.S.P.'' (1965), Davis' lineup consisted of Wayne Shorter, Herbie Hancock (piano), 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.

Electric Miles (1968–75)

Davis' influences included 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, Neil Young, 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'' (March 1970),'' Black Beauty'' (April 1970), and ''Miles Davis at Fillmore: Live at the Fillmore East'' (June 1970).

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,'' 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'' (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." In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as hermit, his house as a wreck, and detailing his drug and sex addictions. 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.

Last decade (1981–91)

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. 1985 also saw Davis guest-star on the TV show ''Miami Vice'' as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired November 8, 1985).

''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.

thumb|left|The grave of Miles Davis in Woodlawn CemeteryHe 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 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 the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65. He is buried in Woodlawn Cemetery in The Bronx.

Legacy and influence

Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of 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, Cassandra Wilson, Lalo Schifrin, Tangerine Dream, Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Duane Allman, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting, Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, 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.

Awards

Winner; Down Beat Reader's Poll Best Trumpet Player 1955

Winner; Down Beat Reader's Poll Best Trumpet Player 1957

Winner; Down Beat Reader's Poll Best Trumpet Player 1961

Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for ''Sketches of Spain'' (1960)

Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for ''Bitches Brew'' (1970)

Grammy Award for Best Jazz Instrumental Performance, Soloist for ''We Want Miles'' (1982)

Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark)

Doctor of Music, ''honoris causa'' (1986; New England Conservatory)

Grammy Award for Best Jazz Instrumental Performance, Soloist for ''Tutu'' (1986)

Grammy Award for Best Jazz Instrumental Performance, Soloist for ''Aura'' (1989)

Grammy Award for Best Jazz Instrumental Performance, Big Band for ''Aura'' (1989)

Grammy Lifetime Achievement Award (1990)

Australian Film Institute Award for Best Original Music Score for ''Dingo'', shared with Michel Legrand (1991)

Knighted into the Legion of Honor (July 16, 1991; Paris)

Grammy Award for Best R&B Instrumental Performance for ''Doo-Bop'' (1992)

Grammy Award for Best Large Jazz Ensemble Performance for ''Miles & Quincy Live at Montreux'' (1993)

Hollywood Walk of Fame Star (February 19, 1998)

Rock and Roll Hall of Fame Induction (March 13, 2006)

Hollywood's Rockwalk Induction (September 28, 2006)

RIAA Quadruple Platinum for ''Kind of Blue''

St. Louis Walk of Fame

Discography

Sidemen

; Rhythm section

1950: pianist John Lewis, bassist Al McKibbon, drummer Max Roach

1951: pianist Walter Bishop, Jr., bassist Tommy Potter, drummer Art Blakey

1956: pianist Tommy Flanagan, bassist Paul Chambers, drummer Art Taylor

1955–58: pianist Red Garland, bassist Paul Chambers, drummer Philly Joe Jones

1959–63: pianist Wynton Kelly, bassist Paul Chambers, drummer Jimmy Cobb

1963–68: pianist Herbie Hancock, bassist Ron Carter, drummer Tony Williams

1968–70: pianist Chick Corea, bassist Dave Holland, drummer Tony Williams

1971: pianist Keith Jarrett, bassist Michael Henderson, drummer Jack DeJohnette, percussionist Airto Moreira

1969–72: pianists Joe Zawinul, Chick Corea, Keith Jarrett, Herbie Hancock, Larry Young, Harold Williams, Hermeto Pascoal, Lonnie Liston Smith, Cedric Lawson

1970s: guitarists John McLaughlin, Reggie Lucas, Pete Cosey, David Creamer, Dominique Gaumont, Cornell Dupree

Notes

References

Carr, Ian. ''Miles Davis''. ISBN 0-00-653026-5.

Chambers, Jack. ''Milestones: The Music and Times of Miles Davis''. ISBN 0-306-80849-8.

Cole, George. ''The Last Miles: The Music of Miles Davis 1980–1991''. ISBN 1-904768-18-0.

Cook, Richard (2007). ''"It's About That Time: Miles Davis On and Off Record"''. Oxford University Press. ISBN 978-0195322668

Cook, Richard, and Brian Morton. Entry "Miles Davis" in ''Penguin Guide to Jazz'', Penguin, ISBN 0-14-017949-6.

Davis, Miles & Troupe, Quincy. ''Miles: The Autobiography''. ISBN 0-671-63504-2.

Davis, Gregory. ''Dark Magus: The Jekyll & Hyde Life of Miles Davis''. ISBN 978-0-87930-875-9.

Early, Gerald. ''Miles Davis and American Culture''. ISBN 1-883982-37-5 cloth, ISBN 1-883982-38-3, paper.

Szwed, John. ''So What: The Life of Miles Davis''. ISBN 0-434-00759-5.

Tingen, Paul. ''Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991''. ISBN 0-8230-8360-8.

Mandel, Howard (2007). "Miles, Ornette, Cecil: Jazz Beyond Jazz". Routledge. ISBN 0415967147.

External links

Web sites dedicated to Miles Davis:

Miles Davis – official website.

Miles Davis – official Sony Music website.

Miles From India review

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an:Miles Davis bn:মাইলস ডেভিস be:Майлс Дэйвіс bs:Miles Davis bg:Майлс Дейвис ca:Miles Davis cs:Miles Davis da:Miles Davis de:Miles Davis et:Miles Davis es:Miles Davis eo:Miles Davis fa:مایلز دیویس fr:Miles Davis gl:Miles Davis ko:마일스 데이비스 hr:Miles Davis io:Miles Davis id:Miles Davis it:Miles Davis he:מיילס דייוויס ka:მაილს დევისი sw:Miles Davis lv:Mailss Deiviss lb:Miles Davis lt:Miles Davis hu:Miles Davis mr:माइल्स डेव्हिस nl:Miles Davis ja:マイルス・デイヴィス no:Miles Davis nn:Miles Davis oc:Miles Davis pms:Miles Davis nds:Miles Davis pl:Miles Davis pt:Miles Davis ro:Miles Davis qu:Miles Davis ru:Дейвис, Майлс sc:Miles Davis simple:Miles Davis sk:Miles Davis sl:Miles Davis sr:Мајлс Дејвис sh:Miles Davis fi:Miles Davis sv:Miles Davis th:ไมล์ส เดวิส tr:Miles Davis uk:Майлз Девіс vi:Miles Davis zh-yue:Miles Davis zh:邁爾士·戴維斯

name	Joe Pass
landscape	yes
background	non_vocal_instrumentalist
birth name	Joseph Anthony Jacobi Passalaqua
born	January 13, 1929New Brunswick, New Jersey
died	May 23, 1994Los Angeles, California
instrument	Guitar
genre	Jazz, bebop
occupation	Musician, composer
years active	1943–1994
label	Concord, PabloPacific Jazz
associated acts	Zack Charette
notable instruments	}}

Joe Pass (born Joseph Anthony Jacobi Passalaqua) (January 13, 1929 – May 23, 1994) was an Italian-American jazz guitarist of Sicilian descent. His extensive use of walking basslines, melodic counterpoint during improvisation, use of a chord-melody style of play and outstanding knowledge of chord inversions and progressions opened up new possibilities for jazz guitar and had a profound influence on future guitarists.

Early life

Born in New Brunswick, New Jersey, Joe Pass, the son of Mariano Passalaqua, a Sicilian-born steel mill worker, was raised in Johnstown, Pennsylvania. Born into a non-musical family, Pass started to play the guitar after being inspired by actor Gene Autry's portrayal of a guitar playing cowboy. He received his first guitar, a Harmony model bought for $17, on his 9th birthday. Pass' father recognized early that his son had "a little something happening" and pushed him constantly to pick up tunes by ear, play pieces not written specifically for the instrument, practice scales and not to "leave any spaces" - that is, to fill in the sonic space between the notes of the melody.

As early as 14, Pass started getting gigs and was playing with bands fronted by Tony Pastor and Charlie Barnet, honing his guitar skills and learning the music business. He began traveling with small jazz groups and eventually moved from Pennsylvania to New York City. In a few years, he fell victim to drug abuse, and spent much of the 1950s in relative obscurity. Pass managed to emerge from it through a two-and-a-half-year stay at Synanon, drug rehabilitation program. During that time he played guitar non stop and further honed his skills. In 1962 he recorded ''The Sounds of Synanon.''

Discovery and subsequent career

Pass recorded a series of albums during the 1960s for the Pacific Jazz label, including the early classics ''Catch Me'', ''12-String Guitar'', ''For Django'', and ''Simplicity''. In 1963, Pass received ''Downbeat'' magazine's "New Star Award". Pass was also featured on Pacific Jazz recordings by Gerald Wilson, Bud Shank, and Les McCann. Pass toured with George Shearing in 1965. Mostly, however, during the 1960s he did TV and recording session work in Los Angeles.

He was a sideman with Louis Bellson, Frank Sinatra, Sarah Vaughan, Joe Williams, Della Reese, Johnny Mathis, and worked on TV shows including ''The Tonight Show Starring Johnny Carson'', ''The Merv Griffin Show'', ''The Steve Allen Show'', and others. In the early 1970s, Pass and guitarist Herb Ellis were performing together regularly at Donte's jazz club in Los Angeles. This collaboration led to Pass and Ellis recording the very first album on the new Concord Jazz label, entitled simply ''Jazz/Concord'' (#CJS-1), along with bassist Ray Brown and drummer Jake Hanna. In the early 1970s, Pass also collaborated on a series of music books, and his ''Joe Pass Guitar Style'' (written with Bill Thrasher) is considered a leading improvisation textbook for students of jazz.

Norman Granz, the producer of Jazz at the Philharmonic and the founder of Verve Records signed Pass to Granz's new Pablo Records label in 1970. In 1974, Pass released his landmark solo album ''Virtuoso'' on Pablo Records. Also in 1974, Pablo Records released the album ''The Trio'' featuring Pass, Oscar Peterson, and Niels-Henning Ørsted Pedersen. At the Grammy Awards of 1975, ''The Trio'' won the Grammy Award for Best Jazz Performance by a Group. As part of the Pablo Records "stable," Pass also recorded with Benny Carter, Milt Jackson, Herb Ellis, Zoot Sims, Duke Ellington, Dizzy Gillespie, Ella Fitzgerald, Count Basie, and others.

Pass and Ella Fitzgerald recorded six albums together on Pablo Records, toward the end of Fitzgerald's career: ''Take Love Easy'' (1973), ''Fitzgerald and Pass... Again'' (1976), "Hamburg Duets - 1976" (1976), "Sophisticated Lady" (1975, 1983), ''Speak Love'' (1983), and ''Easy Living'' (1986).

In 1994, Joe Pass died from liver cancer in Los Angeles, California at the age of 65.

Legacy

In addition to his ensemble performances, the jazz community regards Joe Pass as an influential solo guitarist. His solo style was marked by an advanced linear technique, sophisticated harmonic sense, counterpoint between improvised lead lines, bass figures and chords, spontaneous modulations, and transitions from fast tempos to rubato passages. He would regularly add what he called "color tones" to his compositions, to give what he believed was a more sophisticated and "funkier" sound. As common in jazz, he would achieve this by taking the basic chord, for example G7 and would improvise or substitute certain notes, so would play for example a G13 chord or would add other tones such as flat or sharpened 5ths and 9ths to the chord. He would then often connect them chromatically using his walking bassline of root notes.

Pass's early style (influenced by guitarist Django Reinhardt and saxophonist Charlie Parker), was marked by fast single-note lines and a flowing melodic sense. Pass had the unusual lifelong habit of breaking his guitar picks and playing only with the smaller part. As Pass made the transition from ensemble to solo guitar performance, he preferred to abandon the pick altogether, and play fingerstyle. He found this enabled him to execute his harmonic concepts more effectively. His series of solo albums, ''Virtuoso'' (volumes 1 through 4) are a demonstration of Pass's refined technique.

Joe Pass let some instrument manufacturers use his name, but he only used those instruments to fulfill its engagement against those brands, or as travelling ones. He really used to play a Gibson ES-175 guitar (mainly) and a guitar made for him by master crafter Jimmy D'Aquisto; for a time he also played a Fender Jaguar, a rather unusual choice of guitar for jazz (being associated more with surf music). Epiphone has produced an edition of the ''Emperor'' line of semi-acoustic Guitar in his honour. Previously Ibanez had a Joe Pass model jazz guitar, as they continue to for influential jazz guitarists George Benson and Pat Metheny.

Discography

Selected bibliography

''Mel Bay Presents Joe Pass "Off the Record".'' Mel Bay, 1993. ISBN 1-56222-687-8

''Complete Joe Pass.'' Mel Bay, 2003. ISBN 0-7866-6747-8

Miyakaku, Takao. ''Joe Pass.'' Tokyo: Seiunsha, 2000. ISBN 4-434-00455-7 (photograph collection)

References

''Joe Pass Unedited'' article by Jim Ferguson

External links

Joe Pass guitar solo video (YouTube)

Joe Pass

Joe Pass guitar tab

Joe Pass Memorial Hall

Category:Bebop guitarists Category:New Brunswick, New Jersey Category:American jazz guitarists Category:Joe Pass albums Category:People from Johnstown, Pennsylvania Category:Musicians from Pennsylvania Category:1929 births Category:1994 deaths Category:Grammy Award winners Category:American jazz musicians of Italian descent Category:American people of Sicilian descent Category:Cancer deaths in California Category:Deaths from liver cancer

cs:Joe Pass da:Joe Pass de:Joe Pass es:Joe Pass eo:Joe Pass fr:Joe Pass it:Joe Pass he:ג'ו פאס lt:Joe Pass mk:Џо Пас nl:Joe Pass ja:ジョー・パス no:Joe Pass pl:Joe Pass pt:Joe Pass ru:Пасс, Джо

name	John Coltrane
background	non_vocal_instrumentalist
birth name	John William Coltrane
alias	"Trane"
born	September 23, 1926Hamlet, North Carolina, US
died	July 17, 1967Huntington, New York, US
genre	Jazz, avant-garde jazz, bebop, hard bop, post bop, modal jazz, free jazz
occupation	Saxophonist, composer, bandleader
instrument	Tenor saxophone, soprano saxophone, alto saxophone
years active	1946–1967
label	Prestige, Blue Note, Atlantic, Impulse!, Pablo
associated acts	Miles Davis Quintet, Thelonious Monk
website	johncoltrane.com }}

Name	Saint John William Coltrane
Birth date	September 23, 1926
birth place	Hamlet, North Carolina, US
Death date	July 17, 1967
death place	Huntington, New York, US
Venerated in	African Orthodox Church
Patronage	All Artists }}

John William Coltrane (also known as "Trane"; September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes in jazz and later was at the forefront of free jazz. He was prolific, organizing at least fifty recording sessions as a leader during his recording career, and appeared as a sideman on many other albums, notably with trumpeter Miles Davis and pianist Thelonious Monk.

As his career progressed, Coltrane and his music took on an increasingly spiritual dimension. His second wife was pianist Alice Coltrane, and their son Ravi Coltrane is also a saxophonist. Coltrane influenced innumerable musicians, and remains one of the most significant tenor saxophonists in jazz history. He received many posthumous awards and recognition, including canonization by the African Orthodox Church as Saint John William Coltrane. In 2007, Coltrane was awarded the Pulitzer Prize Special Citation for his "masterful improvisation, supreme musicianship and iconic centrality to the history of jazz."

Biography

Early life and career (1926–1954)

John Coltrane was born in Hamlet, North Carolina on September 23, 1926, and grew up in High Point, NC, attending William Penn High School (now Penn-Griffin School for the Arts). Beginning in December 1938 Coltrane's aunt, grandparents, and father all died within a few months of each other, leaving John to be raised by his mother and a close cousin. In June 1943 he moved to Philadelphia, Pennsylvania. He enlisted in the Navy in 1945, and played in the Navy jazz band once he was stationed in Hawaii. Coltrane returned to civilian life in 1946 and began jazz theory studies with Philadelphia guitarist and composer Dennis Sandole. Coltrane continued under Sandole's tutelage until the early 1950s. Originally an altoist, during this time Coltrane also began playing tenor saxophone with the Eddie Vinson Band. Coltrane later referred to this point in his life as a time when "a wider area of listening opened up for me. There were many things that people like Hawk, and Ben, and Tab Smith were doing in the '40s that I didn't understand, but that I felt emotionally."

An important moment in the progression of Coltrane's musical development occurred on June 5, 1945, when he saw Charlie Parker perform for the first time. In a ''DownBeat'' article in 1960 he recalled: "the first time I heard Bird play, it hit me right between the eyes." Parker became an early idol, and they played together on occasion in the late 1940s.

Contemporary correspondence shows that Coltrane was already known as "Trane" by this point, and that the music from some 1946 recording sessions had been played for Miles Davis—possibly impressing the latter.

There are recordings of Coltrane from as early as 1945. He was a member of groups led by Dizzy Gillespie, Earl Bostic and Johnny Hodges in the early- to mid-1950s.

Miles and Monk period (1955–1957)

Coltrane was freelancing in Philadelphia in the summer of 1955 while studying with guitarist Dennis Sandole when he received a call from trumpeter Miles Davis. 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 heroin, 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 Wayne Shorter) 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 First Quintet, represented by two marathon recording sessions for Prestige in 1956 that resulted in the albums ''Cookin''', ''Relaxin''', ''Workin''', and ''Steamin''', disbanded in mid April due partly to Coltrane's heroin addiction.

During the later part of 1957 Coltrane worked with Thelonious Monk at New York’s Five Spot, a legendary jazz club, and played in Monk's quartet (July–December 1957), but owing to contractual conflicts took part in only one official studio recording session with this group. A private recording made by Juanita Naima Coltrane of a 1958 reunion of the group was issued by Blue Note Records in 1993 as ''Live at the Five Spot-Discovery!''. More significantly, a high-quality tape of a concert given by this quartet in November 1957 surfaced, and in 2005 Blue Note made it available on CD. Recorded by Voice of America, the performances confirm the group's reputation, and the resulting album, ''Thelonious Monk Quartet with John Coltrane at Carnegie Hall'', is widely acclaimed.

''Blue Train'', Coltrane's sole date as leader for Blue Note, featuring trumpeter Lee Morgan, bassist Paul Chambers, and trombonist Curtis Fuller, is often considered his best album from this period. Four of its five tracks are original Coltrane compositions, and the title track, "Moment's Notice," and "Lazy Bird", have become standards. Both tunes employed the first examples of his chord substitution cycles known as Coltrane changes.

Davis and Coltrane again

Coltrane rejoined Davis in January 1958. In October of that year, jazz critic Ira Gitler coined the term "sheets of sound" to describe the style Coltrane developed during his stint with Monk and was perfecting in Davis' group, now a sextet. His playing was compressed, with rapid runs cascading in hundreds of notes per minute. He stayed with Davis until April 1960, working with alto saxophonist Cannonball Adderley; pianists Red Garland, Bill Evans, and Wynton Kelly; bassist Paul Chambers; and drummers Philly Joe Jones and Jimmy Cobb. During this time he participated in the Davis sessions ''Milestones'' and ''Kind of Blue'', and the live recordings ''Miles & Monk at Newport'' and ''Jazz at the Plaza''. {| style="font-size:100%" align="right" border="0" color="black" width=130px | |} At the end of this period Coltrane recorded his first album for Atlantic Records, ''Giant Steps'', made up exclusively of his own compositions. The album's title track is generally considered to have the most complex and difficult chord progression of any widely-played jazz composition. ''Giant Steps'' utilizes Coltrane changes. His development of these altered chord progression cycles led to further experimentation with improvised melody and harmony that he would continue throughout his career.

First albums as leader

Coltrane formed his first group, a quartet, in 1960 for an appearance at the Jazz Gallery in New York City. After moving through different personnel including Steve Kuhn, Pete La Roca, and Billy Higgins, the lineup stabilized in the fall with pianist McCoy Tyner, bassist Steve Davis, and drummer Elvin Jones. Tyner, from Philadelphia, had been a friend of Coltrane's for some years and the two men long had an understanding that the pianist would join Coltrane when Tyner felt ready for the exposure of regularly working with him. Also recorded in the same sessions were the later released albums ''Coltrane's Sound'' and ''Coltrane Plays the Blues''.

Still with Atlantic Records, for whom he had recorded ''Giant Steps'', his first record with his new group was also his debut playing the soprano saxophone, the hugely successful ''My Favorite Things''. Around the end of his tenure with Davis, Coltrane had begun playing soprano saxophone, 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 Sidney Bechet and the work of his contemporary, Steve Lacy, 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 (Coltrane changes) used on ''Giant Steps'' (movement in major thirds rather than conventional perfect fourths) over the A sections instead of a conventional turnaround progression. Several other tracks recorded in the session utilized this harmonic device, including "26–2," "Satellite," "Body and Soul", and "The Night Has a Thousand Eyes".

First years with Impulse Records (1960–1962)

In May 1961, Coltrane's contract with Atlantic was bought out by the newly formed Impulse! Records label. An advantage to Coltrane recording with Impulse! was that it would enable him to work again with engineer Rudy Van Gelder, who had taped both his and Davis's Prestige sessions, as well as ''Blue Train''. It was at Van Gelder's new studio in Englewood Cliffs, New Jersey that Coltrane would record most of his records for the label.

By early 1961, bassist Davis had been replaced by Reggie Workman while Eric Dolphy joined the group as a second horn around the same time. The quintet had a celebrated (and extensively recorded) residency in November 1961 at the Village Vanguard, which demonstrated Coltrane's new direction. It featured the most experimental music he'd played up to this point, influenced by Indian ragas, the recent developments in modal jazz, and the burgeoning free jazz movement. John Gilmore, a longtime saxophonist with musician Sun Ra, was particularly influential; after hearing a Gilmore performance, Coltrane is reported to have said "He's got it! Gilmore's got the concept!" The most celebrated of the Vanguard tunes, the 15-minute blues, "Chasin' the 'Trane", was strongly inspired by Gilmore's music.

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, ''Down Beat'' magazine indicted Coltrane, along with Eric Dolphy, 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 Ornette Coleman, which was also denigrated by some jazz musicians (including 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".

Classic Quartet period (1962–1965)

In 1962, Dolphy departed and Jimmy Garrison replaced Workman as bassist. From then on, the "Classic Quartet", as it came to be known, with Tyner, Garrison, and Jones, produced searching, spiritually driven work. Coltrane was moving toward a more harmonically static style that allowed him to expand his improvisations rhythmically, melodically, and motivically. Harmonically complex music was still present, but on stage Coltrane heavily favored continually reworking his "standards": "Impressions", "My Favorite Things", and "I Want to Talk about You."

The criticism of the quintet with Dolphy may have had an impact on Coltrane. In contrast to the radicalism of Trane's 1961 recordings at the Village Vanguard, his studio albums in 1962 and 1963 (with the exception of ''Coltrane'', which featured a blistering version of Harold Arlen's "Out of This World") were much more conservative and accessible. He recorded an album of ballads and participated in collaborations with Duke Ellington on the album ''Duke Ellington and John Coltrane'' and with deep-voiced ballad singer Johnny Hartman on an eponymous co-credited album. The Impulse compilation ''Coltrane for Lovers'' is largely drawn from these three albums. The album ''Ballads'' is emblematic of Coltrane's versatility, as the quartet shed new light on old-fashioned standards such as "It's Easy to Remember". Despite a more polished approach in the studio, in concert the quartet continued to balance "standard" and its own more exploratory and challenging music, as can be seen on the ''Impressions'' album (two extended jams including the title track along with "Dear Old Stockholm", "After the Rain" and a blues), ''Coltrane at Newport'' (where he plays "My Favorite Things") and ''Live at Birdland'' both from 1963. Coltrane later said he enjoyed having a "balanced catalogue."

The Classic Quartet produced their most famous record, ''A Love Supreme'', in December 1964. It is reported that Coltrane, who struggled with repeated drug addiction, derived inspiration for "A Love Supreme" through a near overdose in 1957 which galvanized him to spirituality. A culmination of much of Coltrane's work up to this point, this four-part suite is an ode to his faith in and love for God. These spiritual concerns would characterize much of Coltrane's composing and playing from this point onwards, as can be seen from album titles such as ''Ascension'', ''Om'' and ''Meditations''. The fourth movement of ''A Love Supreme'', "Psalm", is, in fact, a musical setting for an original poem to God written by Coltrane, and printed in the album's liner notes. Coltrane plays almost exactly one note for each syllable of the poem, and bases his phrasing on the words. Despite its challenging musical content, the album was a commercial success by jazz standards, encapsulating both the internal and external energy of the quartet of Coltrane, Tyner, Jones and Garrison. Indeed the previous album ''Crescent'' recorded only a few months before already shows the adventurousness and rapport between these musicians. The album was composed at Coltrane's home in Dix Hills on Long Island.

The quartet only played ''A Love Supreme'' live once—in July 1965 at a concert in Antibes, France. By then, Coltrane's music had grown even more adventurous, and the performance provides an interesting contrast to the original.

Avant-garde jazz and the second quartet (1965–1967)

In his late period, Coltrane showed an increasing interest in avant-garde jazz, purveyed by Ornette Coleman, Albert Ayler, Sun Ra and others. In developing his late style, Coltrane was especially influenced by the dissonance of Ayler's trio with bassist Gary Peacock and drummer Sunny Murray, a rhythm section honed with Cecil Taylor as leader. Coltrane championed many younger free jazz musicians, (notably Archie Shepp), and under his influence Impulse! became a leading free jazz record label.

After ''A Love Supreme'' was recorded, Ayler's apocalyptic style became more prominent in Coltrane's music. A series of recordings with the Classic Quartet in the first half of 1965 show Coltrane's playing becoming increasingly abstract, with greater incorporation of devices like multiphonics, utilization of overtones, and playing in the altissimo register, as well as a mutated return to Coltrane's sheets of sound. In the studio, he all but abandoned his soprano to concentrate on the tenor saxophone. In addition, the quartet responded to the leader by playing with increasing freedom. The group's evolution can be traced through the recordings ''The John Coltrane Quartet Plays'', ''Living Space'', ''Transition'' (both June 1965), ''New Thing at Newport'' (July 1965), ''Sun Ship'' (August 1965), and ''First Meditations'' (September 1965).

In June 1965, he went into Van Gelder's studio with ten other musicians (including Shepp, Pharoah Sanders, Freddie Hubbard, Marion Brown, and John Tchicai) to record ''Ascension'', a 40-minute long piece that included adventurous solos by the young avant-garde musicians (as well as Coltrane), and was controversial primarily for the collective improvisation sections that separated the solos. After recording with the quartet over the next few months, Coltrane invited Pharoah Sanders to join the band in September 1965.

By any measure, Sanders was one of the most abrasive, virtuosic saxophonists then playing. While Coltrane used over-blowing frequently as an emotional exclamation-point, Sanders would opt to overblow his entire solo, resulting in a constant screaming and screeching in the altissimo range of the instrument. The more Coltrane played with Sanders, the more he gravitated to Sanders' unique sound.

Adding to the quartet

By late 1965, Coltrane was regularly augmenting his group with Sanders and other free jazz musicians. Rashied Ali joined the group as a second drummer. This was the end of the quartet; claiming he was unable to hear himself over the two drummers, Tyner left the band shortly after the recording of ''Meditations''. Jones left in early 1966, dissatisfied by sharing drumming duties with Ali. Both Tyner and Jones subsequently expressed displeasure in interviews, after Coltrane's death, with the music's new direction, while incorporating some of the free-jazz form's intensity into their own solo projects.

There are speculations that in 1965 Coltrane may have begun using LSD – informing the sublime, "cosmic" transcendence of his late period. After Jones's and Tyner's departures, Coltrane led a quintet with Pharoah Sanders on tenor saxophone, his second wife Alice Coltrane on piano, Jimmy Garrison on bass, and Rashied Ali on drums. Coltrane and Sanders were described by Nat Hentoff as "speaking in tongues". When touring, the group was known for playing very lengthy versions of their repertoire, many stretching beyond 30 minutes and sometimes even being an hour long. Concert solos for band members regularly extended beyond fifteen minutes in duration.

Despite the radicalism of the horns, the rhythm section with Ali and Alice Coltrane had a more relaxed, random but meditative feel than with Jones and Tyner. The group can be heard on several live recordings from 1966, including ''Live at the Village Vanguard Again!'' and ''Live in Japan''. In 1967, Coltrane entered the studio several times; though pieces with Sanders have surfaced (the unusual "To Be", which features both men on flutes), most of the recordings were either with the quartet minus Sanders (''Expression'' and ''Stellar Regions'') or as a duo with Ali. The latter duo produced six performances which appear on the album ''Interstellar Space''.

Death and funeral

Coltrane died from liver cancer at Huntington Hospital on Long Island on July 17, 1967, at the age of 40. His funeral was held on Friday, July 21 at St. Peters Lutheran Church in New York City. The Albert Ayler Quartet and The Ornette Coleman Quartet respectively opened and closed the service. He is buried at Pinelawn Cemetery in Farmingdale, N.Y.

Biographer Lewis Porter has suggested, somewhat controversially, that the cause of Coltrane's illness was hepatitis, although he also attributed the disease to Coltrane's heroin use. In a 1968 interview Albert Ayler claimed that Coltrane was consulting a Hindu meditative healer for his illness instead of Western medicine, though Alice Coltrane later denied this.

His death surprised many in the musical community who were not aware of his condition. Miles Davis commented: "Coltrane's death shocked everyone, took everyone by surprise. I knew he hadn't looked too good... But I didn't know he was that sick—or even sick at all."

The Coltrane family reportedly remains in possession of much more as-yet-unreleased music, mostly mono reference tapes made for the saxophonist and, as with the 1995 release ''Stellar Regions'', master tapes that were checked out of the studio and never returned. The parent company of Impulse!, from 1965 to 1979 known as ABC Records, purged much of its unreleased material in the 1970s. Lewis Porter has stated that Alice Coltrane, who died in 2007, intended to release this music, but over a long period of time; her son Ravi Coltrane, responsible for reviewing the material, is also pursuing his own career.

Instruments

Coltrane played the clarinet and the alto horn in a community band before taking up the alto saxophone during high school. In 1947, when he joined King Kolax's band, Coltrane switched to tenor saxophone, the instrument he became known for playing primarily. Coltrane's preference for playing melody higher on the range of the tenor saxophone (as compared to Coleman Hawkins or Lester Young) is attributed to his start and training on the alto horn and clarinet; his "sound concept" (manipulated in ones vocal tracts- tongue, throat) of the tenor sax was set higher than the normal range of the instrument.

In the early 1960s, during his engagement with Atlantic Records, he increasingly played soprano saxophone as well. The cover of his album ''My Favorite Things'' features Coltrane playing soprano. Toward the end of his career, he experimented with flute in his live performances and studio recordings.

Religious beliefs

Coltrane was born and raised in a Christian home, and was influenced by religion and spirituality from childhood. His maternal grandfather, the Reverend William Blair, was a preacher at an African Methodist Episcopal Zion Church in High Point, North Carolina, and John's paternal grandfather, Reverend William H. Coltrane, was an A.M.E. Zion minister in Hamlet, North Carolina. John's parents met through church affiliation, and married in 1925. John was born in 1926. As a youth, John practiced music in the southern African-American church. In ''A Night in Tunisia: Imaginings of Africa in Jazz'', Norman Weinstein notes the parallel between Coltrane's music and his experience in the southern church.

In 1955, Coltrane married Juanita Naima Grubbs, a Muslim convert, (for whom he later wrote the piece "Naima"), and came into contact with Islam. Coltrane explored Hinduism, the Kabbalah, Jiddu Krishnamurti, African history, and the philosophical teachings of Plato and Aristotle. Coltrane also became interested in Zen Buddhism and, later in his career, visited Buddhist temples during his 1966 tour of Japan.

Since 1948, Coltrane had struggled with heroin addiction as well as alcoholism. In 1957, Coltrane had a religious experience which may have been what finally led him to overcome his addictions to alcohol and heroin. In the liner notes of ''A Love Supreme'' (released in 1965) Coltrane states "[d]uring the year 1957, I experienced, by the grace of God, a spiritual awakening which was to lead me to a richer, fuller, more productive life. At that time, in gratitude, I humbly asked to be given the means and privilege to make others happy through music." In his 1965 album ''Meditations'', Coltrane wrote about uplifting people, "...To inspire them to realize more and more of their capacities for living meaningful lives. Because there certainly is meaning to life."

John and Naima Coltrane had no children together and were separated by the summer of 1963, and not long after that John met pianist Alice McLeod (who soon became Alice Coltrane). John and Alice moved in together and had two sons before he was "officially divorced from Naima in 1966, at which time John and Alice were immediately married." John Jr. was born in 1964, Ravi was born in 1965, and Oranyan (Oran) was born in 1967. According to Lavezzoli, "Alice brought happiness and stability to John's life, not only because they had children, but also because they shared many of the same spiritual beliefs, particularly a mutual interest in Indian philosophy. Alice also understood what it was like to be a professional musician".

Moustafa Bayoumi, an associate professor of English at Brooklyn College, City University of New York, argues that Coltrane's ''A Love Supreme'' (recorded in December 1964 and released in 1965) features Coltrane chanting, "Allah Supreme." However, in Lewis Porter's book ''John Coltrane: His Life and Music'' (2000), on page 242, he describes the lyrics this way: "Coltrane and another voice—probably himself overdubbed—chant the words 'a love supreme' in unison with the bass ostinato". In Peter Lavezzoli's book ''The Dawn of Indian Music in the West: Bhairavi'' (2006), on page 283, he says, "Certainly in his opening solo in "Acknowledgment," with his constant modulations of the same phrase in different keys, Coltrane assumes the role of the preacher. After stating the theme in every possible key, Coltrane concludes his solo and quietly begins to chant, "A love supreme … a love supreme," singing the same four notes played by Garrison on the bass. After chanting "A love supreme" sixteen times, Coltrane and the band shift from F minor down to E flat minor, and the chant slowly tapers off." Whatever the case may be, the liner notes to ''A Love Supreme'' appear to mention God in a Universalist sense, and do not advocate one religion over another. Further evidence of this universal view regarding spirituality can be found in the liner notes of ''Meditations'' (1965), in which Coltrane declares, "I believe in all religions."

Lavezzoli points out that "After ''A Love Supreme'', most of Coltrane's song and album titles had spiritual implications: ''Ascension'', ''Om'', ''Selflessness'', ''Meditations'', "Amen," "Ascent," "Attaining," "Dear Lord," "Prayer and Meditation Suite," and the opening movement of ''Meditations'', "The Father and the Son and the Holy Ghost," the most obvious Christian reference in any of Coltrane's work." Coltrane's collection of books included ''The Gospel of Sri Ramakrishna'', the Bhagavad Gita, Paramahansa Yogananda's ''Autobiography of a Yogi'', which, Lavezzoli points out, "recounts Yogananda's search for universal truth, a journey that Coltrane had also undertaken. Yogananda believed that both Eastern and Western spiritual paths were efficacious, and wrote of the similarities between Krishna and Christ. This openness to different traditions resonated with Coltrane, who studied the Qur'an, the Bible, Kabbalah, and astrology with equal sincerity."

In October 1965, Coltrane recorded ''Om'', referring to the sacred syllable in Hinduism, which symbolizes the infinite or the entire Universe. Coltrane described ''Om'' as the "first syllable, the primal word, the word of power". The 29-minute recording contains chants from the ''Bhagavad-Gita'', a Hindu holy book, as well as Coltrane and Pharoah Sanders chanting from a Buddhist text, ''The Tibetan Book of the Dead'', and reciting a passage describing the primal verbalization "om" as a cosmic/spiritual common denominator in all things.

Coltrane's spiritual journey was interwoven with his investigation into world music. He believed not only in a universal musical structure which transcended ethnic distinctions, but in being able to harness the mystical language of music itself. Coltrane's study of Indian music led him to believe that certain sounds and scales could "produce specific emotional meanings." According to Coltrane, the goal of a musician was to understand these forces, control them, and elicit a response from the audience. Coltrane said: "I would like to bring to people something like happiness. I would like to discover a method so that if I want it to rain, it will start right away to rain. If one of my friends is ill, I'd like to play a certain song and he will be cured; when he'd be broke, I'd bring out a different song and immediately he'd receive all the money he needed."

Legacy

The influence Coltrane has had on music spans many different genres and musicians. Coltrane's massive influence on jazz, both mainstream and avant-garde, began during his lifetime and continued to grow after his death. He is one of the most dominant influences on post-1960 jazz saxophonists and has inspired an entire generation of jazz musicians. In 1965, he was inducted into the ''Down Beat'' Jazz Hall of Fame. In 1972, ''A Love Supreme'' was certified gold by the RIAA for selling over half a million copies in Japan. This album, as well as ''My Favorite Things'', was certified gold in the United States in 2001. In 1982 Coltrane was awarded a posthumous Grammy for "Best Jazz Solo Performance" on the album ''Bye Bye Blackbird'', and in 1997, was awarded the Grammy Lifetime Achievement Award.

His widow, Alice Coltrane, after several decades of seclusion, briefly regained a public profile before her death in 2007. Coltrane's son, Ravi Coltrane, named after the great Indian sitarist Ravi Shankar, who was greatly admired by Coltrane, has followed in his father's footsteps and is a prominent contemporary saxophonist. A former home, the John Coltrane House in Philadelphia, was designated a National Historic Landmark in 1999. His last home, the John Coltrane Home in the Dix Hills neighborhood of Huntington, New York, where he resided from 1964 until his death in 1967, was added to the National Register of Historic Places on June 29, 2007.

His revolutionary use of multi-tonic systems in jazz has become a widespread composition and reharmonization technique known as "Coltrane changes".

In 2002, scholar Molefi Kete Asante listed John Coltrane on his list of 100 Greatest African Americans.

Coltrane's tenor (Selmer Mark VI, serial number 125571, dated 1965) and soprano (Selmer Mark VI, serial number 99626, dated 1962) saxophones were auctioned on February 20, 2005 to raise money for the John Coltrane Foundation. The soprano raised $70,800 but the tenor remained unsold.

Sainthood

The African Orthodox Church canonized Coltrane in 1982. However, the Saint John Coltrane African Orthodox Church, San Francisco, which is fondly known as the "Coltrane church", is the only African Orthodox church which incorporates Coltrane's music and his lyrics as prayers in its liturgy. A documentary on Coltrane, featuring this San Francisco branch of the church and presented by Alan Yentob, was produced for the BBC in 2004. Samuel G. Freedman writes in his ''New York Times'' article "Sunday Religion Inspired By Saturday Nights", December 1, 2007,

... the Coltrane church is not a gimmick or a forced alloy of nightclub music and ethereal faith. Its message of deliverance through divine sound is actually quite consistent with Coltrane’s own experience and message.

In the same article, he comments on John Coltrane's place in the canon of American music.

In both implicit and explicit ways, Coltrane also functioned as a religious figure. Addicted to heroin in the 1950s, he quit cold turkey, and later explained that he had heard the voice of God during his anguishing withdrawal. In 1964, he recorded ''A Love Supreme'', an album of original praise music in a free-jazz mode... In 1966, an interviewer in Japan asked Coltrane what he hoped to be in five years, and Coltrane replied, "A saint."

John Coltrane is depicted as one of the ninety saints in the monumental Dancing Saints icon of St. Gregory of Nyssa Episcopal Church in San Francisco. The Dancing Saints icon is a painting rendered in the Byzantine iconographic style that wraps around the entire church rotunda. The icon was executed by iconographer Mark Dukes, an ordained deacon at the Saint John Coltrane African Orthodox Church, who has painted other icons of Coltrane for the Coltrane Church. Saint Barnabas Episcopal Church in Newark, New Jersey included Coltrane on their list of historical black saints and even made a "case for sainthood" for him in an article on their former website.

Discography

''Discography below lists albums conceived and approved by Coltrane as a leader during his lifetime. It does not include his many releases as a sideman, sessions assembled into albums by various record labels after Coltrane's contract expired, sessions with Coltrane as a sideman later reissued with his name featured more prominently, or posthumous compilations except for the one which he approved before his death. See main discography link above for full list.''

Prestige and Blue Note Records

''Coltrane'' (debut solo LP) (1957)

''Blue Train'' (1957)

''John Coltrane with the Red Garland Trio'' (1958)

''Soultrane'' (1958)

Atlantic Records

''Giant Steps'' (first album entirely of Coltrane compositions) (1960)

''Coltrane Jazz'' (first appearance by McCoy Tyner and Elvin Jones) (1961)

''My Favorite Things'' (1961)

''Olé Coltrane'' (features Eric Dolphy, compositions by Coltrane and Tyner) (1961)

Impulse! Records

''Africa/Brass'' (brass arranged by Tyner and Dolphy) (1961)

''Live! at the Village Vanguard'' (features Dolphy, first appearance by Jimmy Garrison) (1962)

''Coltrane'' (first album to solely feature the "classic quartet") (1962)

''Ballads'' (1963)

''John Coltrane and Johnny Hartman'' (1963)

''Impressions'' (1963)

''Duke Ellington & John Coltrane'' (1964)

''Live at Birdland'' (1964)

''Crescent'' (1964)

''A Love Supreme'' (1965)

''The John Coltrane Quartet Plays'' (1965)

''Ascension'' (1966)

''New Thing at Newport'' (live with Archie Shepp) (1966)

''Kulu Se Mama'' (1966)

''Meditations'' (quartet plus Pharoah Sanders and Rashied Ali) (1966)

''Expression'' (posthumous and final Coltrane-approved release; one track features Coltrane on flute) (1967)

References

Sources

External links

Official Website

Coltrane Church Website

1957 Carnegie Hall Performance in Transcription and Analysis

Infography about John Coltrane

"John Coltrane: Images of Trane", ''Jazz Times'', June 1997, Lee Tanner

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Name	Earl Hines
Background	non_vocal_instrumentalist
Born	December 28, 1903 Duquesne, Pennsylvania
Died	April 23, 1983 Oakland, California
Instrument	Piano
Genre	Swing, Big band, solo piano
Occupation	Musician
Years active	}}

Earl Kenneth Hines, universally known as Earl "Fatha" Hines, (December 28, 1903 – April 22, 1983) was "one of a small number of pianists whose playing shaped the history of jazz".

Biography

Early life

Earl Hines was born in Duquesne, Pennsylvania 12 miles from Pittsburgh city center. His father played cornet and was leader of Pittsburgh's Eureka Brass Band, his stepmother a church organist. Hines intended to follow his father on cornet but "blowing" hurt him behind the ears - while the piano didn't. The young Hines took classical piano lessons - at eleven he was playing organ in his local Baptist church - but he also had a "good ear and a good memory" and could re-play songs and numbers he heard in theaters and park 'concerts': "I'd be playing songs from these shows months before the song copies came out. That astonished a lot of people and they'd ask where I heard these numbers and I'd tell them at the theatre where my parents had taken me." Later Hines was to say that he was playing piano around Pittsburgh "before the word 'jazz' was even invented".

Early career

At the age of 17, and with his father's approval, Hines moved away from home to take a job playing piano with Lois Deppe & his 'Symphonian Serenaders' in the "Liederhaus", a Pittsburgh nightclub. He got 2 meals a day and $15 a week. Deppe was a well-known baritone who sang both classical and popular numbers. Deppe used the young Hines as his accompanist for both and took Hines on his concert-trips to New York. Hines' first recordings were accompanying Deppe — four sides recorded with Gennett Records in 1923. Only two of these were issued, and only one, a Hines composition, "Congaine", "a keen snappy foxtrot", featured any solo work by Hines. Hines entered the studio again with Deppe a month later to record spirituals and popular songs.

In 1925, after much debate, Hines moved to Chicago, Illinois, then the world's "jazz" capital, home (at the time) to Jelly Roll Morton and King Oliver. He started in The Elite no 2 Club but soon joined Carroll Dickerson's band with whom he also toured on the Pantages Theatre Circuit to Los Angeles and back.

Then, in the poolroom at Chicago's Musicians' Union on State & 39th, Earl Hines met Louis Armstrong. Hines was 21, Armstrong 24. They played together at the Union piano. Armstrong was astounded by Hines's avant-garde "trumpet-style" piano-playing, often using dazzlingly fast octaves so that on none-too-perfect upright pianos (and with no amplification) "they could hear me out front" - as indeed they could. The ''Penguin Jazz Encyclopedia'' says:

... [Hines'] most dramatic departure from what other pianists were then playing was his approach to the underlying pulse: he would charge against the metre of the piece being played, accent off-beats, introduce sudden stops and brief silences. In other hands this might sound clumsy or all over the place but Hines could keep his bearings with uncanny resilience.

Armstrong and Hines became good friends, shared a car, and Armstrong joined Hines in Carroll Dickerson's band at the Sunset Cafe. In 1927, this became Louis Armstrong's band under the musical direction of Hines. Later that year, Armstrong revamped his Okeh Records recording-only band, Louis Armstrong's Hot Five, and replaced his wife Lil Hardin Armstrong on piano with Hines. Armstrong and Hines then recorded what are often regarded as some of the most important jazz records ever made, most famously their 1928 trumpet and piano duet "''Weatherbird''".

... with Earl Hines arriving on piano, Armstrong was already approaching the stature of a concerto soloist, a role he would play more or less throughout the next decade, which makes these final small-group sessions something like a reluctant farewell to jazz's first golden age. Since Hines is also magnificent on these discs (and their insouciant exuberance is a marvel on the duet showstopper ''"Weather Bird"'') the results seem like eavesdropping on great men speaking almost quietly among themselves. There is nothing in jazz finer or more moving than the playing on ''"West End Blues"'', ''"Tight Like This"'', ''"Beau Koo Jack"'' & ''"Muggles"''.

The Sunset Cafe closed in 1927. Hines, Armstrong and their drummer, Zutty Singleton, agreed they would be, “'The Unholy Three', stick together and not play for anyone unless the three of us were hired” but, trying to establish their own Warwick Hall Club as 'Louis Armstrong and his Stompers' [with Hines as musical director and the premises rented in Hines' name] they ran into difficulties. Hines went briefly to New York to return to find that in his absence Armstrong and Singleton had re-joined their now-rival Carroll Dickerson’s band at the new The Savoy Ballroom – a fact which left Hines “warm”. Hines joined clarinetist Jimmy Noone at The Apex, an after-hours speakeasy, playing from midnight – 6am 7 nights a week. Hines recorded with Noone, again with Armstrong and late in 1928 recorded his first piano solos, 8 for QRS Records in New York then 7 for Okeh Records in Chicago, all except two his own compositions. He moved in with Kathryn Perry with whom he had recorded 'Sadie Green The Vamp of New Orleans' but Hines had also begun rehearsing his own big-band. At 24 his big break was about to come.

Chicago years

On 28 December 1928 (so on his 25th birthday and 6 weeks before The Saint Valentine's Day massacre) Hines opened at Chicago's Grand Terrace Cafe leading his own big-band, the pinnacle of jazz ambition at the time. "All America was dancing" - and for the next 12 years and through the worst of the Great Depression and Prohibition Earl Hines was "The Orchestra" in The Grand Terrace. The Hines Orchestra [or 'Organization' as Hines preferred it - it had up to 28 musicians] did three shows a night in The Grand Terrace, four shows every Saturday and sometimes did Sundays. "Earl Hines and The Grand Terrace were to Chicago what Duke Ellington and The Cotton Club were to New York - but fierier." The Grand Terrace was controlled by Al Capone - so Hines became Capone's "Mr Piano Man" with the Grand Terrace upright piano soon replaced by a white $3,000 Bechstein grand.

From The Grand Terrace, Hines and his band broadcast on "open mikes" over many years, sometimes seven nights a week, coast-to-coast across America — Chicago being well placed to deal with the U.S. live-broadcasting time-zone problem. Earl Hines' became the most broadcast band in America. Among his listeners, was a young Jay McShann in Kansas City who said his "...real education came from Earl Hines. When 'Fatha' went off the air, I went to bed”. But Hines' most notable 'student' was Art Tatum from Toledo, Ohio, 6 years younger than Hines and now often regarded as the greatest pianist jazz has so far produced.

Hines always liked to promote and, often surprisingly quietly, to accompany singers most notably, in the Grand Terrace days, Billy Eckstine:

"... on tour, Hines and his star singer Billy Eckstine were treated like the rock stars of later years, being mobbed by the huge crowds that turned out to hear them."

Each summer, Hines toured his whole band for three months, including through the South. "When we traveled by train through the South, they would send a porter back to our car to let us know when the dining room was cleared, and then we would all go in together. We couldn't eat when we wanted to. We had to eat when they were ready for us."

Occasionally, Hines allowed other pianists to play as 'relief' piano player which better allowed Hines to conduct his whole 'Organization'. Jess Stacy was one, Nat "King" Cole and Teddy Wilson were others (though Cliff Smalls was his favorite). It was with Hines in The Grand Terrace that Charlie Parker got his first professional job until he was fired for his "time-keeping" — by which Hines meant Parker's inability to show up on time despite Parker resorting to sleeping under The Grand Terrace stage in his attempts to do so.

The Grand Terrace closed suddenly in December 1940 with the manager, Ed Fox, 'not to be found'. Hines, always famously good to work for, took his band on the road. Some of his band members were drafted to fight in World War ll but Hines toured his band coast to coast across America taking time out to front the Duke Ellington Orchestra in 1944 while Duke was ill. (Thirty years later, Hines's 20 solo "transformative versions" of his ''Earl Hines Plays Duke Ellington'' recorded in the 1970s were described by Ben Ratliff in the ''New York Times'' as "as good an example of the jazz process as anything out there".)

It was during this time (and especially during the 1942–1945 recording ban) that members of the Hines' band's late-night jam-sessions laid the seeds for the upcoming 'revolution' in jazz, Bebop. Duke Ellington was later to say that "the seeds of bop were in Earl Hines's piano style". Composer Gunther Schuller said, "In 1943 I heard the great Earl Hines band which had Bird in it and all those other great musicians. They were playing all the flatted fifth chords and all the modern harmonies and substitutions and Dizzy Gillespie runs in the trumpet section work. Two years later I read that that was 'bop' and the beginning of modern jazz ... but the band never made recordings".

In 1946 Hines received serious head injuries in a car crash near Houston which affected his eyesight but he continued to lead his big-band for 2 more years. In 1947 he bought the El Grotto nightclub in Chicago - the showgirls were called The Grottoettes - but it soon foundered, Hines losing $30,000. Hines (and his band) had made a comfortable living for nearly two decades, but the big-band era and its steady income were over.

Rediscovery

In early 1948, Hines joined up again with Armstrong in the "Louis Armstrong and his All-Stars" 'small-band' (rather, Hines now came to feel, as a sideman) and stayed, not entirely happily, thru' 1951. Next, back as leader again, Hines took his own small combos around the States and Europe but, at the start of the jazz-lean 1960s and old enough now to retire and take up bowling, Hines settled "home" in Oakland, California with his wife and two young daughters, Janear and Tosca, opened a tobacconist's and came close to giving up the profession.

Then, in 1964, thanks to Stanley Dance, Earl Hines' determined friend and unofficial manager, Hines was "suddenly rediscovered" following a series of 'recitals' at The Little Theatre in New York that Dance had cajoled him into. They were the first piano 'recitals' Hines - always thinking of himself as "just a band pianist" - had ever given. These 'recitals' caused a sensation. "What is there left to hear after you've heard Earl Hines?", asked the New York Times. Hines then won the 1966 "International Critics Poll" for ''Down Beat'' Magazine's "Hall of Fame". ''Down Beat'' also elected him the world's "No 1 Jazz Pianist" in 1966 (and were to do so again five further times). ''Jazz Journal'' awarded his LP's of the year first and second in their overall poll and first, second and third in their piano category. ''Jazz'' voted him "Jazzman of the Year", voted him their no. 1 and no. 2 in their piano recordings category and he was on Johnny Carson's and Mike Douglas' TV shows.

From then until he died twenty years later Hines recorded endlessly both solo and with jazz notables like Cat Anderson, Harold Ashby, Barney Bigard, Lawrence Brown, Dave Brubeck (they recorded duets in 1975), Jaki Byard (duets in 1972), Benny Carter, Buck Clayton, Cozy Cole, Wallace Davenport, Eddie "Lockjaw" Davis, Vic Dickenson, Roy Eldridge, Duke Ellington (duets in 1966), Ella Fitzgerald, Panama Francis, Bud Freeman, Stan Getz, Dizzie Gillespie, Paul Gonsalves, Stephane Grappelli, Sonny Greer, Lionel Hampton, Coleman Hawkins, Johnny Hodges, Peanuts Hucko, Helen Humes, Budd Johnson, Jonah Jones, Max Kaminsky, Gene Krupa, Ellis Larkins, Marian McPartland (duets in 1970), Gerry Mulligan, Ray Nance, Oscar Peterson (duets in 1968), Russell Procope, Pee Wee Russell, Jimmy Rushing, Stuff Smith, Rex Stewart, Maxine Sullivan, Buddy Tate, Jack Teagarden, Clark Terry, Sarah Vaughan, Joe Venuti, Earle Warren, Ben Webster, Teddy Wilson (duets in 1965 & 1970), Jimmy Witherspoon, Jimmy Woode and Lester Young. Possibly more surprising were Alvin Batiste, Art Blakey, Teresa Brewer, Richard Davis, Elvin Jones, Etta Jones, The Inkspots, Peggy Lee, Helen Merrill, Charles Mingus, Vi Redd, Betty Roché, Caterina Valente, Dinah Washington—and "''Ditty Wah Ditty''" with Ry Cooder. But his most acclaimed recordings of this period were his solo performances, "a whole orchestra by himself". Whitney Balliett wrote of his solo recordings and performances of this time:

... Hines will be sixty-seven this year and his style has become involuted, rococo, and subtle to the point of elusiveness. It unfolds in orchestral layers and it demands intense listening. Despite the sheer mass of notes he now uses, his playing is never fatty. Hines may go along like this in a medium tempo blues. He will play the first two choruses softly and out of tempo, unreeling placid chords that safely hold the kernel of the melody. By the third chorus, he will have slid into a steady but implied beat and raised his volume. Then, using steady tenths in his left hand, he will stamp out a whole chorus of right-hand chords in between beats. He will vault into the upper register in the next chorus and wind through irregularly placed notes, while his left hand plays descending, on-the-beat, chords that pass through a forest of harmonic changes. (There are so many push-me, pull-you contrasts going on in such a chorus that it is impossible to grasp it one time through.) In the next chorus—bang!—up goes the volume again and Hines breaks into a crazy-legged double-time-and-a-half run that may make several sweeps up and down the keyboard and that are punctuated by offbeat single notes in the left hand. Then he will throw in several fast descending two-fingered glissandos, go abruptly into an arrhythmic swirl of chords and short, broken, runs and, as abruptly as he began it all, ease into an interlude of relaxed chords and poling single notes. But these choruses, which may be followed by eight or ten more before Hines has finished what he has to say, are irresistible in other ways. Each is a complete creation in itself, and yet each is lashed tightly to the next. Hines' sudden changes in dynamics, tempo, and texture are dramatic but not melodramatic; the ham lurking in the middle distance never gets any closer. And Hines is a perfervid pianist; he gives the impression that he has shut himself up completely within his instrument, that he is issuing chords and runs and glisses not merely through its keyboard and hammers and strings but directly from its soul.

Solo tributes to Louis Armstrong, Hoagy Carmichael, Duke Ellington, George Gershwin and Cole Porter were all put on record in the 1970s, sometimes on the 1904 12-legged Steinway (unique and famously ornate) given to him in 1969 by Scott Newhall, managing editor of the ''San Francisco Chronicle''. In 1974, so now in his seventies, Hines recorded sixteen LPs. "A spate of solo recording meant that, in his old age, Hines was being comprehensively documented at last, and he rose to the challenge with consistent inspirational force". Between his 1964 "come-back" and up to when he died, Hines recorded over 100 LPs all over the world. Within the industry, he became legendary for going into a studio and coming out an hour-and-a-half later with a famously-unplanned 'solo' LP behind him including discussion and coffee time - and ideally a brandy or two. Retakes were almost unheard of except when Hines wanted to try a tune again in some, often completely, "other way".

Pianist Lennie Tristano said of these recordings, "Earl Hines is the ''ONLY'' one of us capable of creating real jazz and real swing when playing all alone." To Horace Silver, "He has a completely unique style. No one can get that sound, no other pianist". Erroll Garner said, "When you talk about greatness, you talk about Art Tatum and Earl Hines". To Count Basie, Hines was "The greatest piano player in the world".

From 1964 on Hines often toured Europe (especially France), toured South America in 1968 and added Asia, Australia, Japan and, in 1966, the Soviet Union to his list of State Department-funded destinations. (During his 6-week Soviet Union tour, the 10,000-seat Kiev Sports Palace was sold out. As a result, the Kremlin canceled his Moscow and Leningrad concerts ("Reds Change Hines Tour") as being "too culturally dangerous".)

Final years

Arguably still playing as well as he ever had, Hines displayed individualistic quirks (including grunts a la' Glenn Gould ) in these performances. Now, he sometimes sang as he played, especially his own ''"They Didn't Believe I Could Do It—Neither Did I"''. In 1975, Hines made an hour-long "solo" film for British TV out-of-hours in Blues Alley, a Washington nightclub: the "New York Herald Tribune" described it as "The greatest jazz film ever made". In that film Hines said, '"The way I like to play is that ... I'm an explorer, if I might use that expression, I'm looking for something all the time ... almost like I'm trying to talk".

He played solo in The White House (twice) and played solo for The Pope - and played (and sang) his last show in San Francisco a few days before he died in Oakland, quite likely somewhat older than he had always maintained. As he had wished, his Steinway had a very much "All Star" Christie's auction for the benefit of gifted low-income music students, still bearing its silver plaque: "presented by jazz lovers from all over the world. this piano is the only one of its kind in the world and expresses the great genius of a man who has never played a melancholy note in his lifetime on a planet that has often succumbed to despair".

On his tombstone is the inscription: "piano man".

Selected discography

Up until 1948 - and therefore including Big Band era: [It would seem that Hines' first-ever recording was on 3 Oct 1923 @ Richmond, Indiana when he was 19: 'Falling' with "Deppe's Serenaders": Tom Lord: 'The Jazz Discography']

''Louis Armstrong & Earl Hines: inc.'Weatherbird','Muggles','Tight Like This','West End Blues''' : Columbia 1928: reissued many times inc. as The Smithsonian Collection MLP 2012

''Jimmie Noone & Earl Hines: "At the Apex Club":'' Decca 1928: reissued

''Earl Hines Solo:'' 14 of his own compositions: QRS & OKeh: 1928/9: reissued many times[see below]

''Earl Hines Collection: Piano Solos 1928-40'': OKeh/Brunswick/Bluebird: Collectors Classics

''That's a Plenty,'' Quadromania series 1928-1947 Membran 4 CDs 2006

''Deep Forest,'' HEP ca. 1932-1933,

''Earl Hines - South Side Swing 1934-1935'': Decca

''The Indispensable Earl Hines'': Vols 1, 2, 3 & 4 [also 5 & 6 @ later dates] Jazz Tribune/BMG 1939-1945

''Earl Hines & The Duke's Men'': [with Ellington side-men] 1944: reissued Delmark 1994

''Earl Hines & His Grand Terrace Orchestra'': 'Piano Man' etc. 1939-1945: RCA Bluebird: reissued many times

''Earl Fatha Hines and His Orchestra'': 1945-1951, Limelight 15 766

[Big bands were particularly affected by the 1942-1944 American Federation of Musicians recording ban which also curtailed the recording of early bebop]

After 1948 - and therefore after Big Band era:

''Louis Armstrong All Stars: Live in Zurich 18 October 1949'': Montreux Jazz Label

''Louis Armstrong & The All Stars'': Decca 1950 & 1951: reissued

''Earl Hines: Paris One Night Stand'': Verve/Emarcy France 1957

''The Real Earl Hines'': [1st 'Rediscovery' concert @ Little Theatre NY 1964] Focus & Collectibles Jazz Classics: reissued

''Earl Hines: The Legendary Little Theatre Concert'' [2nd 'Rediscovery' concert]: Muse 1964

''Earl Hines: Blues in Thirds'': solo: Black Lion 1965

''Earl Hines: '65 Solo - The Definitive Black & Blue Sessions'': Black & Blue 1965

''Earl Hines: Fatha's Hands'' - Americans Swinging in Paris EMI 1965

''Earl Hines: Hine's Tune'': [live in France with Ben Webster, Don Byas, Roy Eldridge, Stuff Smith, Jimmy Woode & Kenny Clarke]: Wotre Music/Esoldun 1965: reissued

''Once Upon a Time'' [with Ellington side-men]: Verve 1966

''Jazz from a Swinging Era'' [with All-Star group in Paris]: Fontana 1967

''Earl Hines: At Home'': solo: [on his own Steinway]: Delmark 1969

''Earl Hines: My Tribute to Louis'': solo: Audiophile 1971 [recorded 2 weeks after Armstrong's death]

''Earl Hines plays Duke Ellington'': vols 1 & 2: solo: New World 1971-1975

''Earl Hines: Hines plays Hines: The Australian Sessions'': solo: Swaggie 1972

''Earl Hines: Tour de Force'' & ''Tour de Force Encore'': solo: Black Lion 1972

''Earl Hines: Live at the New School'': solo: Chiarascuro 1973

''Earl Hines: A Monday Date: reissues of Hines' 15 1928/1929 QRS & OKEH solo recordings: Milestone 1973

''Earl Hines: The Quintessential Recording Session'': solo: Chiaroscuro 1973 [remakes of his 8 1928 solo QRS piano recordings]

''Earl Hines: The Quintessential Continued'': solo: Chiaroscuro 1973 [remakes of his 7 1928/9 solo OKEH piano recordings]

''Earl Hines/Stephane Grappelli duets, "The Giants", London, July/1974, Black Lion Records

''Earl 'Fatha' Hines: The Father of Modern Jazz Piano'': solo [on Schiedmeyer grand] and with Budd Johnson, Bill Pemberton, Oliver Jackson: MF Productions 1977

''Earl Hines: In New Orleans'': solo: Chiarascuro 1977

''An Evening With Earl Hines'': with Tiny Grimes, Hank Young, Bert Dahlander and Marva Josie: Vogue VDJ-534, 1977

''Earl 'Fatha' Hines plays Hits he Missed'': [inc Monk, Zawinul, Silver]: Direct to Disc M & K RealTime 1978

[It would seem that Hines' last-ever recording was on 29 December 1981 @ São Paulo, Brazil, when he was 78: 'One o'clock Jump' with Eric Schneider and the 150 Band on 'Fatha's Birthday': Tom Lord: 'The Jazz Discography']

On anthologies:

''The Complete Master Jazz Piano Series'': 13 Hines solo numbers: MD4 140 [with Jay McShann, Teddy Wilson, Cliff Smalls etc.] 1969-1972

Notes

References

Balliett, Whitney (1986/1996). ''"American Musicians ll: 72 Portraits in Jazz"''. Oxford University Press, New York & Oxford. ISBN 0-19-512116-3

Balliett, Whitney (2000). ''"Collected Works: A Journal of Jazz 1954-2000".'' Granta Books, London. ISBN 1-86207-465-8

Berliner, Paul F. (1994).'' "Thinking in Jazz: The Infinite Art of Improvisation"''. University of Chicago Press. Chocago & London ISBN 0-226-04381-9

Clarke, Donald (1989, 2005). Hines, Earl. ''MusicWeb Encyclopedia of Popular Music.'' Retrieved August 1, 2006.

Collier, James Lincoln (1983). ''Louis Armstrong: An American Genius.'' Oxford University Press, New York. ISBN 0-19-503727-8 (pbk)

Cook, Richard (2005). ''Jazz Encyclopedia - Hines entry''. Pengiun Books, London. ISBN 9780141026466.

Dance, Stanley (1970). ''The World of Duke Ellington''. Da Capo Press. ISBN 0-306-81015-8

Dance, Stanley (1983). ''The World of Earl Hines''. [Includes a 120-page interview with Hines plus many photos]. Da Capo Press. ISBN 0-306-80182-5

Dempsey, Peter (2001). Earl Hines. ''Naxos Jazz Legends''. Retrieved July 23, 2006.

Epstein, Daniel Mark (1999). ''Nat 'King' Cole''. Farrar, Strauss & Giroux. New York. ISBN 0374219125

Feather, Leonard (1960). ''Encyclopedia of Jazz, The''. Horizon Press. ISBN 0-8180-1203-X

Harrison, Max: Fox, Charles & Thacker, Eric (1984). "The Essential Jazz Records Vol 1". Da Capo Press ISBN 0-306-80326-7

Earl Hines. ''World Book encyclopedia''. Retrieved July 23, 2006.

Earl "Fatha" Hines. ''The Red Hot Jazz Archive''. Retrieved July 23, 2006.

Lester, James (1994). ''Too Marvelous for Words: The Life & Genius of Art Tatum''. Oxford University Press, New York & Oxford. ISBN 0-19-508365-2

Nairn, Charlie (1975). ''Earl "Fatha" HInes'': 1hr 'solo' documentary made in "Blues Alley" Jazz Club, Washington DC, for ATV, England, 1975: produced/directed by Charlie Nairn: original 16mm film plus 'out-takes' of additional tunes from that film archived in British Film Institute Library @ bfi.org.uk: copyright [2007] with Granada International @ granadamedia.com: see also www.jazzonfilm.com/documentaries

Palmer, Robert (1981). "Pop Jazz; Fatha Hines Stom[p]ing and Chomping on at 75", ''The New York Times'', August 28, 1981. Retrieved from The New York Times July 30, 2006 ISBN 0-8050-7068-0

The Penguin Guide to Jazz on CD. Cook, Richard & Morton, Brian (2004). Seventh Edition. London & New York. ISBN 0-141-01416-4

Ratliff, Ben (2002). ''"The New York Times Essential Library: Jazz". Times Books. New York. ISBN 0-8050-7068-0

The Rough Guide to Jazz (2004). 3rd edition. Earl Hines, p. 262-263. Rough Guides. ISBN 1-84353-256-5

Schuller, Gunther (1991). ''The Swing Era: The Development of Jazz, 1930-1945'', pp 263–292. Oxford University Press. ISBN 0-19-507140-9

Simon, George T. (1974). ''The Big Bands''. Macmillan.

Taylor, Jeffrey (2005) Earl "Fatha" Hines: Selected Piano Solos, 1928-41. Volume 15 in Music of the United States of America. Madison, Wisconsin: American Musicological Society/A-R Editions, 2005 . ISBN 0895795809

Taylor, Jeffrey (2002) “Earl Hines and ‘Rosetta.’” Current Musicology: Special Issue, A Commemorative Festschrift in Honor of Mark Tucker. 71-73 (Spring 2001-Spring 2002).

Taylor, Jeffrey (2002) "Life With Fatha." I.S.A.M. Newsletter 30 (Fall 2000).

Taylor, Jeffrey (1998) "Louis Armstrong, Earl Hines, and 'Weather Bird.'" The Musical Quarterly 82 (Spring 1998).

External links

Category:Article Feedback Pilot Category:Swing bandleaders Category:Swing pianists Category:African American musicians Category:American jazz pianists Category:Musicians from Pittsburgh, Pennsylvania Category:People from Chicago, Illinois Category:Gennett recording artists Category:Okeh Records artists Category:Columbia Records artists Category:Decca Records artists Category:Red Baron Records artists Category:Xanadu Records artists Category:1903 births Category:1983 deaths Category:Burials at Evergreen Cemetery (Oakland, California) Category:Dixieland pianists

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