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Harmonic complexities of bebop to a new level. Had been working on throughout the late fifties, ideas that took the To the role of a sideman in his own band.Ĭoltrane’s solos range from the overwhelming to the astonishing to theĭevastating to the outrageously playful. The band’s most prestigious showcases, Davis in effect relegated himself Hour-long, though) and often gets much more applause than Davis does.īy bringing Coltrane back into the group for this European tour, one of As he did in AmericanĬlubs, he plays longer solos (often much longer) than Davis does (not Throughout the tour Coltrane plays with fury. Out his musical ideas more fully, audaciously, and radically than he hadĮver done in his previous studio recordings. In fact, Coltrane made exemplary use of his time on that tour, working He spent most of the time looking out the window and playing Next to me on the bus, looking like he was ready to split at any time. To Cobb, Coltrane displayed his discontent throughout the tour: “He sat With the band’s material, Davis prevailed upon Coltrane to join him one (Davis actually hired him-in 1964.) But, because Coltrane was familiar
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Tenor saxophonist to Davis, Wayne Shorter, who was only twenty-six. Hour solo himself, and we were only supposed to be on the stand forįorty minutes or something.” Prior to the European tour, Coltrane toldĭavis that he wouldn’t join him there, and even recommended another On club dates, Cobb said, Coltrane “would play an Adderley left in the fall of 1959, and Coltrane Years, featuring Cannonball Adderley’s alto sax alongside Coltrane’s Photograph by Ted Williams / Iconic Images / Gettyĭavis’s group, featuring the pianist Wynton Kelly, the bassist PaulĬhambers, and the drummer Jimmy Cobb-which had been a sextet for several Miles Davis and John Coltrane onstage in 1960, in Chicago. Led dates on several labels recorded the influential “Giant Steps,” inġ959 and was ready to go out on his own. Voice, and expanded it during a stint in 1957 with Thelonious Monk. (They’re gathered under the title “Birth of the Cool.”) Davis had a hugeĪnd significant discography as a leader by the time he hired Coltrane,Īn unheralded musician best known as a rarely soloing sideman, who’d Three years later, at twenty-two, he led a nonet,įeaturing intricate arrangements, that proved vastly influential. Minor star in 1945, at the age of nineteen, when he recorded withĬharlie Parker. Coltrane had beenĪ sideman with Davis on and off since 1955 they were both born in 1926,īut their careers took drastically different paths. Leave Davis’s quintet and form his own working group. However, at exactly that time, Coltrane, who played tenor saxophone, was preparing to The ongoing, and internationally famous, “Jazz at the Philharmonic”Ĭoncert series. In 1960, the trumpeter Miles Davis, along with his regularīand, was booked to go on a concert tour in Western Europe as part of Interact with Scaled in Miles or order a poster today.There’s a great story behind “ Miles Davis and John Coltrane-The Final Tour,” the sixth volume in Sony’s “Bootleg Series” of live recordings byĭavis (it comes out March 23rd), and that story makes itself heard in By exploring the information both interactively and in print, our audience can fully experience, interact with, and see the evolution of music from one of the greatest Jazz musicians of the twentieth century. Scaled in Miles pays tribute to the iconic and collaborative career of Miles Davis. All proceeds from the Scaled in Miles print are donated to charity. The poster is 24” x 36”, and offset printed on 80# French Construction Nightshift Blue with two impressions of metallic gold and light blue opaque inks printed on both sides of the paper. The interactive version is a single page web app with integrated audio, built using HTML5 techniques. We sourced the initial data from the Jazz Discography Project’s documentation of Davis’ recording sessions, with edits derived from other resources. Both representations include all of Miles’ recording sessions, from his first on April 24, 1945, to his last on August 25, 1991, and the 577 collaborating artists. The project enabled us to play with how a single dataset can take different forms depending on the medium. In fact, there are too many talented artists to name, so we created Scaled in Miles, both an interactive and print visualization of the collaborators that shaped Davis’ career.
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At every step of his career, he surrounded himself with wonderfully gifted musicians who were innovators in their own right. For forty-five years Miles Davis’ vision repeatedly redefined the scope of jazz, but he didn’t do it alone.