Miles Davis and Modern Jazz
In every artistic medium there are innovators who push innovation to the edge -- who change the paradigm of their art, and who become iconic figures within their world. Classical music had innovators in every generation -- Stravinsky's Rite of Spring, Leonard Bernstein, and more. Jazz, too, evolved from a combination of folk and tribal styles through different eras (Dixie, Be Bop, etc.) into what now is really a true 20th century musical phenomenon.
The origins of Jazz have been much discussed -- emerging out of the African slave culture with a musical synergy of tribal (rhythm, scales, syncopation, and improvisation) and the European musical tradition of harmony, instrumentation and chromaticism. One famous musician noted, though, that jazz was uniquely American and that, "No America, no jazz. I've seen people try to connect it to other countries, for instance to Africa, but it doesn't have a damn thing to do with Africa" (Taylor, 1993). The idea of jazz seems simple, yet the actual concept is somewhat harder to define since it is really a conglomeration of many forms -- from Dixieland marches to Ragtime waltzes and even into 21st century fusion. Since Jazz evolved over several hundred years, more folk than formal, it was sometimes not musically notated until much later. However, there are characteristics of jazz that are important because they form the background of the topic, and certainly any study on modern jazz artists requires an overview of the paradigm. First, jazz is more a category of music than a specific set of harmonies or theoretical rules. Second, the patterns in jazz usually have a call and response pattern, much like tribal music, or improvisation. Many musicologists think that this is what separates the good from the great in jazz -- the ability to improvise. It is also what makes preservation of concerts in recording so valuable, because the performance is quite unique. For example, in Dixie, players take turns playing melody and counter-melody; in Be-Bop the players have an agreed upon key, but the rest is rather free form; modal jazz has no real notion of a chord progression but allows improvisation on a scale or mode; avant-garde and free jazz have very loose rhythms, chords and scales and sound more like pre-Medieval chants or Eastern music (Cook, M., et al., 2002; Gioia, 2006).
It is the manner in which jazz allows musicians of all types to hear music in any number of paradigms that helps make jazz strong and endearing. Certainly, rather than being limited to tonal Baroque rules, Jazz finds new ways to explore tone and timbre. Instead of being limited to whole and half steps, jazz experimented by moving into the tones in between, quarter tones and more. Many jazz artists just do this intuitively, and for musicians like Miles Davis, became a significant part of their unique style. Jazz, then, most particularly since the Harlem Renaissance in the 1920s and 1930s, also helped to push the African-American experience to a more logical conclusion to the Civil Rights movement. Jazz welcomed desegregation -- it was about music, not race; and listening to jazz helped break down the color barrier as well. Indeed, after listening to Miles Davis at a New York club, another jazz musician commented: "Ah, yes, ain't that somethin'? We all came up with our own music -- and all using the same notes" (Mandell, 2008, p. 16).
Miles Davis (1926-1991) -- Davis was a bandleader, composer, and jazz trumpeter -- and also one of the most influential musicians of the 20th century. He and his ensembles were at the forefront of several major developments in jazz including cool jazz, hard bob, free jazz, fusion and techno. Many of the more well-known contemporary jazz artists played with Davis, who was inducted into the Rock and Roll Hall of Fame in 2006 noted as "one of the key figures in the history of modern jazz" (Miles Davis, 2006).
Davis grew up in two places; the Black East St. Louis area and a summer ranch in northern Arkansas. His father was a denitist, and the family relatively affluent . His mother wanted him to lean piano, but his musical studies began at 13 when his father gave him a trumpet -- Davis said probably to irritate his mother. It was during this time that Davis developed his signature style, a round, no-vibrato so that the tone is true and more "apparent" -- less hidden by tremolo or excessive vibrato (Mandel, 17-31).
Davis moved to New York City in 1944 to study at the prestigious Julliard School. This was a whole new world to Davis, who decided to stop out of Julliard because of its...
Miles Davis With a career spanning several decades, and an influence spanning several continents, Miles Davis has arguably had a bigger influence on jazz music than any other musician. In the 1991 obituary in The New York Times, Miles Davis was described as an "an elusive touchstone of jazz," and someone who "defined cool," (Pareles). Davis' album The Birth of the Cool makes his name not just symbolically associated with the
Charlie Parker Music: The music of United States changed significantly during the twentieth century, and each generation went on to develop its own music. These were all immensely popular, had strong rhythmic touch and were very different from the earlier forms which existed. These were used for dancing or just for the purpose of listening. When the twentieth century started it was the time for a variety called Ragtime. After the end
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