Miles Davis: A Research and Information Guide [1 ed.] 9781138652460

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Miles Davis This research and information guide provides a wide range of scholarship on the life, career, and musical legacy of Miles Davis, and is compiled for an interdisciplinary audience of scholars in jazz and popular music, musicology, and cultural studies. It serves as an excellent tool for librarians, researchers, and scholars sorting through the massive amount of material in the field. Clarence Bernard Henry is Director of The Henry Center for Multicultural Education & Global Research. He was Assistant Professor of Ethnomusicology at the University of Kansas and Assistant Professor of African and African American Studies at Indiana State University.

ROUTLEDGE MUSIC BIBLIOGRAPHIES RECENT TITLES

COMPOSERS Isaac Albéniz, 2nd Edition (2015) Walter A. Clark William Alwyn (2013) John C. Dressler Samuel Barber, 2nd Edition (2012) Wayne C. Wentzel

Quincy Jones (2014) Clarence Bernard Henry

Chamber Music, 3rd Edition (2010) John H. Baron

Alma Mahler and Her Contemporaries (2017) Susan M. Filler

Choral Music, 2nd Edition (2011) Avery T. Sharp and James Michael Floyd

Bohuslav Martinů (2014) Robert Simon

Church and Worship Music in the United States, 2nd Edition (2017) Avery T. Sharp and James Michael Floyd

Béla Bartók, 3rd Edition (2011) Elliott Antokoletz and Paolo Susanni

Felix Mendelssohn Bartholdy, 2nd Edition (2011) John Michael Cooper with Angela R. Mace

Leonard Bernstein, 2nd Edition (2015) Paul R. Laird and Hsun Lin

Olivier Messiaen, 2nd Edition (2017) Vincent P. Benitez

Johannes Brahms, 2nd Edition (2011) Heather Platt

Nikolay Andreevich RimskyKorsakov, 2nd Edition (2015) Gerald R. Seaman

William Byrd, 3rd Edition (2012) Richard Turbet

Gioachino Rossini, 2nd Edition (2010) Denise P. Gallo

Frédéric Chopin, 2nd Edition (2015) William Smialek and Maja Trochimczyk Miles Davis (2017) Clarence Henry Edward Elgar, 2nd Edition (2013) Christopher Kent Gabriel Fauré, 2nd Edition (2011) Edward R. Phillips Alberto Ginastera (2011) Deborah Schwartz-Kates Fanny Hensel (2018) Laura K.T. Stokes Gustav Holst (2011) Mary Christison Huismann

Ralph Vaughan Williams (2016) Ryan Ross Giuseppe Verdi, 2nd Edition (2012) Gregory W. Harwood Richard Wagner, 2nd Edition (2010) Michael Saffle Anton Webern (2017) Darin Hoskisson

Ethnomusicology, 2nd Edition (2013) Jennifer C. Post Free Jazz (2018) Jeffrey Schwartz The Madrigal (2012) Susan Lewis Hammond The Musical, 2nd Edition (2011) William A. Everett North American Fiddle Music (2011) Drew Beisswenger Piano Pedagogy (2009) Gilles Comeau Popular Music Theory and Analysis (2017) Thomas Robinson The Recorder, 3rd Edition (2012) Richard Griscom and David Lasocki

GENRES

String Quartets, 2nd Edition (2011) Mara E. Parker

Blues, Funk, R&B, Soul, Hip Hop, and Rap (2010) Eddie S. Meadows

Women in Music, 2nd Edition (2011) Karin Pendle and Melinda Boyd

Miles Davis A Research and Information Guide

C larence B ernard H enry

First edition published 2018 by Routledge 711 Third Avenue, New York, NY 10017 and by Routledge 2 Park Square, Milton Park, Abingdon, Oxon, OX14 4RN Routledge is an imprint of the Taylor & Francis Group, an informa business © 2018 Taylor & Francis The right of Clarence Bernard Henry to be identified as author of this work has been asserted by him in accordance with sections 77 and 78 of the Copyright, Designs and Patents Act 1988. All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. Trademark notice: Product or corporate names may be trademarks or registered trademarks, and are used only for identification and explanation without intent to infringe. Library of Congress Cataloging-in-Publication Data Names: Henry, Clarence Bernard. Title: Miles Davis : a research and information guide / Clarence Bernard Henry. Description: First edition. | New York, NY : Routledge, 2017. | Series: Routledge music bibliographies | Includes bibliographical references and index. Identifiers: LCCN 2017007982 | ISBN 9781138652460 (hardback) | ISBN 9781315624242 (ebook) Subjects: LCSH: Davis, Miles—Bibliography. Classification: LCC ML134.D254 H46 2017 | DDC 788.9/2165092—dc23 LC record available at https://lccn.loc.gov/2017007982 ISBN: 978-1-138-65246-0 (hbk) ISBN: 978-1-315-62424-2 (ebk) Typeset in Minion Pro by Apex CoVantage, LLC

In memory of and with gratitude to Evelyn Juanita Joseph

Contents Prefaceix Introduction1 1. Annotations of Books, Chapters, Reference Sources, and Other Selected Writings

11

2. Annotations of Journals: Essays, Studies, and Other Selected Articles

157

3. Annotations of Dissertations and Studies

211

4. Annotations of Arrangements, Lead Sheets, Transcriptions, and Tribute Music Compositions

235

5. Annotations of Selected Videos and Audio Tapes

253

Index of Names

275

Index of Music Compositions

297

Subject Index 

303

vii

Preface This research and information guide is compiled with information on Miles Davis generated from many sources that include various university/college catalog holdings, domestic and international archival centers, World Catalog, Library of Congress Catalog, Music Index Online, RILM: Abstracts of Music Literature (1969–Present), Oxford Music Online, EBSCOHost, Academic Search Primer, Project Muse, International Index to Music Periodicals, ProQuest, JSTOR, Grove Music Online, dissertation abstracts, Entertainment Industry Magazine Archive, Periodicals Index Online, Popular Magazine Index, New York Times Index, The Jazz Discography, and other sources. Chapter  1 provides annotations of domestic and international books, chapters, edited volumes, reference essays, and other selected writings that focus on Miles Davis. These include biographies; biographical profiles; interviews; scholarly essays; theoretical and analytical studies; historical, critical, and interpretive studies; published conference and symposium papers; discographies; encyclopedic/reference essays; literary, fictional, and poetic works; photographic compilations; translated works; and special tributes. Each annotated entry is constructed to offer the researcher as much information about the selected published work as possible and includes bibliographic information of authors’ names, publication dates, titles, publisher information, names of academic institutions, series, volumes, page numbers, International Standard Book Numbers (ISBN), and Library of Congress Call Numbers (LCCN). Where a specific cataloging number is not available, an appropriate OCLC Number is indicated. Also, a brief description is provided of special features of the publication such as the inclusion of a bibliography, index, filmography, discography, illustrations, music examples, and photographs. Chapter  2 provides annotations of published journal articles, essays, and scholarly studies on Miles Davis. The entries include several items such as authors’ names, publication dates, journal titles, volumes, issue and page numbers, and International Standard Serial Numbers (ISSN). Chapter  3 includes annotations to dissertations/studies that focus on Miles Davis and his works in jazz, popular music, film, collaborations, and influences. Each entry provides authors’ names, publication dates, titles, academic institutions, academic degrees, page numbers, International Standard Book Numbers (ISBN), and where specific publisher information is not available an appropriate OCLC Number is indicated. Chapter  4 provides annotations of arrangements, lead sheets, transcriptions, and tribute music compositions. The annotations in this chapter include titles of works and selections; names of composers and/or arrangers; publishers; publishing dates; page numbers; and/or International Standard Book Numbers (ISBN), International Standard Music Numbers (ISMN), and OCLC Numbers. Also, where available the entries include a brief description of special features such as the inclusion of a discography, illustrations, liner notes, and compact disc (CD). ix

xPreface

Chapter 5 is an annotated videography of concert/music performances, documentaries, motion pictures, special programming, and audio tapes that focus on Miles Davis. Specific information is provided such as artists/performers, directors, casts, commentator names, titles, publisher information, release and/or record dates, performance venues, content information such as summaries of films/documentaries, selected repertoire, format (e.g., DVD, VHS), and duration of the film/video/tape. In some instances, where specific publisher information is not available, an appropriate OCLC Number that may also be beneficial for a researcher has been cited. ABBREVIATIONS There are some abbreviations that are used in citations of some annotations complied in this research and information guide. These abbreviations include the following: (anon.): No author indicated CD: Compact disc DVD: Digital versatile disc ed./eds.: Editor/editors ISBN: International Standard Book Number ISMN: International Standard Music Number ISSN: International Standard Serial Number LCCN: Library of Congress Call Number [n.p.]: Page numbers not indicated rec.: Recorded in [s.l.]: Place of publication is not indicated [s.n.]: Name publisher is not indicated VHS: Video home system/video tape cassette

Introduction

This research and information guide focuses on Miles Davis (1926–1991), a legendary trumpeter, bandleader, recording artist, composer, and arranger in American jazz, popular, and world music traditions. Throughout his career, Davis was continually on the forefronts of change and innovation in his musical insights, styles, trends, body of work, and performances. Davis was a firm believer in “artistic freedom,” of not becoming stagnant in performing only one style of jazz or popular music. Instead, he continued to explore new and creative ways of making music. Davis greatly represented a significant role that music plays in cultural life throughout the world. For over a forty-year period Davis contributed to several major developments in jazz including bebop, cool jazz, hard bop, modal, and jazz fusion. Part of his legacy continues to be his many recordings where he created high levels of performance etiquette and mannerisms expressed through his fashionable attire, albums, concerts, and renditions of popular songs like “My Funny Valentine,” “If I Were a Bell,” “Summertime,” “Stella by Starlight,” “Bye Bye Blackbird,” “ ’Round Midnight,” “Love for Sale,” “It’s Only a Paper Moon,” and “My Old Flame.” Part of Davis’ legacy is also that over the years he collaborated with musicians, composers, and arrangers such as Charlie Parker, Benny Carter, John Coltrane, Charles Mingus, Thelonious Monk, Gil Evans, Sonny Rollins, Herbie Hancock, Chick Corea, Wayne Shorter, Sarah Vaughan, Prince, and many others who will be mentioned in the contents of this introduction. As a trumpeter and collaborative musician, Davis’ high levels of concentration span back to the 1940s, beginning in Davis’ youth, early musical training, and experiences residing in the urban environs of East St. Louis, Illinois. For example, as a young teenager, Davis studied the trumpet with a local musician named Elwood Buchanan whose teaching methods included stressing the importance of playing without vibrato. Buchanan had performed with touring bands, including Andy Kirk’s Clouds of Joy, and he was 1

2Introduction

aware of the new musical currents that subsequently spurned the progression and emergence the bebop era in jazz history. Buchanan encouraged Davis’ awareness of harmony, especially departures from conventional scales. He encouraged Davis to play the trumpet with a crisp, plain tone, constantly playing without any vibrato and with fast and light blowing techniques. At the age of seventeen Davis performed in a band named the Blue Devils, led by Eddie Randle.1 During this time, Davis was noticed by traveling musicians such as tenor saxophonist Sonny Stitt, who attempted to persuade Davis to become a member of the Tiny Bradshaw band. After graduation from Lincoln High School in East St. Louis in 1944, Davis assumed his interest in performing music and convinced Billy Eckstine, one of the most popular jazz bandleaders of the 1940s, to allow him to serve as a replacement with the Earl Hines band during a tour through St. Louis. At that time, Earl Hines’ band (who later merged with Billy Eckstine’s band) represented big band–style innovation that captured Davis’ attention. Furthermore, by the age of eighteen Davis was performing in the Billy Eckstine band with musicians such as Dizzy Gillespie, who was Eckstine’s lead trumpet player and music director; alto saxophonist Charlie Parker; and drummer Art Blakey, among others who propelled jazz into new and exciting directions during the following decade. After high school graduation, Davis relocated to New York City to study at the Juilliard School of Music. However, his classroom studies were overshadowed by informal tutoring he received nightly at jazz clubs located on 52nd Street. After a short stay, and after receiving permission from his father, Davis eventually dropped out of Juilliard. But he credited his experience at Juilliard with helping to give him grounding in music theory that would prove valuable in later years. After his study at Juilliard, Davis made great efforts to seek out alto saxophonist Charlie Parker, who at the time was innovating new musical trends via bebop jazz outside of traditional swing band dance repertoire. Parker’s contribution to bebop served as innovative impetus for young Miles Davis who was about to fully enter the jazz world when significant changes, both musical and nonmusical, occurred with the emergence of bebop, the first jazz style that was not based upon the arrangements geared for swing-style dancing. In 1945 Davis entered a recording studio for the first time, as a member of Herbie Field’s band. This was the first of many recordings Davis contributed to in this period, mostly as a sideman.2 Also in 1945, Davis began performing in Charlie Parker’s ensembles such as the Charlie Parker Reboppers, Charlie Parker Quintet, Charlie Parker Septet, and the Charlie Parker All Stars. Davis recorded on Dial and Savoy record labels on many of Parker’s bebop classics including “Now’s the Time” (1945, Savoy), “Yardbird Suite” (1946, Dial), “Ornithology” (1946, Dial), “Donna Lee” (1947, Savoy), and “Scrapple From the Apple” (1947, Dial).3 In 1947 Davis formed a group known as Miles Davis’ All Stars where he performed with Charlie Parker, tenor saxophone; John Lewis, piano; Nelson Boyd, bass; and Max Roach, drums. By 1948 Davis had already performed or recorded with many jazz musicians including Coleman Hawkins, Dizzy Gillespie, Benny Carter, Al Haig, Curly Russell, J. J. Johnson, Illinois Jacquet, Earl Coleman, and Ann Baker. Furthermore, his creative innovation in jazz later became more refined in tonality and in his intimate group performances by exploring other styles outside of bebop as he began working with several

Introduction3

members of the Claude Thornhill band where instrumentation of the Thornhill’s band, which already included the French horn and tuba, was carried over to Davis’ ensemble playing. In 1948 Davis began rehearsing a nine-piece band tailored to his interests for ballad tempos and filled with middle-register melodic variations. Davis’ nine-piece band was known as the Miles Davis Nonet. This nonet grew out of a dialogue and artistic collaborations of musicians who desired to write and perform arrangements and compositions that eventually would be defined as the cool sound. However, the experimentations of these musicians gained more notoriety when Davis was able to collaborate with them in recording studio sessions. From 1948 through 1950, the nonet was constantly comprised of talented musicians who contributed to Davis’ vision of the cool style in jazz. These musicians included Mike Zwerin, trombone; Kai Winding, trombone; J. J. Johnson, trombone; Junior Collins, French horn; Sandy Siegelstein, French horn; Gunther Schuller, French horn; Bill Barber, tuba; Lee Konitz, alto saxophone; Gerry Mulligan, baritone saxophone, arranger; John Lewis, piano, arranger; Al Haig, piano; Al McKibbon, bass; Joe Schulman, bass; Nelson Boyd, bass; Max Roach, drums; Kenny Clarke, drums; Kenny “Pancho” Hagood, vocals; John Carisi, arranger; and Gil Evans, arranger, conductor. Although the main composers and arrangers were Gil Evans and Gerry Mulligan, the leadership came from Davis who established the final instrumentation and secured the band’s one engagement, a two-week club date. However, it was the recording of Davis’ album, Birth of the Cool (1949–1950), with members of the nonet, that launched the cool sound, a landmark of new and innovative jazz. The album was comprised of selections such as “Move,” “Jeru,” Hallucinations [Budo],” “Godchild,” “Venus de Milo,” “Boplicity,”4 “Israel,” “Rouge,” “Moon Dreams,” “Deception,” “Rocker,” and “Darn That Dream.”5 In the 1950s, Davis expanded his work with alternate influences to the cool jazz sound by performing and recording other contemporary styles in jazz such as hard bop. Although Davis explored new approaches away from cool jazz as his stylistic focus, his sound would remain throughout his career as closely reminiscent of a cool approach. Part of this was done when he began to move his creativeness in his trumpet technique and performance by producing an array of tonality, sounds, and textures. For example, using the Harmon mute, in some of his recordings and performances, Davis often held his trumpet close to the microphone, in a way that become his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. In the 1950s, many of Davis’ albums on Prestige, Blue Note, Debut, and Columbia labels reflect his new approaches in the integration of new jazz styles to his repertoire. His Prestige recordings include The New Sounds (rec. 1951, PRLP 124), Blue Period (rec. 1951, PRLP 140), Miles Davis and Horns (rec. 1951, 1953, Prestige 7025), Dig (rec. 1951, Prestige 7012), Blue Haze (rec. 1953, 1954, Prestige 7054), Collectors’ Items (rec. 1953, 1956, Prestige 7044), Bags’ Groove (rec. 1954, Prestige 7109), Miles Davis and the Modern Jazz Giants (rec. 1954, 1956, Prestige 7150), Walkin’ (rec. 1954, Prestige 7076), and The Musings of Miles (rec. 1955, Prestige 7007). On the Debut label, Davis also recorded Blue Moods (rec. 1955, Debut 120). On the Blue Note label, Davis recorded albums such as Miles Davis, Volume 1 (rec. 1952, 1954, Blue Note BLP 1501), and Miles Davis, Volume 2 (rec. 1953, Blue Note BLP 5022).

4Introduction

The list of jazz musicians who collaborated with Davis on many of these recordings includes Sonny Rollins, tenor saxophone; John Lewis, piano; Jackie McLean, alto saxophone; Walter Bishop, Jr., piano; J. J. Johnson, trombone; Charlie Parker, alto saxophone; Art Blakey, drums; Thelonious Monk, piano; Horace Silver, piano; Milt Jackson, vibraphone; Charles Mingus, bass; Roy Hayes, drums; and many others. Also, for Prestige, Davis recorded with his quintet that included John Coltrane,6 tenor saxophone; William “Red” Garland, piano; Paul Chambers, bass; and Philly Joe Jones, drums, on the albums The New Miles Davis Quintet (rec. 1955, Prestige 7014), Relaxin’ with the Miles Davis Quintet (rec. 1956, Prestige 7129), Steamin’ with the Miles Davis Quintet (rec. 1956, Prestige 7200), Workin’ with the Miles Davis Quintet (rec. 1956, Prestige 7166), and Cookin’ with the Miles Davis Quintet (rec. 1956, Prestige 7094). In 1957, Davis traveled to Paris, France, where he recorded the soundtrack of Louis Malle’s film Ascenseur pour l’ Échafaud 7 with the aid of French session musicians Barney Wilen, tenor saxophone; Pierre Michelot, bass; and René Urtreger, piano; and American jazz musician Kenny Clarke, drums. Davis recorded the entire soundtrack with an innovative procedure without relying on written material and starting from minimal indication of the harmony and a general feel of a given composition. The musicians played by watching the movie on screen in front of them and while simultaneously improvising. In the latter part of the 1950s, on the Columbia record label, Davis recorded many of his legendary works. With Julian “Cannonball” Adderley, alto saxophone; John Coltrane, tenor saxophone; William “Red” Garland, piano; Paul Chambers, bass; and Philly Joe Jones, drums, Davis recorded the albums ’Round About Midnight (rec. 1955, 1956, Columbia CL 949), which includes Davis’ renditions of “Bye Bye Blackbird” and Thelonious Monk’s composition, “ ’ Round Midnight,” and Milestones (rec. 1958, Columbia CL 1193), an album recording that demonstrates Davis’ use of modal scales, slower-moving harmonies, and an almost arrhythmic melodic approach. He also recorded, with John Coltrane, tenor saxophone; Julian “Cannonball” Adderley, alto saxophone; Bill Evans, piano; Paul Chambers, bass; and Jimmy Cobb, drums, the albums ’58 Sessions (rec. 1958, Columbia CK 47835), Miles Davis at Newport 1958 (rec. 1958, Columbia CL 2178), and Jazz at the Plaza, Volume 1 (rec. 1958, Columbia 32479). On the Columbia label Davis also recorded many of his collaborative albums with composer and arranger Gil Evans, which integrated modal jazz, European classical music, world music traditions, and larger orchestral ensembles and instrumentation (e.g., flute, clarinet, bass clarinet, oboe, French horn).8 These albums include Miles Ahead (rec. 1957, Columbia CL 1041) where Davis performed on the flügelhorn throughout. This album showcased Davis’ playing with a jazz big band and a horn section arranged by Evans. Some of the selections in this album include “The Duke,” “Springsville,” “Blues for Pablo,” “New Rhumba,” and “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 conceived as transitions between the different selections, which were joined together through post-production editing, turning each selection of the album into a continual and complex compilation of music. Next of the Davis-Evans collaborations are Porgy and Bess (rec. 1958, Columbia CL 1274), an arrangement of selections from George Gershwin’s opera of the same name, and Sketches of Spain (rec. 1959, 1960, Columbia CL 1480), a work that explores the nuances and coloration of a large instrumental ensemble contrasted against the subdued

Introduction5

voicing of Davis’ trumpet playing. The album demonstrates Davis’ efforts to incorporate the sounds of world music. This album features songs by contemporary Spanish composer Joaquín Rodrigo (“Concierto de Aranjuez”) and also Manuel de Falla (“Will o’ the Wisp”) as well as Gil Evans’ originals with a Spanish flavor (“Saeta” and “Solea”). These recordings also offer examples of Davis’ innovations and integrations of lush orchestral settings, melodic and harmonic simplicity, and subtle inflections of Davis’ improvisations. Also on the Columbia label, Davis recorded Kind of Blue (rec. 1959, Columbia CL 1355), a studio album with John Coltrane, tenor saxophone; Julian “Cannonball” Adderley, alto saxophone; Bill Evans, piano; Wynton Kelly, piano; Paul Chambers, bass; and Jimmy Cobb, drums. This album greatly represents Davis’ mastery and continuation of experimentation with modal jazz and improvisation. The selections in this album include “So What,” “Freddie Freeloader,” “Blue in Green,” “All Blues,” and “Flamenco Sketches.” These selections are highly regarded as part of jazz standard repertoire. In the 1960s Davis recorded the albums In Stockholm 1960 Complete (rec. 1960, Dragon DRLP 90/91) (with John Coltrane, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Jimmy Cobb, drums); Someday My Prince Will Come (rec. 1961, Columbia CL 1656), Miles Davis in Person, Friday Night at the Blackhawk, Volume 1 (rec. 1961, Columbia CL 1669), and Miles Davis in Person, Saturday Night at the Blackhawk, Volume 2 (rec. 1961, Columbia CL 1670) (these albums with Hank Mobley, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Jimmy Cobb, drums); Miles Davis at Carnegie Hall (rec. 1961, Columbia/Legacy C2K 65027) (with a large ensemble including Hank Mobley, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Jimmy Cobb, drums; and others); Seven Steps to Heaven (rec. 1961, 1963, Columbia CL 2051) (with George Coleman, tenor saxophone; Victor Feldman, piano; Herbie Hancock, piano; Ron Carter, bass; Frank Butler, bass; and Tony Williams, drums); Miles Davis in Europe (rec. 1963, Columbia CL 2183) and The Complete Concert 1964: My Funny Valentine + “Four” & More (rec. 1964, Columbia/Legacy C2K 48821) (both albums with George Coleman, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; and Tony Williams, drums); Miles in Tokyo (rec. 1964, CBS/Sony SOPL 162) (with Sam Rivers, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; and Tony Williams, drums); and Miles in Berlin (rec. 1964, CBS/Sony SOPL 163) and The Complete Plugged Nickel 1965 (rec. 1965, Columbia CXK 66955) (both albums with Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; and Tony Williams, drums). Davis also recorded Quiet Nights (rec. 1962, 1963, Columbia CL 2106), another album collaboration with Gil Evans. This album was influenced by bossa nova, a highly regarded Brazilian popular music that become a commercial success in the early 1960s as song, instrumental, vocal, and dance styles. This instrumentation for this album include trumpet, trombone, French horn, tuba, soprano saxophone, flute, drums, bongo, percussion, and bass trombone. For this album, in addition to musicians such as Herbie Hancock, Ron Carter, Victor Feldman, Paul Chambers, Jimmy Cobb, and Tony Williams, Davis collaborated with variety of musicians including Paul Horn, Bernie Blow, Ernie Royal, J. J. Johnson, Frank Rehak, Julius Watkins, Bill Barber, Willie Bobo, Elvin Jones, and others. In the latter part of the 1960s, from 1965 through 1968, Davis recorded several albums at Columbia studio9—E.S.P. (rec. 1965, Columbia CL 2350), Miles Smiles (rec. 1966, Columbia CL 2601), Sorcerer (rec. 1962, 1967, Columbia CL 2732), and Nefertiti (rec. 1967, Columbia CS 9594) with Wayne Shorter, tenor saxophone; Herbie Hancock,

6Introduction

piano; Ron Carter, bass; and Tony Williams, drums. Also, in the latter part of the 1960s, Davis entered into his electric period of innovation through the integration of electronic instrumentation in his ensembles (e.g., electric piano, electric bass, and electric guitar) and also recorded jazz-fusion albums influenced by rock and funk music traditions. A prime example is the album Miles in the Sky (rec. 1968, Columbia CS 9628), performed with Wayne Shorter, tenor saxophone; Herbie Hancock, piano, electric piano (Fender Rhodes on the selection “Stuff ”); Ron Carter, bass, electric bass; George Benson, electric guitar (on the selection “Paraphernalia”); and Tony Williams, drums. Davis’ other albums included Water Babies (rec. 1967, 1968, Columbia PC 34396) with Wayne Shorter, tenor saxophone; Herbie Hancock, piano, electric piano; Ron Carter, bass; Tony Williams, drums, percussions; Chick Corea, electric piano; Dave Holland, bass; and Joe Zawinul, piano. This album was followed by Filles de Kilimanjaro (rec. 1968, Columbia CS 9750), with Wayne Shorter, tenor saxophone; Herbie Hancock, electric piano; Ron Carter, electric bass; Tony Williams, drums; Chick Corea, piano, electric piano; and Dave Holland, bass. The album In a Silent Way (rec. 1968, 1969, Columbia C3K 65362 and Columbia CS 9875), which Davis recorded with Wayne Shorter, soprano saxophone; John McLaughlin, electric guitar; Herbie Hancock, electric piano; Chick Corea, electric piano; Joe Zawinul, organ; Dave Holland, bass; and Tony Williams, drums, demonstrates Davis’ high levels of concentration in jazz fusion, popular rock, and funk music, and the use of electronic instrumentation in his contemporary recordings and collaborations. Some of the selections of this album have a thematic character of quietness—“Shhh/Peaceful” and “In a Silent Way/It’s About That Time.” Bitches Brew (rec. 1969, 1970, Columbia GP 26) is an album that was a continuation of Davis’ experimentation with electric instrumentation as well as employing rock-influenced improvisational stylization techniques in the music and performances. Performers include Wayne Shorter, soprano saxophone; Bennie Maupin, bass clarinet; Joe Zawinul, electric piano; Chick Corea, electric piano; Larry Young, electric piano; John McLaughlin, electric guitar; Dave Holland, bass; Harvey Brooks, electric bass; Lenny White, drums; John DeJohnette, drums; Billy Cobham, drums; Don Alias, congas, drums; Juma Santos (Jim Riley), shaker, congas; and Airto Moreira, cuiça, percussion. In this pivotal album of jazz fusion the selections include “Pharaoh’s Dance,” “Bitches Brew,” “Spanish Key,” “John McLaughlin,” “Sanctuary,” “Miles Runs the Voodoo Down,” and “Feio.” During the 1970s and 1980s, Davis experimented more with electronic manipulation of sounds and textures especially with his use of wah-wah pedaling and amplification attached to his trumpet, producing more vibrating sounds. He also performed with a variety of musicians such as Keith Jarrett, keyboards; Airto Moreira, percussion; John Scofield, guitar; Branford Marsalis, saxophones; Steve Grossman, soprano saxophone; Cedric Lawson, synthesizer; Dave Liebman, tenor saxophone; Pete Cosey, guitar; James “Mtume” Forman, percussion; Marcus Miller, electric bass; Mike Stern, guitar; Robert Irving III, synthesizer; Taj Mahal, vocals, guitar; Wallace Roney, trumpet; and Kenny Garrett, saxophones. Some of Davis’ jazz-fusion recordings of this period include Circle in the Round (rec. 1955–1970, Columbia KC2 36278), Live/Evil (rec. 1970, Columbia G 30954), Miles Davis at the Fillmore: Live at the Fillmore East (March 7, 1970) (rec. 1970, Columbia/Legacy C2K 85191), Black Beauty: Miles Davis at Fillmore West (rec. 1970, Columbia/Legacy

Introduction7

C2K 65138), The Cellar Door Sessions (rec. 1970, Columbia C6K 93614), On the Corner (rec. 1972, Columbia KC 31096), Message to Love: The Isle of Wight Festival (rec. 1970, Columbia C2K 62058), Big Fun (rec. 1969–1972, Columbia PC 32866), Miles Davis in Concert (rec. 1972, Columbia KC 32092), Get Up With It (rec. 1970–1974, Columbia/ Legacy C2K 63970), Dark Magus (rec. 1974, CBS/Sony 28AP 2165/6), Agharta (rec. 1975, CBS/Sony SOPJ 92/3), Pangaea (rec. 1975, CSB/Sony SOPZ 96/7), The Man With the Horn (rec. 1980–1981, Columbia F 36790), Miles! Miles! Miles (rec. 1981, Sony SRCS 6513/4), We Want Miles (rec. 1981, Columbia C2 38005), Star People (rec. 1983, Columbia FC 38657), Decoy (rec. 1983, Columbia FC 38991), You’re Under Arrest (rec. 1985, Columbia FC 40023), Tutu (rec. 1986, Warner Bros. 9–25490–2), Amandla (rec. 1988, 1989, Warner Bros. 925873–2), and Live Around the World (rec. 1988–1991, Warner Bros. 7599–25490–2). Davis recorded the jazz-fusion album suite titled Aura (rec. 1985, Columbia C2X 45332), in Copenhagen, Denmark, with Palle Mikkelborg, a Danish trumpeter who composed and arranged all of the compositions (“Intro,” “White,” “Yellow,” “Orange,” “Red,” “Green,” “Blue,” “Electric Red,” “Indigo,” and “Violet”) of this album as a conceptual suite in tribute to Miles Davis who received the Léonie Sonning Music Prize in Denmark in 1984. In addition, Davis recorded several soundtracks—A Tribute to Jack Johnson (rec. 1970, Columbia S 30455), Siesta (rec. 1987, Warner 925655–2), The Hot Spot (rec. 1990, Antilles 422–846813–2) (with bluesman John Lee Hooker), and Dingo (rec. 1990, Warner Bros. 7599–26438–2). Some of Davis’ later recordings reflect social and world issues, and cultural diversity. For example, the jazz-fusion album You’re Under Arrest is comprised of popular tunes with political and justice statements about racism, pollution, and war, such as in the selection “One Phone Call/Street Scenes,” which incorporates the sound of handcuffs and police voices performed by Miles Davis and popular musician Sting. The album also includes Davis’ reinterpretations of songs by popular musicians such as Cyndi Lauper’s “Time After Time” and Michael Jackson’s “Human Nature.” Also Davis, along with popular musicians Steven Van Zandt, Herbie Hancock, Bonnie Raitt, Bruce Springsteen, Bono, Run-DMC, and others, came together in the summer of 1985 to take a stand against state-sanctioned racism in South Africa. The result was the recording of Artists United Against Apartheid, an album to broadcast their boycott of the Sun City resort located a few miles from poverty-stricken areas in South Africa. Later, Davis recorded the album Tutu (1986) as a tribute to Archbishop Desmond Tutu, the first African Anglican Archbishop of Cape Town, South Africa, and to Nelson Mandela. Also, in some album recordings, arrangements, and performances (e.g., On the Corner, Big Fun, and Get Up With It), Davis collaborated with musicians of diverse cultural and ethnic backgrounds such as Khalil Balakrishna, Badal Roy, Bihari Sharima, Airto Moreira, and Mino Cinelu. With these musicians, Davis incorporated nontraditional musical instruments such as the Indian sitar, tambura, and tabla; Brazilian instruments such as the cuiça and berimbau; and African percussions. Davis’ last recordings, both released posthumously, include the hip-hop-influenced studio album Doo Bop (rec. 1991, Warner Bros. 9 26938–2) (with the rappers J. R., A. B Money, and Easy Mo Bee) as well as the album Miles  & Quincy Live at Montreux (rec. 1991, Warner Bros. WB 9 45221), where he collaborated with Quincy Jones10 at

8Introduction

the 1991 Montreux Jazz Festival and with the Gil Evans Orchestra; the George Gruntz Concert Jazz Band; Kenny Garrett, alto saxophone; Conrad Herwig, trombone; Christian Gavillet, bass clarinet, baritone saxophone; Wallace Roney, trumpet, flügelhorn; Ack Van Royen, trumpet, flügelhorn; Benny Bailey, trumpet, flügelhorn; Carles Benavent, bass, E-bass; and Grady Tate, drums. This album marked Davis’ return for the first time in three decades to the songs arranged by Gil Evans from his 1950s albums Miles Ahead, Porgy and Bess, and Sketches of Spain. For his recordings, Davis was awarded several Grammy Awards and the Grammy Lifetime Achievement Award. He was inducted into the Rock and Roll Hall of Fame in 2006 and continues to be acknowledged as one of the key figures in jazz history. On December  15, 2009, the United States House of Representatives passed a symbolic resolution recognizing and commemorating the album Kind of Blue on its fiftieth anniversary, by “honoring the masterpiece and reaffirming jazz as a national treasure.”11 Moreover, Davis continues to be commemorated with the production of tribute albums.12 The Annual Newport Jazz Festival designated the 2015 festivities as a “Miles-centric” celebration commemorating the sixtieth anniversary of Miles Davis’ historical 1955 debut. In addition, the life, music, and career of Miles Davis is also depicted in a full-length biopic film, titled Miles Ahead, that features actor Don Cheadle in the starring role as Miles Davis. The film made its world premiere in the latter part of 2015 at the fifty-third New York Film Festival. In addition to music, Miles Davis was also a talented and creative visual artist. Beginning in the 1980s, he made the craft of visual art (sketching and painting) a major part of his life and innovative experiences. Throughout the 1980s he studied regularly with New York painter Jo Gelbard and developed a distinct graphic style of incorporating bright colors and geometric shapes. Davis was highly influenced by the artistic works of Wassily Kandinsky, Pablo Picasso, Jean-Michael Basquiat, and African tribal art. His subjects include highly stylized and powerful female figures, funky characters called his “robots,” and totem pole faces. As a visual artist, Davis was a bold and skilled colorist and created vibrant, dynamic textures in his artworks. He also designed visual arts for some of his album covers. Even today Miles Davis continues to influence contributions to jazz, popular and world music, concerts, performances, collaborations, the music industry, music consumers, and the publication of compact discs and box sets.13 With such acknowledgments, Davis’ accomplishments continue to be major focal points of scholarly research. NOTES 1. Eddie Randle (1907–1997) was the leader of the band, Eddie Randle and His Blue Devils. The group was known for performing “hot dance music.” Randle hired many aspiring young jazz musicians that include Miles Davis, Clark Terry, Jimmy Forrest, and others. During the 1940s he was the business agent for St. Louis musicians’ union 197. 2. For Miles Davis’ early recordings with Herbie Fields, see the album Young Miles, Volume 1: 1945–1946 (publication number: Masters of Jazz MJCD 131). Other early recordings of Miles Davis include the albums Young Miles, Volume 2: 1946 (publication number: Masters of Jazz MJCD 151) and Bopping the Blues (rec. 1946, Black Lion BLCD 760102).

Introduction9

3. See the compilation Charlie Parker: The Complete Savoy and Dial Recordings (rec. 1945–1948, Savoy 92911–2). 4. For the composition “Boplicity,” Miles Davis published this work under the pseudonym “Cleo Henry,” after his mother Cleota Henry Davis. This composition was co-written with Gil Evans. 5. See the albums Birth of the Cool (RVG Edition) (rec. 1949–1950, Capitol CDP 30117, original publication number: Capitol M 11026) and The Complete Birth of the Cool (rec. 1948–1950, Capitol CDP 94550). 6. The John Coltrane and Miles Davis collaborations are recorded on the compilation The Complete Columbia Recordings of Miles Davis and John Coltrane (rec. 1955 through 1961, Columbia C6K 65833). 7. See Ascenseur pour l’ Échafaud: Complete Recordings (rec. 1957, Fontana 836305–2, original publication number: Columbia CL 1268). 8. For a compilation of complete recordings featuring the Miles Davis/Gil Evans collaborations see the album The Complete Miles Davis/Gil Evans Studio Recordings (rec. 1957–1968, Columbia/Legacy CK 67397). 9. See the compilation The Complete Studio Recordings of the Miles Davis Quintet (rec. 1965–1968, Columbia C6K 67398). 10. Also see Miles Davis’ collaboration with Quincy Jones on the album Back on the Block (rec. 1988–1989, Qwest Records, 9 26020–1). This album combines rhythm and blues, hip-hop, new jack swing, and jazz featuring a diverse group of musicians—Melle Mel, Kool Moe Dee, Big Daddy Kane, rappers; Miles Davis, trumpet; Dizzy Gillespie, trumpet, Ella Fitzgerald, Sarah Vaughan, Take 6, Ray Charles, vocals; and others. 11. See the transcripts “50th Anniversary of the Recording of Kind of Blue,” House of Representatives, December  15, 2009, Congressional Record, Page: H14891; and “50th Anniversary of Kind of Blue,” Extension Remarks by Hon. Neil Abercrombie, March 3, 2009, Congressional Record, Page: E525. 12. Some of the tribute albums commemorating Miles Davis include Music from India: A Celebration of the Music of Miles Davis (rec. 2006, 2007, Four Quarter Entertainment, TSQ-CD 1808); A Musical Tribute to Miles Davis (rec. 2013, XXL Media, 5151); Four Generations of Miles (rec. 2002, Chesky Records, JD 238 Chesky); Dear Miles (rec. 2006, Blue Note, 0946 392547 29); So Near So Far Musings for Miles (rec. 1993, Verve 314517 674 2); and Sketches of Spain y Mas: The Latin Side of Miles Davis (rec. 2006, 4530 Half Note). 13. See the recently published album Miles Davis at Newport 1955–1975: The Bootleg Series Vol. 4. (rec. 1955–1975, Columbia/Legacy, Sony Music Entertainment, 88875 08195 2). This compilation is a collection of Miles Davis’ performances at the Newport Jazz Festivals in Newport, Rhode Island, and two additional European concerts. Also see The Complete Miles Davis at Montreux 1973–1991 (rec. 1973–1991, Columbia/Warner Music, 0927–41836–2). A  comprehensive compilation of Miles Davis’ live performances at the Montreux Jazz Festival, Montreux, Switzerland.

1 Annotations of Books, Chapters, Reference Sources, and Other Selected Writings

 1.

Aboucaya, Jacques, and Jean-Pierre Peyrebelle. 2001. Du be-bop au Free Jazz: Forms et Techniques d’ Improvisation chez C. Parker, M. Davis et O. Coleman. Toulouse: Presses Universitaries du Mirail. Series: Amphil 7, Musique. 229 p. French text. Bibliography, Illustrations, Portraits, and Music Examples. ISBN: 2-85816588-2. LCCN: ML3508 .A26 2001g. A book that focuses on jazz improvisation techniques with examples from Charlie Parker, Miles Davis, and Ornette Coleman.

 2.

Acosta, Leonardo. 2003. Cubano Be Cubano Bop: One Hundred Years of Jazz in Cuba. Translated by Daniel Whitesell. Washington, DC: Smithsonian Books. xvi, 288 p. Index, Glossary, and Interviews and Conversations. ISBN: 1-588-34147-X. LCCN: ML3509 .C88 A2713 2003. A significant book that offers a view of Miles Davis along with a number of prominent jazz musicians’ involvement in Afro-Cuban and Latin jazz. This book is based on thirty years of research and active participation in jazz by musicologist Leonardo Acosta in Havana, Cuba. The book examines the development of Afro-Cuban and Latin jazz and the influences and involvement of musicians Mario Bauza, Dizzy Gillespie, Charlie Parker, Miles Davis, George Shearing, Sarah Vaughan, and others.

 3.

Adams, Simon. 1999. Jazz: A  Crash Course. New York: Watson-Guptill. 143 p. Index, Illustrations, Photographs, and Glossary. ISBN: 9-780-82300-979-4. LCCN: ML3506 .A217 1999. A book that presents a brief history of jazz and jazz musicians. Several sections on Miles Davis include: 1948–1959: Jazz Cools Down: The Birth of the Cool; Hard 11

12

Annotations of Books

Bop: Clifford Brown and Miles Davis; 1957–1962: Sketches of Gil Evans; 1957– 1960: Kind of Blue; 1965–1968: Time—No Change: Acoustic Miles Davis; 1969– 1975: Miles in the Sky Electric Miles Davis; 1969–Present: Jazz + Rock Fusion: Tony Williams, John McLaughlin, Wayne Shorter, Chick Corea, Herbie Hancock.   4.

Ake, David Andrew. 2010. “Musicology Beyond the Score and the Performance Making Sense of the Creak on Miles Davis’ Old Folks.” In Jazz Matters: Sound, Place, and Time Since Bebop. Berkley, CA: University of California Press. Series: Roth Family Foundation Music in America Imprint. ix, 199 p. Bibliography, Index, and Illustrations. ISBN: 9-780-52026-688-9. LCCN: ML3561 .A444 2010. The author presents a scholarly musicological examination of Miles Davis within the realms of a paradigm of change in jazz in the decades since World War II.

 5.

Alberts, Don. 2009. “Jazz, Charlie Parker, Miles Davis, Dizzy Gillespie, San Francisco Clubs.” In A Diary of the Underdogs: Jazz 1960s San Francisco. San Bruno, CA: Chill House; Raleigh, NC: Lulu.com. 359 p. Index, Illustrations, and Photos. ISBN: 9-780-55723-270-3. OCLC Number: 871456407. A historical and critical study based on the jazz scene in 1960s San Francisco social clubs with music influences stemming from Charlie Parker, Miles Davis, and Dizzy Gillespie.

 6.

Allen, Candance. 2012. Soul Music: The Pulse of Race and Music. New York: Gibson Square. 188 p. Bibliography and Index. ISBN: 9-781-90809-622-7. LCCN: ML3537 .A45 2012. Examines music and change using paradigms that relate to engagement of music study from blues, Miles Davis, hip-hop, and classical works where different cultures intersect.

 7.

Alkyer, Frank, ed. 2009. Down Beat—The Great Jazz Interviews: A 75th Anniversary Anthology. Milwaukee, WI: Hal Leonard. 340 p. Illustrations. ISBN: 9-78142346-384-9. LCCN: ML3506 .D69 2009. A collection of Down Beat magazine interviews with leading jazz musicians including Miles Davis, Wes Montgomery, Benny Goodman, Lester Young, Duke Ellington, Count Basie, and many others.

 8.

Alkyer, Frank, ed. 2007. The Miles Davis Reader: Interviews and Features From Down Beat Magazine. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. A compilation of Down Beat magazine articles on Miles Davis. This compilation provides a glimpse into Davis’ career as it happened from a young trumpeter making a name for himself to a major innovator and legend in jazz.

 9.

Ambelang, Franz. 2013. Improvisation im Jazz: Miles Davis “Solar.” München: GRIN Verlag. One Volume. German text. Electronic Resource. ISBN: 9-78365638-2. OCLC Number: 859361214.

Annotations of Books13

Examines the techniques of jazz improvisation. Provides a transcription and analysis of Miles Davis’ composition “Solar.” 10.

Améry, Jean. 1961. Im Banne des Jazz: Bildnisse Grosser Jazz-Musiker. Rüschlikon-Zürich: A. Müller. 128 p. German text. Portraits. OCLC Number: 28593747. LCCN: ML394 .A51 1961. Presents bio-musical portraits that focus on background, career, styles, and influences. Includes artists Louis Armstrong, Sidney Bechet, Bix Beiderbecke, Miles Davis, Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Lionel Hampton, Billie Holiday, Gene Krupa, John Lewis, Mezz Mezzrow, Kid Ory, Charlie Parker, Lennie Tristano, Sarah Vaughan, and Lester Young.

11.

Amorosi, Ray. 2009. “Miles Davis Praised Me.” In In Praise Poems. Sandpoint, ID: Lost Horse Press. ii, 81 p. ISBN: 9-780-98002-898-0. OCLC Number: 444112593. A collection of poetry that includes a tribute to Miles Davis.

12.

Ancher, Garth. 2007. “Translating the Intangible Qualities of Miles Davis’ Jazz Rock Fusion Into Architecture.” In Resonance: Essays on the Intersection of Music and Architecture. Miriam S. Zach and Mikesch W. Muecke, eds. Ames: Culicidae Architectural Press. Series: Resonance (Ames, Iowa)-v. 1. 305 p. Bibliography, Index, and Illustrations. ISBN: 9-781-84728-337-5. LCCN: ML3849 .E87 2007. A series of critical essays that were originally presented at the interdisciplinary conference “Architecture/Music/Acoustics” that took place in Toronto, Canada, in June 2006 at Ryerson University. Included is an essay that interjects Miles Davis in interdisciplinary perspectives of music and architecture. Davis’ contribution in jazz-rock fusion is examined with theories of structure, design, and architecture and chronicles the design for the Launceton School of Contemporary Music in Tasmania. Argues that by adopting the tools of Miles Davis’ jazz fusion, reinvention, resourcefulness, and adaptation as design generators, jazz musicians have opportunities to create a contemporary space for musical experimentation using high-tech materials and communicative projection technology.

13.

Anderson, E. Ruth, ed. 1982. Contemporary American Composers: A Biographical Dictionary, 2nd ed. Boston, MA: G. K. Hall & Co. ix, 578 p. ISBN: 0-81618223-X. LCCN: L390 .A54 1982. A reference source that includes a biographical entry documenting Miles Davis.

14.

Andresen, Uwe. 1985. Keith Jarrett: Seine Leben, Seine Musik, Seine Schallplatten. Gauting-Buchendorf, Germany: Oreos. 187 p. Series: Collection Jazz. German text. Bibliography and Illustrations. ISBN: 3-923-65709-9. LCCN: ML417 .J35 A71985. A biography that traces Keith Jarrett’s early music experiences, influences, and interest in classical music. Provides discussions about his works and collaborations with Miles Davis, Art Blakey, his time as leader of his own quartet

14

Annotations of Books

(1971–1976), his role as an innovative solo pianist. Also included is coverage of Jarrett’s recordings to the mid-1980s. 15.

Angel, Ralph. 1995. Neither World. Oxford, OH: Miami University Press. 94 p. Series: Miami University Press Poetry. ISBN: 1-881-1612-1. PS3551. LCCN: N457 N45 1995. A collection of poetry that recalls the original jazz voicings of an entire generation of jazz musicians from Billie Holiday to Miles Davis, within the American tradition of the voice of the outsider as represented by this collection.

16.

Appel, Jr., Alfred. 2002. Jazz Modernism From Ellington to Armstrong to Matisse and Joyce. New York: Alfred A. Knopf. Index, Illustrations, and Photographs. ISBN: 0-394-53393-3. LCCN: ML3506 .A66 2002. Examines jazz and artistic modernism, and black and white relationships to establish the place of classic jazz (1920–1950) especially through the works of Louis Armstrong, Duke Ellington, Fats Waller, Billie Holiday, Jack Teagarden, and Charlie Parker. This examination is extended with discussion of Miles Davis. Argues that cornetist Bix Beiderbecke was the first major white soloist to develop independent black sources and his bandmate, C-melody saxophone player Frankie Trumbauer, influenced countless African American musicians as saxophonist Lester Young and the cool school of Miles Davis. Miles Davis acknowledged Bix Beiderbecke’s influence. Also argues that George Gershwin was drawn to Africa American musicians especially with his work Porgy and Bess. Even Miles Davis, a racially proud man, recorded instrumental selections from Gershwin’s Porgy and Bess (1958), which was arranged by a Gil Evans, a white man.

17.

Arcens, Michel. 2010. Instants de Jazz: À Propos de Louis Armstrong, Chet Baker, Miles Davis, Duke Ellington, Charles Mingus, Billie Holiday, Stan Getz, Count Basie, Django Reinhardt. Céret: Alter Ego Editions. 225 p. Bibliography and Portraits. French text. ISBN: 9-782-91552-822-0. LCCN: ML3508 .A73 2010. A critical and interpretative work of selected jazz musicians.

18.

Armanno, Venero. 2008. The Dirty Beat. St. Lucia, Queensland: University of Queensland Press. 274 p. ISBN: 9-780-70223-614-3. LCCN: PR9619 .3 A49 D57 2007. A fictional work centering on the afterlife that is inspired by the music of John Coltrane and Miles Davis.

19.

Arndt, Jürgen. 1997. “Wo ist Mein Anderer Schuh? Jazz als Filmmusik in den Achtziger und Neunziger Jahren (Where’s My Other Shoe?” Jazz as Film Music in the Eighties and Nineties). In Beiträge zur Musikwissenschaft und Musikpädagogik: Festschrift für Rudolf Weber zum 60. Geburstag. Rudolf Weber, HansJoachim Erwe, and Werner Keil, eds. New York: Georg Olms. Series: Hildesheimer Musikwissenschaftliche Arbeiten, No. 4. 357 p. German text. Illustrations and Music Examples. ISBN: 3-487-10482-2. LCCN: ML55 .W43 B447 1997g.

Annotations of Books15

An essay focusing on the recordings which film director Woody Allen chose for the soundtrack of his film Stardust Memories as well as Tom Wait’s music for the film One From the Heart. The author uses these examples to demonstrate the timeliness of jazz as film music since the beginning of the 1980s. Other contributing figures include Miles Davis, Ornette Coleman, and John Coltrane. 20.

Arndt, Jürgen. 2001. “Der Neue Künstler als Doppelagent: die Uberwindung der Ünterscheidung Zwischen Musikalischer Kunst und Popmusik bei Miles Davis und Ornette Coleman (The Modern Artist as ‘Double Agent’: Overcoming the Distinction Between Musical Art and Pop Music in the Works of Miles Davis Ornette Coleman.” In Das Populäre in der Musik des 20 Jahrhunderts: Wesenszüge und Erscheinungsformen (Popular Elements in 20th Century Music: Characteristics and Manifestations). Claudia Bullerjahn and Hans-Joachim Erwe, eds. Hildesheim: Olms. Series: Musik, Kultur, Wissenschaft, Bd. 1. 466 p. German text. Bibliography, Music Examples, and Illustrations. ISBN: 9-783-48711-495-8. LCCN: ML197 .P71 2001. This essay is part of an edited volume of critical essays on popular music and is based on a series of lecture discussions focusing on twentieth-century music and jazz. In this essay the author examines the second half of the 1960s where Miles Davis realized an extremely radical concept in jazz through the use of African American popular music in the album Bitches Brew. The album is lined with the removal of the winds as solo foreground instruments to background accompaniment, thereby moving the entire accompaniment into the foreground. Ornette Coleman’s concept was also radical in that he was able to overcome the distance between artist and pubic through his album The Empty Foxhole, by allowing sometimes technically immature instrumental abilities to flow into differentiated music process.

21.

Auslander, Philip. 2013. “Jazz Improvisation as a Social Arrangement.” In Taking It to the Bridge: Music as Performance. Nicholas Cook and Richard Pettengill, eds. Ann Arbor, MI: University of Michigan Press. Bibliography, Index, and Illustrations. ISBN: 9-780-47207-177-7. LCCN: ML457 .T35 2013. Argues against the idea that recordings are the “enemy” of improvised music because of their lack of surprise and spontaneity, and that audience members can always tell when live music is improvised. Also argues that improvisation is better understood in terms of social contact between musician and listeners. That is, musicians act as if they are improvising and audience members act as if they are viewing an improvised performance even if no improvisation is in fact taking place. Demonstrates how this works through a close reading of interactions between Miles Davis and John Coltrane in 1959 performance of “So What.”

22.

Avakian, George. 2009. “Self-Portrait by Miles Davis, Interviewer: George Avakian, Columbia Records Publicity, November 26, 1957.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009.

16

Annotations of Books

A biographical portrait by Miles Davis in cooperation with Columbia Records executive George Avakian, who Davis had approached on several occasions since 1953 seeking to break free from Prestige’s jazz label. In July  1955 Davis’ performance of “ ’Round About Midnight” at the Newport Jazz Festival caught the attention of Avakian who was encouraged by his brother Aram to sign Davis to Columbia Records. 23.

Avakian, George. 2001. “He’s Miles Ahead.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. A special essay by George Avakian who signed Miles Davis to Columbia Records and who produced many of Davis’ albums, including the orchestral Miles Ahead. Avakian shares his experiences and impression of Miles Davis.

24.

Azevedo, Francis Duarte. 2011. O trompete de Miles Davis. Lisboa: Planata. Portuguese text. ISBN: 9-896-5140-6. LCCN: PQ9301 .Z47 T76 2011. A foreign language novel that centers on trumpeter Miles Davis as the major character of the story.

25.

Bachmann, Dieter. 1989. In a Silent Way: Miles Davis. Zurich: Du-Verlag. Series: Du, 52. 100 p. Electronic Resource. German text. Illustrations. No ISBN. OCLC Number: 777866781. A work that focuses on the life and career of Miles Davis and his innovations in many different styles of music.

26.

Baker, David. 1980. The Jazz Style of Miles Davis: A Musical and Historical Perspective. Miami, FL: Studio 224; CPP Belwin. Series: Giants of Jazz. 66 p. Illustrations, Transcriptions, and Music Examples. ISBN: 9-780-76920-982-1. LCCN: ML419 .D39 B35 1980. A historical, critical, and interpretative survey of the music and works of Miles Davis. Include transcriptions of trumpet solos for “Tune Up,” “Straight No Chaser,” “So What,” and “Freedom Jazz Dance.”

27.

Baker, David. 1978. Miles Davis: Trumpet. New York: Shattinger International Music: C. Hansen. Series: David Baker Jazz Monograph Series. 65 p. Bibliography, Music Examples, and Discography. OCLC Number: 36837166. LCCN: MT234 .B172. A guide to the study of the recorded solos of Miles Davis with biographical notes, stylistic analysis, and transcribed solos.

28.

Baker, Stuart, and Chris Menist. 2014. Black Fire! New Spirit: Images of a Revolution. London: Soul Jazz Books. 187 p. Portraits. ISBN: 9-780-95726-001-6. LCCN: ML87 .B35 2014. Examines the beginning of the 1960s as jazz entered a unique new period of revolution, as African American musicians as Miles Davis redefined the art form

Annotations of Books17

in the context of the civil rights movement, Afro-centric rhythm, and though an ideology of black economic development. Includes hundreds of photographs of new jazz musicians in the United States in the 1960s. 29.

Baldwin, James, with Quincy Troupe. 2014. James Baldwin: The Last Interview and Other Conversations. Brooklyn, NY: Melville House. 119 p. ISBN: 9-78161219-400-4. LCCN: PS3552 .A45 Z46 2014. A collection of interviews by Quincy Troupe, a poet and author, when he traveled in 1987 to the South of France to interview poet and author, James Baldwin. Baldwin reflects on his childhood in Harlem, his close friendship with Miles Davis, and also discusses many other topics.

30.

Balen, Nöel. 2007. Jazz Story. Boulonge-Billancourt (Hauts-de-Seine): Timée-Editions. 144 p. French text. Illustrations ISBN: 9-782-35401-018-8. OCLC Number: 742694221. A history of jazz origins and biographical profiles of jazz musicians such as Charlie Parker, Duke Ellington, Miles Davis, and Chet Baker.

31.

Balen, Nöel. 2001. Miles Davis: L’ Ange Noir. Paris: Mille et une nuits; Paris: Arte. 142 p. French text. CD, Chronology, and Discography. ISBN: 2-842-05594-2. LCCN: ML419 .D39 B3 2001g. A biography of Miles Davis that reflects live experiences and discussions of how Davis contributed to the body of jazz.

32.

Balliett, Whitney. 2000. Collected Works: A  Journal of Jazz, 1954–2000. New York: St. Martin’s Press. viii, 872 p. ISBN: 0-312-20288-1. LCCN: ML3506 .B192 C6 2000. A compilation of writings by jazz critic Whitney Balliett from the first Newport Jazz Festival in 1954, and continuing to many recent performances by generations of jazz musicians. Includes portraits of major jazz figures such as Duke Ellington, Dizzy Gillespie, Miles Davis, John Coltrane, Ornette Coleman, Charles Mingus, and many more.

33.

Bangs, Lester. 2002. “Miles Davis: Music for the Living Dead.” In Mainlines, Blood Feasts, and Bad Taste: A  Lester Bangs Reader. John Morthland, ed. New York: Anchor Books. xviii, 409 p. ISBN: 0-375-71367-0. LCCN: ML3534 .B314 2002. A literary tribute to Miles Davis is included in this collection of essays and critical writings.

34.

Bankston, Carl L. 2011. “Miles Davis” and “Miles Davis and Cool Jazz.” In Great Lives From History: African Americans, Volume 2. Pasadena: Salem Press. 380 p. Electronic Resource. ISBN: 9-781-58765-749-8. OCLC Number: 923356276. Presents biographical profiles of Miles Davis and his contributions to jazz.

18

35.

Annotations of Books

Baraka, Amiri. 1967. Black Music. Brooklyn, NY: W. Morrow. 221 p. [4] p. pages of plates and Portraits. ISBN: 9-780-68824-344-9. LCCN: ML3556 .B15 1967. A collection of essays, reviews, liner notes, musical analysis, and personal impressions from 1957 to 1967 that focus on various artists including Miles Davis.

36.

Baraka, Amiri. 2009. “Miles Later.” In Digging the African American Soul of American Classical Music. Berkeley, CA: University of California Press. Series: Music of the African Diaspora; 13. 411 p. Discography, [14] p. of plates, and Illustrations. ISBN: 9-780-52025-715-3. LCCN: ML3556 .B1612 2009. An essay that examines the path of Miles Davis, his music, and his varied positions as an American artist. The author argues that Davis is a great cultural figure, a musician, and composer, more impacting and influential than most. The history and shaping of Davis’ work are as obvious as anything in the world of art and social life.

37.

Baraka, Amiri. 2009. “Panthalassa: Miles Davis” and “When Miles Split.” In Digging the African American Soul of American Classical Music. Berkeley, CA: University of California Press. Series: Music of the African Diaspora; 13. 411 p. Discography, [14] p. of plates, and Illustrations. ISBN: 9-780-52025-715-3. LCCN: ML3556 .B1612 2009. These two essays featured on Miles Davis are part of Amiri Baraka’s concepts and writings in jazz and African American literature. Part of his writing on Davis blends his ideas of musical analysis, commentary, sounds, people, places, and trends that greatly reflect African American history and culture. The essays explores the musical development of Davis and suggests that Davis rebelled against popular American music by working from within the music to transform it functionally as both insider and outsider.

38.

Baraka, Amiri. 2001[1996]. “Miles Davis.” In Eulogies. New York: Agincourt. 260 p. ISBN: 1-568-86102-8. LCCN: PS3552 .A583 E8 1996. A literary tribute to Miles Davis is included in this collection.

39.

Barkley, Elizabeth. 2006. “Profile: Miles Davis.” In Crossroads: The Multicultural Roots of America’s Popular Music. Upper Saddle River, NJ: Pearson Prentice Hall. xvii, 318 p. Bibliography, Index, Illustrations, and Maps. ISBN: 9-780-13193-0735. LCCN: ML3477 .B35 2006. A historical, social, cultural, and musical survey of musical influences in American music. This work is appropriate for an undergraduate music appreciation course.

40.

Barnard, Ken. 2010. “After Dark: His Solos Run 45 Minutes Long.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010.

Annotations of Books19

In April 1963 John Coltrane was on the road spending a week in Detroit, Michigan, at the Minor Keys. Coltrane reflects on his life, music, career, influences, Miles Davis, and other music experiences. 41.

Barnhart, Scotty. 2005. The World of Jazz Trumpet: A Comprehensive History and Practical Philosophy. Milwaukee: Hal Leonard. xxx, 246 p. Bibliography, Discography, Index, Illustrations, Map, and Portraits. ISBN: 9-780-63409-527-6. LCCN: ML399 .B379 2005. A biographical entry focusing on Miles Davis is included in this compilation. Examines the political, social, and musical conditions that led to the creation of jazz. The author traces the many facets that enabled freed slaves and their descendants to merge the blues, gospel, classical marches, and Africa rhythm to create jazz and the profound art that since its inception, circa 1900, continues to have an impact on all music. Includes approximately 800 entries on trumpeters.

42.

Baron, Rachael. 2002. “Touring With Miles and Monk.” In John Coltrane: Jazz Revolutionary. Greensboro, NC: Morgan Reynolds. 112 p. Illustrations ISBN: 1-883-84657-9. LCCN: ML3930 .C535 B7 2002. A book that traces the life, music, experiences, and evolution of John Coltrane as a musician of change and progress and his status as a legendary figure. The book includes an essay that focuses on Coltrane’s collaborations with Miles Davis and Thelonious Monk.

43.

Barrett, Frank. 2012. Yes to the Mess: Surprising Leadership Less for Jazz. Boston, MA: Harvard Business Review Press. xix, 202 p. Bibliography and Index. ISBN: 9-781-42216-110-4. LCCN: HD57 .7 .B37 2002. Focuses on organizational leadership and collaboration model based on the improvisational natures of jazz musicians such as Miles Davis and Sonny Rollins as inventive approaches to deal with change.

44.

Barrett, Frank. “Cultivating an Aesthetic of Unfolding: Jazz Improvisation as a Self-Organizing System.” In The Aesthetics of Organization. Stephen Linstead and Heather Hopfl, eds. London and Thousand Oaks, CA: Sage. xi, 275 p. Bibliography and Index. ISBN: 0-761-95322-1. LCCN: HD58 .7 .A38 2000g. An essay that includes a discussion of Miles Davis and improvisation. Discusses how Davis used wrong notes performed by musicians to create, making the sound correct, intentional, and sensible.

45.

Bauer, William R. 2002. Open the Door: The Life and Music of Betty Carter. Ann Arbor, MI: University of Michigan Press. xx, 415 p. Illustrations, Music Examples, [16] p. of plates, Discography, and Videography. ISBN: 0-472-09791-1. LCCN: ML420 .C2584 B38 2002. A biography of jazz singer, composer, arranger, and teacher Betty Carter. The book examines Carter’s contribution to the music world and delves behind the scenes to show Carter’s growth as a businesswoman in charge of her career. Also

20

Annotations of Books

examines Carter’s ever-changing shifts in the music industry affected by the singer’s life. Includes analysis of music examples of how Carter absorbed various musical influences from Sarah Vaughan, Billie Holiday, and Miles Davis, and made the music her own. 46.

Bayless, Martha. 2001. “Miles Davis and the Double Audience.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. An essay that examines the concept formularized by James Weldon Johnson in a work titled “The Dilemma of the Negro Author” (1928). This concept is integrated in a discussion of Miles Davis who the author argues spent his career impaled on a similar dilemma—that of the African American musician who commands the loyalty of both African American and white audiences but who harbors very different feelings toward both. Argues that Davis’ fusion and post-fusion music is best understood in the context of his lifelong struggle with the unforgiving conditions faced by the great African American jazz musicians of the 1940s and 1950s.

47.

Belden, Bob, and John Ephland. 2007. “Miles . . . What Was That Note?” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, December 1995, reflecting on the voices and comments of former friends and collaborators who celebrated the life and career of Miles Davis. Commentators include Ron Carter, Reggie Workman, Dave Liebman, Herbie Hancock, John Scofield, Gary Peacock, Keith Jarrett, Eddie Henderson, Horace Silver, Sonny Fortune, and Gary Bartz.

48.

Belden, Bob. 2000. The Oxford Companion to Jazz. Bill Kirchner, ed. Oxford and New York: Oxford University Press. xi, 852 p. Bibliography and Index. ISBN: 9-780-19518-359-7. LCCN: ML3507 .O94 2000. This reference sources includes an essay and a biographical entry that outlines the career and style of Miles Davis with respect to his childhood, recordings, performances, collaborations with Gil Evans, noted small groups of the 1950 and 1960s, use of innovative recording techniques, and relocation to funk and rock.

49.

Belgrad, Daniel. 1998. The Culture of Spontaneity: Improvisation and the Arts in Postwar America. Chicago: University of Illinois Press. xii, 343 p. Bibliography, Index, [8] p. of plates, and Illustrations. ISBN: 0-226-04188-3. LCCN: NX165 .B35 1998. A book that presents a comprehensive overview of post–World War II American arts and culture. Topics are varied and range from abstract expressionism, jazz, dance, sculpture, and performance to the anti-nuclear movement. Discussion of prominent figures include Charlie Parker, Lester Young, Miles Davis, Sarah Vaughan, John Cage, Jackson Pollack, LeRoi Jones (Amiri Baraka), Allen

Annotations of Books21

Ginsburg, and more. Argues that these artists create work that have subjective epistemology privileges and dialogue over logical expression as a means of communication that counteracts the increasingly abstract character of human experience in the modern world. 50.

Béniès, Nicolas. 2011. Le Souffle Bleu: 1959, Le Jazz Bascule. Caen: C et F Éd. Series: Livre Musical. 154 p. Illustrations and CD. ISBN: 9-782-91582-519-0. OCLC Number: 844032875. A work that focuses on Miles Davis, his life in jazz, and his legendary Kind of Blue recording.

51.

Benson, George, with Alan Goldsher. 2014. “Playing With Verve . . . and Miles . . . and A & M, and “Interlude # 3—Miles Ahead and Miles Beyond.” In Benson: The Autobiography. Boston, MA: Da Capo Press. xvii, 222 p. ISBN: 9-780-30682-2292. LCCN: ML420 .B3439 A 4 2014. Index, [16] p. of plates, and Illustrations. An autobiography of George Benson that follows the musician from the ghettos of Pittsburg to the stages of Dubai and everywhere in between. Benson also describes his experiences on the road with jazz musician Brother Jack McDuff, navigating his way through the recording studio with Miles Davis, and emerging as the first true jazz/soul crossover artist.

52.

Berendt, Joachim-Ernst. 1982. The Jazz Book: From Ragtime to Fusion and Beyond. Westport, CT: L. Hill. xi, 436 p. Illustrations, Index, and Discography. ISBN: 0882081411. LCCN: ML3506 .488 G81 1982. Provides chronological and historical survey of styles, trends, and the making of jazz and jazz musicians.

53.

Berendt, Joachim-Ernst. 1975. “Part II: The Musicians of Jazz: Buddy Bolden, Louis Armstrong, Bessie Smith, Bix Beiderbecke, Duke Ellington, Coleman Hawkins, Lester Young, Charlie Parker, and Dizzy Gillespie, Miles Davis, John Coltrane and Ornette Coleman.” In The Jazz Book From New Orleans to Rock and Free Jazz. Translated by Dan Morgenstern and Barbara Bredigkeit. New York: Hill. xvi, 459 p. Index and Discography. ISBN: 0-882-08028-8. LCCN: ML3561 .J3 B4122. A chronological and historical survey of jazz. The author includes many notable jazz artists including the works and career of Miles Davis.

54.

Bergerot, Franck. 2012. Miles Davis: De A à Z. Bègles: Castrol Astral. Series: Castor Music. 410 p. French text. Illustrations. ISBN: 9-782-85920-878-3. LCCN: 419 .D 395 B47 2012. A biographical monograph that focuses on Miles Davis.

55.

Bergerot, Franck. 1996. Miles Davis Introduction à l’ Écoute du Jazz Moderne (Miles Davis: An Introduction for Modern Jazz Listening). Paris: Éditions du Seuil. 188 p. French text. Bibliography, Index, Discography, Charts, Diagrams, and Illustrations. ISBN: 2-020-19594-1. LCCN: ML419 .D26 B47 1996.

22

Annotations of Books

A biography that is an introduction to jazz and the contributions of Miles Davis. A major thesis of the book is providing an examination of how Davis contributed to the body of modern jazz. The author notes that Davis had a long and stylistically varied career and his distinctive playing featured a smooth sonority with a light, even attack that was reinforced by frequent use of the mute. Davis’ phrasing was characterized by significant silences, the recurrence of diminished fifths, limpidity, and conciseness. In all groups Davis consistently emphasized the interaction between soloist and rhythm section. 56.

Bergerot, Franck, and Arnaud Merlin. 1993. The Story of Jazz (l’ Epopée du Jazz): Bop and Beyond. Translated from French by Marjolijn Jager. New York: H. N. Abrams. Series: Discoveries (New York, New York). 60 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-810-92876-0. LCCN: ML3561 .J3 B4313 1993. Examines how Miles Davis, John Coltrane, Charles Mingus, Ornette Coleman, and others brought jazz out of the age of bebop into contemporary times. Observes that as jazz came of age in the 1940s through the 1960s as an intense flowering of new styles, it spawned almost as many styles as musicians.

57.

Bessières, Vincent. 2012. “Miles in France.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. An essay that describes how Miles Davis was changed by a trip to Paris, France, in his early adulthood. The author argues that during Davis’ several visits in the late 1940s and 1950s, he revealed freedom and respect from his segregationist homeland (the segregated United States). In Paris Davis met his first true love, actress Juliette Greco, and he later recorded the soundtrack for Louis Malle’s film Ascenseur pour l’ Échafaud, improvising his parts over the course of a single night while Malle projected his film. The author believes that the recording of the soundtrack served as an early run for Davis at creating music in a new spontaneous way, which later was elaborated in Davis’ album Kind of Blue (1959).

58.

Bessières, Vincent, and Franck Bergerot. 2010. We Want Miles: Miles Davis. Skira: Rizzoli. 223 p. Illustrations, Photographs, Handwritten Music Scores, Album Covers, and Posters. ISBN: 9-780-84785-28-7. LCCN: ML419.DW4 2010g. A publication in conjunction with an art exhibition on Miles Davis at the Cité de la Musique, Paris, France, October 16, 2009 to January 17, 2010, and with the Montreal Museum of Fine Arts, April 30, 2010 to August 29, 2010. Sections of the publication include: 1926–1948: From St. Louis to Fifty-Second Street in Search of Bird; 1948–1955: Out of the Cool Invention and Self-Loathing; 1955–1959: Miles Ahead in the Studio for Columbia; 1960–1967: Miles Smiles Controlled Freedom; 1968–1971: Electric Miles Rock Distortion; 1971–1979: On the Corner Funk Beat; and 1980–1991: Star People Global Icon.

Annotations of Books23

59.

Bett, Stephen C. 2013. Sound Off: A Book of Jazz. Saskatoon, Saskatchewan: Thistledown Press. 117 p. ISBN: 9-781-92706-841-0. LCCN: PS9255 .E978 S69 2013. A collection that integrates the aesthetics of jazz and literature. Poetic verses are dedicated to Miles Davis.

60.

Bigot, Yves. 2004. Plus Célèbres que le Christ (Portraits et Interview de 50 des Plus Grandes Rockstars de’ Histoire. Paris: Flammarion. 431 p. ISBN: 9-782-08068785-2. LCCN: ML39 .B546 2004. Presents interviews of many rock stars including Miles Davis, Ray Charles, Paul McCartney, Mick Jagger, and others.

61.

Bigot, Yves. 1995. Au Nom du Rock (In the Name of Rock). Paris: Stock. 366 p. French text. Illustrations. ISBN: 2-234-04493-6. LCCN: ML394 .B54 1995. A book comprised of portraits followed by interviews of thirty-eight rock musicians from Brian Wilson and Bob Dylan to Guns N’ Roses and Nirvana. Interviews with Miles Davis and President François Mitterand are also included.

62.

Billard, François. 1988. Lennie Tristano. Montpellier, France: Editions du Limon. 203 p. Bibliography, Illustrations, and Discography. ISBN: 2-907-224069. LCCN: ML417 .T8 B5 1988. A book that chronicles Lennie Tristano’s life beginning in Chicago to his role as a pianist and leader of a group of progressive jazz musicians. Tristano’s style change, influences, compositions, and role as a proponent of change are discussed. Also his associations with Billy Bauer, Lee Konitz, Warne Marsh, Charles Mingus, and Miles Davis are discussed.

63.

Blancq, Charles. 1983. Sonny Rollins: The Journey of a Jazzman. Boston, MA: Twayne. Series: Twayne Music Series. 142 p. Bibliography, Illustrations, and Discography (1951–1962). ISBN: 9-780-80579-460-1. LCCN: ML419 .R64 B6 1983. This book stems from the author’s doctoral dissertation, Melodic Improvisation in American Jazz: The Style of Theodore ‘Sonny’ Rollins, 1951–1962 (Tulane University, 1977). This book is both a biography and musicological study including solo transcriptions and a scholarly discussion of harmonic, melodic rhythmic and scalar devices. The biographical overview covers Rollins’ life and associations with numerous jazz music legends. Included are selected discussions of the improvisational styles of Louis Armstrong, Miles Davis, Coleman Hawkins, and Charlie Parker.

64.

Bliek, Rob Van Der, ed. 2001. The Thelonious Monk Reader. New York and Oxford: Oxford University Press. xvii, 286 p. Index and Music Examples. ISBN: 0-195-12166-X. LCCN: ML417 .M846 T54 2000. A collection of essays on the life, music, and influence of Thelonious Monk on jazz innovation. Also includes discussions of Miles Davis’ influences, behavior, style, and collaborations with Monk.

24

65.

Annotations of Books

Blume, August. 2010. “Interview With John Coltrane.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An interview conducted with August Blume, co-founder of Baltimore’s Interracial Jazz Society. In June 1958 the Miles Davis Sextet (or the Miles Davis All Stars, as they were billed) played a week at the Spotlite Lounge in Washington, D.C., and on June 15, August Blume interviewed them. The interview covered several topics including Coltrane’s collaborations with Miles Davis.

66.

Blumenthal, Howard J. 1998. Jazz CD Listener’s Guide. New York: Billboard Books. Series: Best on CD. 204 p. Index and Illustrations. ISBN: 9-780-82307662-8. LCCN: Ml156 .4 J3 B73 1998. A discography/biography of jazz and jazz musicians that includes Miles Davis. Provides review of selected recordings.

67.

Bölke, Peter. 2011. Jazz Icons. Hamburg: Edel Germany. 147 p. Text in English and German. Illustrations, and CD. ISBN: 9-783-94000-486-4. LCCN: ML3508 .B65 2011. A book that includes descriptive biographic profiles of many prominent musicians who contributed their talents to jazz history. Emphasis is also placed on examples of notable jazz compositions by Miles Davis, Louis Armstrong, Coleman Hawkins, Billie Holiday, Dizzy Gillespie, Sonny Rollins, Dave Brubeck, and John Coltrane.

68.

Bölke, Peter, and Rolf Enoch. 2009. Roads of Jazz. Hamburg: Edel. 155 p. German text. CDs and Photographs. ISBN: 9-783-94000-431-4. OCLC Number: 845538657. An introductory book that delves into many styles of jazz in New Orleans, Chicago, Kansas City, New York, Los Angeles, Paris, London, and Berlin. Also presents biographical profiles of several jazz musicians including Louis Armstrong, Chet Baker, John Coltrane, Miles Davis, Dexter Gordon, Ella Fitzgerald, Benny Goodman, Gerry Mulligan, Charlie Parker, and Django Reinhardt.

69.

Boot, Adrian, and Chris Salewicz, compilers. 1995. Jimi Hendrix: The Ultimate Experience. New York: MacMillan. Previously published by London: Boxtree, 1995. 252 p. Illustrations. ISBN: 0-028-60836-4. LCCN: ML410 .H476 J56 1995. A comprehensive collection of Jimi Hendrix imagery and iconography. In addition, the myth and charisma of Hendrix are explored through the writing of those who knew him and worked with him. Contributions in this volume include Miles Davis, Oliver Stone, and others.

70.

Bowen, José Antonio. 2005. “Modal Jazz, Miles, and ‘Trane,” and “A Miles Davis Reader.” In Jazz: Its History and Context. Dallas: J. Bowen. 301 p. Illustrations, Portraits, and Music Examples. OCLC Number: 826024406. LCCN: ML3506 .B69 J39 2005.

Annotations of Books25

Originally printed as supplemental text for a course by the same title at Miami University. Includes selected journal/magazine articles reprinted with permission. 71.

Boynton, Andrew C., and Bill Fischer. 2005. “Lead Talent With Trust: Miles Davis Creates Serial Innovation Through Listening and Improvisation.” In Virtuoso Teams: Lessons From Teams That Changes Their Worlds. Harlow and New York: FT Prentice Hall. xii, 205 p. Bibliography and Index. ISBN: 9-780-27370218-4. LCCN: HD66 .B69 2005. Interestingly, this work incorporates concepts developed for the business industry of organization effectiveness in the workplace. Miles Davis’ innovation, improvisation, and his team work as a bandleader are discussed as prime examples for the business industry with teamwork that generates creativity and the best performance.

72.

Brackett, David, compiler. 2005. “Jazz Fusion From Miles: The Autobiography/ Miles Davis and Quincy Troupe.” In The Pop, Rock, and Soul Reader: Histories and Debates. New York: Oxford University Press. xix, 524 p. Bibliography and Index. ISBN: 0-195-12570-3. LCCN: ML3470 .P663 2005. The author incorporates several readings along with discussions of many of the musicians that contributed innovative styles to American popular music. Segments from Miles Davis’ autobiography on jazz fusion are included in this compilation that traces the diverse streams of American popular music from the 1920s to the present.

73.

Braggs, Earl S. 2009. “Miles Davis Plays the Trumpet at the Funeral of Malcolm X.” In In Which Language Do I Keep Silent. Tallahassee, FL: Anhinga Press. xiii, 229 p. ISBN: 9-780-93807-893-7. LCCN: PS3552 .R263 I69 2006g. A collection of poetry that includes a tribute to Miles Davis.

74.

Braggs, Rashida K. 2016. Jazz Diasporas Race, Music, and Migration in PostWorld War II Paris. Berkeley and Los Angeles, CA: University of California Press. xvi, 261 p. Bibliography and Index. ISBN: 9-780-52027-934-6. LCCN: ML3509 .F78P 36. The author conceives “jazz diaspora” as a phrase to describe geographically, historically situated cultural spaces that support and spur flexibility, negotiation, and shifting of racial and national identities for migration of African American jazz musicians and communities with whom they collaborate. The author defines two types of diasporas: those who thrive and shape individual identity through musical collaboration outside their homeland, and those in which the music travels through its interactions and alters who performs, represents, and claims the music. The author examines the role and participation of many jazz musicians including Miles Davis who is covered on several topics including his work on the French film Ascenseur pour l’ Échafaud, his influence in rock and roll, his impact on European audiences and recordings, his interracial relationships, his participation in Paris International Festival, his membership in the Tadd Dameron Quintet, and his collaboration with René Urtreger.

26

75.

Annotations of Books

Bratfisch, Rainer. 2014. Jazz in Berlin. Berlin: Nicolai. 470 p. German text. Index, Illustrations, and Portraits. ISBN: 9-783-89479-802-4. LCCN: ML3509 .G38 B47. A comprehensive reference source about the history of jazz and jazz musicians in Berlin, Germany. This source contains a vast amount of material on musicians, groups, and styles as well as information on American jazz musicians such as Miles Davis and many others who have influenced jazz in Berlin.

76.

Breskin, David. 2009. “Searching for Miles: Theme and Variations on the Life of a Trumpeter.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. An interview that was originally published in Rolling Stone, September 29, 1983. The interview is comprised of a biographical profile and retrospective of Miles Davis with comments of people who worked with Davis such as a letter sent to Breskin from Elwood Buchanan, Davis’ first trumpet teacher.

77.

Brinkofski, Elizabeth. 2013. New York City Jazz. Charleston, SC: Arcadia Publishing. Series: Images of America. 127 p. Illustrations. ISBN: 9-780-73859-914-4. LCCN: ML3508 .8 N5 B75 2013. Explores many social venues that have played host to iconic jazz musicians such as Miles Davis, Charlie Parker, and Billie Holiday. Examines New York City as the jazz capital of the world known for its venues such as the Latin Quarter, Apollo Theater, Minton’s Playhouse, and others.

78.

Brody, Jim. 1996. “Listening to Miles Davis.” In Heart of the Breath: Poems, 1979–1982. Clark Coolidge, ed. West Stockbridge, MA: Hard Press. 381 p. Index. ISBN: 0-963-84337-0. LCCN: PS3552 .R6214 H4 1996. A poetic collection that includes a tribute to Miles Davis.

79.

Brown, Stephen. 1988. “Miles Davis and the ‘Cool’ Style” and “So What/Miles Davis.” In The Sense of Music. San Diego, CA: Harcourt Brace Jovanovich. xiv, 395 p. Index, [8] p. of plates, Illustrations, Music Examples, and Portraits. ISBN: 9-780-15579-637-9. LCCN: MT6 .B875 S4 1988. A book that is geared as a music appreciation source for readers. Included are discussions of Miles Davis and his contributions to the development, style, repertoire, and popularity of cool jazz and other styles performed by Davis.

80.

Brūggemeyer, Maik. 2003. “Miles Davis: In a Silent Way.” In Pop Sounds: Klangtexturen in der Pop-und Rockmusik: Basic, Stories, Tracks. Bielefeld: Transcript. Series: Texte zur Popūlaren Musik, 1. 231 p. German and English texts. ISBN: 9-783-89942-150-7. LCCN: ML340 .P675 2003g. An essays that examines the title track of Miles Davis album In a Silent Way (1969) as a type of folk song that has been carefully freed from its shackles. Argues that the sound of the album paved the way for a new era.

Annotations of Books27

81.

Brunning, Bob. 2002. Jazz. Oxford: Heinemann Library. 32 p. Juvenile Literature. Index, Illustrations, and Portraits. ISBN: 9-780-43109-111-2. OCLC Number: 51914234. Traces the history of jazz during the twetntieth century from its beginning in African American society. Provides highlights of some influential jazz performers—Miles Davis, Ella Fitzgerald, Louis Armstrong, and others.

82.

Bruyninckx, Walter. 1979. 60  Years of Recorded Jazz, 1917–1977. Belgium: Bruyninckx. 577 p. OCLC Number: 6426260. LCCN: ML56 .4 JB88X. A comprehensive discography of recordings of jazz musicians. Includes discography information for Miles Davis’ recordings from 1947–1975. Includes brief biographical profiles, listings of titles, catalogue numbers, personnel, record labels, matrix numbers, and album numbers.

83.

Buchanan, Elwood. 1996. “Letter to David Breskin.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419. D39 75 1996. A letter written by Miles Davis’ first trumpet instructor that served as an epigraph to David Breskin’s portrait of Davis for the September 29, 1983, issue of Rolling Stone magazine. Throughout the years Elwood Buchanan was always graciously credited by Miles Davis for having first shaped him as an instrumentalist.

84.

Budds, Michael J. 1978. Jazz in the Sixties: The Expansion of Musical Resources and Techniques. Iowa City, IA: University of Iowa Press. 124 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 0-877-45086-2. LCCN: ML3561 .J3 B88. The author argues that two contradictory attitudes existed within the jazz community during the 1960s: a continued adherence to conventions and a rejection of these same basic principles. The author identifies resources and techniques new to jazz and those which, having disappeared from practice, were reintroduced into a new musical context. Among the artists represented that the author examines are Miles Davis, John Coltrane, Ornette Coleman, Cecil Taylor, Don Ellis, Dave Brubeck, and Gunther Schuller.

85.

Budin, Yves, Philippe Haulet, Marc Moulin, Jean-Pol Schroeder. 2007. Visions of Miles Davis. Bruxelles: Les Carnets du Dessert de Luna. 67 p. French text. Illustrations. ISBN: 9-782-93023-575-2. OCLC Number: 494093191. A literary collection dedicated to Miles Davis.

86.

Burleigh, Robert. 2001. Lookin’ for Bird in the Big City. San Diego, CA: Harcourt Brace. One Volume (unpaged). Illustrations. ISBN: 9-80-2427-0. LCCN: PZ7 .B 9244 Lo 2001. A jazz fictional novel about Miles Davis as a teenage music student who spends time in New York City trying to find bebop legend, Charlie Parker.

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87.

Annotations of Books

Busby, David R. 2011. Ten Greats of Jazz. San Diego, CA: Cognella Academic Publishing. ix, 365 p. Illustrations. ISBN: 9-781-62131-157-7. LCCN: ML399 .T4624 2014. An anthology that explores the seminal contributions of a variety of great jazz artists that include Miles Davis, Louis Armstrong, Duke Ellington, Benny Goodman, and John Coltrane. The book argues the approach that certain artists are socially linked to certain genres.

88.

Cabu. 2015. Le Jazz de Cabu: Une Petite Histoire du Swing de Louis Armstrong a Miles Davis. Rennes: Editions BD Music. 56 p. ISBN: 9-782-37450-055-3. OCLC Number: 945565328. Examines the history of swing elements in the music of Louis Armstrong and Miles Davis.

89.

Candelaria, Lorenzo, and Daniel Kingman. 1990. “Bitches Brew (Miles Davis).” In American Music: A Panorama. New York: Schrimer Books. xix, 684 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 0-028-73370-3. LCCN: ML200 .K55 1990. Describes American music as a panorama of distinct but yet parallel streams of popular, folk, sacred, and secular forms that reflect the diverse character of the United States.

90.

Cane, Giampiero. 1973. Canto Nero il Free Jazz Degli anni Sessanta (Black Song: Free Jazz of the 1960s). Rimini: Guaraldi. 297 p. Italian text. OCLC Number: 797691939. LCCN: ML3561 .J3 C25. This book studies the music of the “classic” avant-gardists in jazz—Charles Mingus, Ornette Coleman, John Coltrane, Cecil Taylor, Sun Ra, Miles Davis, and those who originated out of Chicago’s AACM (Association for the Advancement of Creative Musicians). This study is not historical but more aesthetic and draws on such diverse sources as Georg Wilhelm Friedrich Hegel, Immanuel Kant, and John Cage for reflection.

91.

Carby, Hazel. 1998. Race Men. Cambridge, MA: Harvard University Press. Series: W.E.B. DuBois Lectures. 228 p. Bibliography, Index, and Illustrations. ISBN: 0-674-74558-2. LCCN: E185 .86 .C297 1998. A book that analyzes the changing image of black masculinity in popular culture. Includes a discussion of Miles Davis. The author’s analysis of Davis’ autobiography tracks Davis’ self-representation, journey toward black manhood, and masculinity as a struggle between the claustrophobic world of women in which Davis depicts himself as trapped and violent. But for Davis the creative world of men to which he escapes is where he feels passionate, intimate, and relatively free.

92.

Carlin, Richard. 2006. American Popular Music: Comprehensive Index. New York: Facts on File. vii, 136 p. ISBN: 0-816-06516-0. LCCN: ML102 .P66 A39 2006.

Annotations of Books29

A reference work that reflects a cultural diversity of American popular music from Aaron Copland to Miles Davis, Elvis Presley, Muddy Waters, and many others who have produced some of the most influential performances of all time. 93.

Carner, Gary, ed. 1996. The Miles Davis Companion: Four Decades of Commentary. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. In this compilation the life and career of Miles Davis are profiled thoroughly from the 1950s cool jazz to 1970s jazz fusion to 1990s hip-hop. This compilation draws on profiles, interviews, liner notes, and original reviews of recordings to give a full picture of Davis’ contributions to jazz. It also includes essays on the impact of Davis’ life and music and more. The compilation greatly demonstrates how Davis was an innovative musician who always created new sounds and styles.

94.

Carner, Gary, ed. 1990. Jazz Performers: An Annotated Bibliography of Biographical Materials. New York: Greenwood Press. Series: Music Reference Collection, No. 26. xviii, 364 p. ISBN: 0-313-26250-0. LCCN: ML128 .B3 C37 1990. A reference that can be a useful tool for research on Miles Davis and many other jazz musicians. This bibliography contains different selections of bibliographic sources such as citations to biographies, musical treatises, bio-discographies, and dissertations.

95.

Carr, Ian. 2005. Miles Davis: La Biografia Definitiva (Miles Davis: The Definitive Biography). Translated by Euardo Hojman. Barcelona: Global Rhythms. Series: Bioritmos. 670 p. Spanish text. ISBN: 9-788-49342-138-0. OCLC Number: 63699027. A Spanish translation of Ian Carr’s biography of Miles Davis.

96.

Carr, Ian. 2004. The Rough Guide to Jazz, 3rd ed. New York: Rough Guides. 927 p. Illustrations. ISBN: 9-781-84353-256-9. LCCN: ML3506 .C37 2004. A reference source with a biographical entry on the life of Miles Davis.

97.

Carr, Ian. 2002. Miles Davis: Muusikon Elämä (Miles Davis: A Musical Biography). Translated by Jukka Jaaskelainen and J. Pekka Makela. Helsinki: Like. 607 p. Finnish text. [16] p. of plates. ISBN: 9-789-51578-933-4. OCLC Number: 58379538. A Finnish translation of the author’s biography on Miles Davis.

98.

Carr, Ian. 2002. “Kontrapunkte: Rivalität mit Zuneigung-Miles Davis und Charles Mingus (Counterpoints: Affectionate Rivalry-Miles Davis and Charles Mingus).” In Charles Mingus: The Talking Bass. Zurich, Switzerland: Tamedia. 100 p. ISBN: 3-908-51559-9. OCLC Number: 718140916. An essay that compares the life and music innovations of Charles Mingus and Miles Davis.

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Annotations of Books

 99. Carr, Ian. 1991. Keith Jarrett: The Man and His Music. London: Grafton. 237 p. Bibliography, Index, Discography, and Illustrations. ISBN: 0-246-13434-8. LCCN: ML417 .J35 C4 1991. Coverage of Keith Jarrett’s life and musical career from his first solo performances at the age of seven to his 1960s work with the Jazz Messengers, Charles Lloyd, and with Miles Davis on electric keyboards in the 1970s. 100.

Carr, Ian. 1991. Miles Davis. Translated by Catherine Collins. Paris: Parenthèses. 328 p. French text. Bibliography, Index, and Illustrations. ISBN: 2-863-64057-7. LCCN: ML419 .D38 C2712 1991. A French translation of the author’s biographical sketch of the life and career of Miles Davis.

101.

Carr, Ian. 1982. Miles Davis: A Biography. New York: Morrow. 310 p. Bibliography, Indexes, [16] p. of plates, Illustrations, and Discography. ISBN: 0-68801321-X. LCCN: ML419 .D39 C35 1982. Provides a distinctive biographical sketch of the life and career of Miles Davis within the context of African American music.

102.

Carr, Ian. 1998. Miles Davis: The Definitive Biography. New York: Thunder’s Mouth Press. xii, 658 p. Discography and Music Examples. ISBN: 1-560-252413. LCCN: ML419 .D39 C35 1998. A revised edition of the author’s biography on Miles Davis. This edition sheds more light on Davis’ life and career from the early experiences in New York with Charlie Parker, the birth of cool jazz, his problems with drug addiction, and his many achievements in the 1950s onward.

103.

Carr, Ian. 1982. Miles Davis: A Critical Biography. London and New York: Quartet Books. 310 p. [16] p. of plates, Illustrations, and Music Examples. ISBN: 0-70432273-0. ML419 .D26 C31. A book covering Miles Davis’ life from his childhood and initiation into jazz to “The Birth of the Cool,” “Miles Ahead,” “Porgy and Bess,” “After Coltrane,” “Miles Runs the Voodoo Down,” and more. Provides details regarding specific recordings and personnel, musical, and personal insights. The book also contains insights from several artists and critics including Herbie Hancock, Dave Holland, Jimmy Cobb, Red Rodney, Horace Silver, Keith Jarrett, Dave Liebman, and critics Leonard Feather, Ralph Gleason, Michael James, and Amiri Baraka (also known as LeRoi Jones).

104.

Carter, Ron, and Herbie Hancock. 2012. In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. An essay that provides a conversation between Ron Carter and Herbie Hancock, two members of Miles Davis’ quintet (also known as the Second Great Quintet) and major jazz artists in their own right. Bassist Carter has played on more than

Annotations of Books31

2,500 albums including twelve with Miles Davis. Keyboardist Herbie Hancock joined the Miles Davis Second Great Quintet in 1963 and played a starring role in redefining the jazz rhythm section and launching the post-bop sound. 105.

Carter, Ron. 2001. “Any Direction He Chose/An Interview With Ron Carter.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. Jazz musician Ron Carter shares his experiences working and collaborating with Miles Davis.

106.

Castleden, Rodney. 2014. 50 Brilliant Minds of the Last 100  Years: Identifying the Mystery of Genius. New York: Chartwell. 191 p. Index and Illustrations. ISBN: 9-780-78583-117-4. OCLC Number: 892124444. A discussion of contributions of creative ability, talent, and potential in which Miles Davis featured in a biopic profile as one of the world’s brilliant minds/ geniuses along with other notable figures such as Albert Einstein, Marie Curie, and Irving Berlin.

107.

Castro, Ruy, and Heloisa Seixas. 2007. “O Último Silêncio de Miles Davis (The Last Silence of Miles Davis).” In Tempestade Ritmos: Jazz e Música Popular no Século XX (A Tempest of Rhythms: Jazz and Popular Music in the 20th Century). Ruy Castro, ed. São Paulo, Brazil: Companhia das Letras. 415 p. Portuguese text. Illustrations, [16] p. of plates, and Portraits. ISBN: 9-788-53591-036-0. LCCN: ML3507 .C39 2007. An essay on Miles Davis is included in this compilation. The essay on Miles Davis retraces Davis’ career and focuses on his influence on jazz performance and the reception of Davis’ experimentations with alternative forms of jazz.

108.

Cawthra, Benjamin. 2011. “Jazz Man/Pop Star: The LP, Miles Davis, and the 1950s Columbia, the LP and Jazz,” “Miles Davis and the Art of the Album Cover,” and “The Package Evolves: Porgy and Bess to Someday My Prince Will Come.” In Blue Notes in Black and White: Photography and Jazz. Chicago: University of Chicago Press. xii, 345 p. Bibliography, Index, and Photographs. ISBN: 9-78022609-875-3. LCCN: ML85 .C39 2011. Charts the development of jazz and jazz musicians through photography dating from the swing era of the 1930s to the rise of Black Nationalism in the 1960s.

109.

Cawthra, Benjamin. 2001. “Remembering Miles in St. Louis: A Conclusion.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. A tribute and retrospective to Miles Davis and his “roots.” Miles Davis was from St. Louis. Although St. Louis did not become a base from which he produced his mature art, Davis’ relationship with his home region provides important clues for understanding his direction in music.

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110.

Annotations of Books

Cerchiari, Luca, Laurent Cugny, and Franz Kerschbaumer. 2012. Eurojazzland: Jazz and European Sources, Dynamics, and Context. Boston, MA: Northeastern University Press, 2012. xviii, 484 p. ISBN: 9-781-58465-864-1. LCCN: ML3509 .E9 E97 2012. This book considers the significance of European music and musical traditions in the development and dissemination of jazz. Includes discussions of Peter Brötzmann, Miles Davis, Ornette Coleman, Sidney Bechet, and others.

111.

Cerchiari, Luca. 2001. Miles Davis: Dal Bebop al Jazz-Rock, 1945–1991 (Miles Davis: From Bebop to Jazz-Rock Fusion, 1945–1991. Milano: Oscar Mondadori. Series: Oscar Saggi; 678. 274 p. Italian text. Bibliography, Index, Discography, and Videography. ISBN: 8-804-48668-6. LCCN: ML419 .D39 C48 2001g. Provides a retrospective and biography of the life and career of Miles Davis from his early days in bebop jazz and continuing to his innovation of many styles from cool, modal, to jazz-rock fusion.

112.

Cerchiari, Luca. 2012. “Sacred, Country, and Urban Tunes: The European Songbook, ‘Greensleeves’ to ‘Les Feuilles Mortes (Autumn Leaves)’ ‘Gigolo’ to ‘O Sole Mio’ .” In Eurojazzland: Jazz and European Sources, Dynamics, and Context. Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer, eds. Boston, MA: Northeastern University Press. xviii, 484 p. ISBN: 9-781-58465-864-1. LCCN: ML3509 .E9 E97 2012. Argues that jazz repertoire originated from three main categories of style: African American blues, the song form associated with Broadway theater, and jazz originals. This essay focuses on British, French, and Italian songs that originate in ethnic and urban tunes. The songs examined for jazz interpretation are “Greensleeves,” “Autumn Leaves,” “Gigolo,” and “O Sole Mio.” Some of the musicians discussed include Miles Davis, John Coltrane, Eric Dolphy, Yves Montand, Duke Ellington, and Erroll Garner.

113.

Cerchiari, Luca. 1999. Miles Davis: du Charlie Parker al Jazz Modale gli anni Quarantae Cinquanta, Discografia 1945–1959. Tornio: Trauben. Series: Musica del Novecento, 2. 251 p. Italian and partial English text. Bibliography and Discography 1945–1959 by Jan Lohmann (in English). ISBN: 9-788-88701-344-3. LCCN: ML419 .D39 C47 1999. A book that examines Miles Davis’ early career from the bebop of the 1940s with Charlie Parker, ensembles, recordings, and stylistic changes to modal jazz and recording of the album Kind of Blue (1959).

114.

Chambers, Jack. 2013. The Grove Dictionary of American Music, 2nd ed. New York and London: Oxford University Press. 8 vols. ISBN: 9-780-19531-428-1. LCCN: ML101 .U6 N48 2013. A reference source that includes a biographical profile of Miles Davis.

Annotations of Books33

115.

Chambers, Jack. 1998. Milestones: The Music and Times of Miles Davis. New York: Da Capo Press. 2 vols. Bibliography, Index, and Illustrations. ISBN: 0-30680849-8. LCCN: ML419.D39 C5 1998. Combines two books that were published separately: Milestones I: The Music and Times of Miles Davis to 1960 (1983) and Milestones II: The Music and Times of Miles Davis Since 1960 (1985) (University of Toronto Press). The book is divided into two parts. Part one, “Boplicity,” is organized by topics and years: Tune Up 1926– 44, 52nd Street Theme 1945–6, Ornithology 1947–8, and Move 1948–50; “Miles Ahead,” is organized by topics and years covering 1950 to 1959: Down 1950–4, Walkin’ 1954–5, Cookin’ 1955–7, and Fran Dance 1958–9. Each chapter is comprised of anecdotal and historical references to personnel and occasional general remarks about the music. Part two focuses on 1960 to the early 1980s and include topics/years: Pfrancing 1960–2, So Near, So Far 1963–4, Circle 1964–8, Miles Runs the Voodoo Down 1968–9, Funky Tonk 1969–71, Sivad Selim 1972–5, Shhh 1975– 81, and It Gets Better 1981 and After. The afterword is titled “So What.” Similar to Milestones I, this book contains a vast amount of anecdotal and historical information with reference to personnel and comments about selected sessions and music.

116.

Chandarlapaty, Raj. 2009. “Neal, ’Yardbird’ Parker, Miles Davis and White Transcription of Jazz and Blues: Duluoz’s Deracialized Counter-History.” In The Beat Generation and Counterculture: Paul Bowles, William S. Burroughs, and Jack Kerouac. New York: Peter Lang. Series: Modern American Literature (New York, New York); v. 51. viii, 180 p. Bibliography and Index. ISBN: 9-781-43310-603-3. LCCN: PS374 .C68 C47 2009. A major focus of this compilation is social conversation and integration of literary writings, jazz, blues, and American popular culture during the Beat Generation of the 1950s and 1960s and how figures such as Miles Davis, Charlie Parker, Jack Kerouac, and others helped to define the era.

117.

Chermayeff, Maro, and Amy Schewel. 2002. “Jazz.” In Juilliard. New York: Harry N. Abrams/WNET. 240 p. Illustrations. ISBN: 9-780-81093-536-5. LCCN: MT4 .N5 J7 2002. A discussion of notable artists including jazz musicians such as Miles Davis who studied at the Juilliard School in New York City.

118.

Ciletti, James A. 2006. “Colorado Prairie With the Best of Miles Davis.” In Sunfire: A Collection of Poems. Longmont, CO: Terra Publications. ix, 110 p. ISBN: 9-780-0976866-551-3. OCLC Number: 83335565. A collection of poetry that includes a tribute to Miles Davis.

119.

Clarke, Donald, ed. 1989. “Miles Davis.” In The Penguin Encyclopedia of Popular Music. New York: Viking. 1378 p. ISBN: 0-670-80349-9. LCCN: ML102.P66 P46 1989.

34

Annotations of Books

A reference source with a biographical entry on Miles Davis. 120.

Claude, Samuel. 1962. “Miles Davis.” In Panorama de L’ Art Contemporain avec des Textes Inédits. Paris: Editions Gallimard. French text. Discography and Photographs. OCLC Number: 460274485. LCCN: ML197 .S19P4. A collection of photographs and biographical profiles.

121.

Cogan, Jim, and William Clark. 2003. “Van Gelder Studios: Jazz Casual.” In Temples of Sound: Inside the Great Record Studios. San Francisco, CA: Chronicle Books. 224 p. Index, Illustrations, and Discography. ISBN: 9-780-81183-394-3. LCCN: ML3790 .C64 2003. Conveys the stories of the legendary studios where musical genius and a magical space came together to capture some of the most exciting popular music. This includes the John Coltrane and Miles Davis sessions in producer Rudy Van Gelder’s living room.

122.

Cohan, Charles. 2007. Modal. Tempe, AZ: Cabbagehead Press. 16 p. Illustrations. OCLC Number: 472679775. LCCN: N7433.4.C64 M63 2007. A tribute to Miles Davis’ recording of Kind of Blue.

123.

Cohen-Solal, Annie, Paul Goldberger, and Robert Gottlieb. 2014. New York Mid-Century 1945–1965: Art, Architecture, Design, Dance, Theater, Nightlife. New York: Vendome Press, 2014. 399 p. Bibliography and Index. ISBN: 9-780-86565313-9. LCCN: N6535 .N5 C65 2014. Presents a story about how New York City, the “Big Apple,” emerged as the cultural capital of the post-war world in art, architecture, design, and the performing arts. It was a period of intense cross-fertilization with various artists. Also examines the great jazz clubs of Harlem and 52nd Street to meet the likes of Miles Davis, Charlie Parker, Billie Holiday, and Dizzy Gillespie.

124.

Cole, Bill. 1976. Miles Davis en Berättelse om hans Musik (Miles Davis: Account of His Music). Translated by Elisabet Tesberg and Lars Resberg. Stockholm, Sweden: Raben & Sjögren. Swedish text. Index, Discography, and Music Examples. ISBN: 9-789-12946-205-0. OCLC Number: 186064603. A Swedish translation of the author’s book titled Miles Davis: A Musical Biography.

125.

Cole, Bill. 1974. Miles Davis: A Musical Biography. New York: W. Morrow. 256 p. Bibliography, Index, and Chronology of Recording Sessions. ISBN: 0-688-00203X. LCCN: ML419 .D39 C6. A detailed biography that discusses Davis’ musical influences and style as well as the rejection of that style in the late 1960s. Includes transcriptions of compositions ranging from “Jeru” (Birth of the Cool, 1949) to “Sanctuary” (In a Silent Way, 1969). The author addresses the issue of commercialization that confronted Davis when he changed to fusion in the late 1960s. Also comments on the succession of musicians who performed with Davis. The book includes as part of an appendix a list of Davis’ recording sessions.

Annotations of Books35

126.

Cole, Bill. 1994. Miles Davis: The Early Years. New York: Da Capo Press. 280 p. ISBN: 0-306-80554-5. LCCN: ML149 .D39 C6 1994. A reprint of the author book Miles Davis: A Musical Biography (New York: W. Morrow, 1974). The work continues to be an informative biography of the makings of Miles Davis in his early years and also his early influences in jazz and popular music. The reprint includes a discography and personnel corrections.

127.

Cole, George. 2005. The Last Miles: The Music of Miles Davis, 1980–1991. Ann Arbor, MI: University of Michigan Press. xi, 534 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-472-11501-4. LCCN: ML419 .D39 C58 2005g. A book that concentrates exclusively on the music of Miles Davis made in the last decade of his life. The author spotlights the final period of Davis’ career when Davis emerged from a five-year hiatus. The focus is on the music Davis played and recorded and how it evolved in the eyes of the musicians with whom he collaborated. The sections of the book include: Prelude; Introduction; Miles: The Man; Miles: His Life and Music Before 1975; Into the Shadows; The Man With the Horn; We Want Miles; Star People; Decoy; You’re Under Arrest; Aura; The Road to Tutu: The Background; The Road to Tutu: Rubberband: The Lost Miles Davis Album; The Road to Tutu: Miles and Prince; Tutu; Siesta; Amandla; Doo Bop; Miles Alive; Live Around the World; Miles’ Other Recordings; Miles’ Guest Recordings; The Verdict on the Music of the 1980s; Compilations, Tribute Albums; The Eighties Music-Cover Versions; Unreleased Miles: The Music in the Vaults; Miles: Live Repertoire 1981–1991; Miles’ Album Discography 1980– 1991; and Books and Websites.

128.

Collier, James Lincoln. 1978. “Miles and the M. J. Q.” In The Making of Jazz: A Comprehensive History. Boston, MA: Houghton Mifflin. xi, 543 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-395-26286-0. LCCN: ML3561 .J3 C5725. Writing that is part of a historical survey of jazz music and musicians.

129.

Coltrane, John. 1995. “Coltrane on Coltrane.” In Down Beat: 60 Years of Jazz. Frank Alkyer, ed. Milwaukee, WI: Hal Leonard. 270 p. Illustrations and Photographs. ISBN: 0-793-53491-7. LCCN: ML3506 .D68 1995. An interview in collaboration with journalist Don DeMichael that was originally published in Down Beat magazine, September 29, 1960. In this interview John Coltrane discusses his background, musical influences, and works. As early as 1943 Coltrane was interested in the tenor saxophone, but as a young boy he was advised to play the alto saxophone because it was easier for youngsters to handle. Some Coltrane early influences of the saxophone include Lester Young, Charlie Parker, and Colman Hawkins. Coltrane discusses work with Miles Davis and first meeting him in 1947 at the Audubon Ballroom in Manhattan. During that time, Coltrane observed Davis extending the boundaries of jazz. Coltrane also discusses when he joined Davis’ group on a regular basis in 1955 as well as his work with Thelonious Monk and other musicians.

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130.

Annotations of Books

Combs, Paul. 2012. Dameronia: The Life and Music of Tadd Dameron. Foreword by Benny Golson. Ann Arbor, MI: University of Michigan Press. Series: Jazz Perspective (Ann Arbor, MI). xix, 264 p. Bibliography, Index, and Illustrations. ISBN: 9-780-47211-413-9. LCCN: ML410 .D147 C66 2012. A biography of Tadd Dameron, an important and influential jazz musician and one of the most significant composers and arrangers in jazz. The book examines Dameron’s influence on Miles Davis, Benny Golson, and Frank Foster.

131.

Conte, Bob, ed. 1989. Portrait of American Music: Great Twentieth-Century Musicians. Portland, Maine: J. Weston Walch. xiv, 180 p. Bibliography, Index, Illustrations, and Portraits. LC Number: ML394 .C648 1989. OCLC Number: 24036764. Provides a biographical profile of Miles Davis that serves as an excellent source for juvenile readers.

132.

Cook, Richard. 2007. It’s About That Time Miles Davis on and Off the Record. New York: Oxford University Press. ix, 373 p. Bibliography, Index, Discography, and Illustrations. ISBN: 9-780-19532-268-8. LCCN: ML419.D39 C66 2007. Examines the recordings of Miles Davis. Focuses on fourteen major albums and recordings, using them as focal points for illustrating a discussion of the turbulent life and work of Miles Davis. The sections of the book and album are chronological, presented with the title of the section followed by Davis album titles that include Introduction: Hello, Miles, “Birth of the Cool: 1926–52, Birth of the Cool,” Streamin’: 1952–6, Streamin’ With the Miles Davis Quintet,” “Like Nobody Else: 1956–7, Miles Ahead,” “Scales and Tones: 1957–8, Milestones, Porgy and Bess,” “So What?: 1958–9, Kind of Blue,” “I’m Going Out to Hear Miles: 1959–62, In Person Friday Night at the Blackhawk, In Person Saturday Night at the Blackhawk,” “All the Rockets Taking Off: 1963–6, The Complete Live at the Plugged Nickel,” “A Fine Madness: 1966–7, Nefertiti,” “A Portion of the Music Inadvertently Gets Repeated, In a Silent Way,” “He Didn’t Erase Anything: 1969–70, Bitches Brew,” “Dark, Dark: 1970–75, Agharta,” “Tais-Toi Some of This!: 1975–85, You’re Under Arrest,” “White, Yellow, Orange, Red . . . 1985–88, Aura,” “They Offered Me a Lot of Money: 1989–91, Live at Montreux,” and “Outro: Goodbye Miles.”

133.

Cook, Richard, and Brian Morton. 1992. The Penguin Guide to Jazz on CD, LP, and Cassette. New York: Penguin Books. xv, 1287 p. Index. ISBN: 0-140-15364-0. LCCN: ML156.4 .J3 C67 1992. Provides biographical details, review of jazz recordings, and lineup that serves as an appropriate research tool on Miles Davis.

134.

Cook, Richard. 2005. Richard Cook’s Encyclopedia of Jazz. London and New York: Penguin. 2005. xiii, 687 p. [16] p. of plates. ISBN: 0-141-00646-3. LCCN: ML102 .J3 C66 2005. A reference source that contains information on Miles Davis with alphabetical entries of information on significant events in the history of jazz, jazz musicians, bands, and styles.

Annotations of Books37

135.

Cook, Richard. 2001. Blue Note Records: The Biography. London: Secker & Warburg. xi, 282 p. [8] p. of plates and Illustrations. ISBN: 0-436-20520-3. LCCN: ML3792 .C66 2001. A history of Blue Note record label with discussion of how musicians Miles Davis, Bud Powell, Horace Silver, and Sonny Rollins made some of their most significant recordings on this label.

136.

Cooke, Mervyn. 2004. “After Swing: Modern Jazz and Its Impact.” In The Cambridge History of Twentieth-Century Music. Nicholas Cook and Anthony Pople, eds. Cambridge: Cambridge University Press. Series: Cambridge History of Music. xviii, 818 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 9-78052166-256-7. LCCN: ML197 .C26 2006. An essay that provides a general scope of jazz traditions after the swing era. The essay focuses on bebop of the 1940s with small ensembles featuring Charlie Parker and Dizzy Gillespie, cool jazz, and innovations of Miles Davis and John Coltrane who both extended the boundaries that led to free jazz. The essay includes discussion of classical musicians who began to engage with jazz in many ways from symphonic jazz to third-stream music coined by Gunther Schuller in the late 1950s. Also includes a discussion of the 1960s that brought other mingled music such as avant-garde jazz and jazz-rock fusion.

137.

Cooke, Mervyn. 1999. “Chapter  8-The Innovator: Miles Davis and His Influence.” In Jazz. New York: Thames & Hudson. Series: World of Art. 200 p. Bibliography and Index. ISBN: 0-500-20318-0. LCCN: ML3508 .C66 J39 1999. A book that includes an examination of Miles Davis and his influence on jazz history.

138.

Corso, Gregory. 2006. “For Miles.” In Jazz Poems. Kevin Young, ed. New York: Alfred A. Knopf. Series: Everyman’s Library of Pocket Poets. 256 p. ISBN: 9-78140004-251-7. LCCN: PS595 .J34 J39 2006. A collection of poetry that demonstrates the powerful influence of jazz on poetry since the 1920s, from writers such as Langston Hughes, Gwendolyn Brooks, and William Carlos Williams to current writers. This collection includes a tribute to Miles Davis.

139.

Coryell, Julie. 2000. Jazz-Rock Fusion, the People and the Music. Milwaukee, WI: Hal Leonard. 368 p. Portraits. ISBN: 9-780-79359-941-7. LCCN: ML 385 .C62. A book that provides individual profiles, portraits, and interviews with principal musicians in the jazz fusion movement—Miles Davis, Jaco Pastorius, Michael Brecker, Herbie Hancock, Wayne Shorter, Stanley Clarke, Freddie Hubbard, Ron Carter, George Benson, and others.

140.

Coryell, Larry. 2007. Improvising: My Life in Music. New York: Backbeat. xii, 209 p. Illustrations, [16] p. of plates, and CD. ISBN: 9-780-8793-082-6-1. LCCN: ML419 .C67 C67 2007g.

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Annotations of Books

Guitarist Larry Coryell shares his story of improvisation and performing with Jimi Hendrix and Eric Clapton as well as working with jazz legends Miles Davis, Sonny Rollins, and Charles Mingus. 141.

Cotro, Vincent. 2013. Miles Davis Tutu. Futurescope: Canopé-Scéren. 62 p. French text. Bibliography, Illustrations, Music Examples, Discography, and Videography. ISBN: 9-872-24003-426-7. LCCN: ML419 D38 C68 2010. Provides informative insight into the life and critical interpretation of Miles Davis and his music.

142.

Crisp, George. 1997. Miles Davis. New York: Franklin Watts. Series: Impact Biography.144 p. Illustrations and Photographs. ISBN: 0-531-11319-1. LCCN: ML3930 .D33 C72 1997. A Miles Davis biography in which the author traces Davis’ career from his early years to his death. The chapters are prominently anecdotal.

143.

Crittin, Pierre-Jean, and Franck Fatalot. 2011. The Miles Davis Book. Lausanne (Suisse): Consart. 100 p. French text. ISBN: 9-782-94046-405-0. OCLC Number: 801783539. A biography of the life, music, and career of Miles Davis.

144.

Crittin, Pierre-Jean. 2006. Vibrations Musiques and Reportages Présente: Histoire de Musicians. Gollian: Infolio. 303 p. Illustrations. ISBN: 9-782-88474-913-8. LCCN: ML385 .H57 2006. A profile of Miles Davis is featured in this work that focuses on jazz and blues musicians. The profiles included stem from Vibrations magazine, 1991–2005.

145.

Cross, Bill. 1998. “The New Miles Davis Quintet (1956).” In The John Coltrane Companion: Five Decades of Commentary. Carl Woideck, ed. New York: Schrimer; London: Prentice Hall International. xiv, 270 p. Bibliography and Index. ISBN: 9-780-02864-790-6. LCCN: ML419 .C645 J 64 1998. An essay on John Coltrane’s life and career from his early years in the band of Miles Davis. This essay focuses on Coltrane and his contribution as an integral part of the Miles Davis Quintet. Included in this essay are discussion of performances, recordings, and collaborations with Miles Davis.

146.

Crouch, Stanley. 1995. “On the Corner: The Sellout of Miles Davis.” In The All-American Skin Game, or, the Decoy of Race: The Long and the Short List of It, 1990–1994. New York: Pantheon Books. xvii, 267 p. Bibliography and Index. ISBN: 0-679-44202-2. LCCN: E185 .615 .C77 1995. The author presents a critique of jazz and issues of race in American culture through the musical lenses of Miles Davis and his influence on jazz, popular music, and African American culture. Argues that the contemporary Miles Davis deserves the description that Nietzsche gave to Richard Wagner as “the greatest” example of self-violation in the history of art.

Annotations of Books39

147.

Crouch, Stanley. 1996. “Miles in the Sky.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. An essay that describes Miles Davis’ forty-five years of music as a constantly evolving organism that was always pushed ahead by Davis’ restless mind. The author points out his assessment of Davis’ 1961–1965 period. In the author’s opinion, from at least 1955 through the mid-1960s, Davis’ highly original music was advancing steadily albeit under the overarching influence of Ahmad Jamal. The Ahmad Jamal Trio’s group concept, which blurred any significant distinction between foreground and background, led Davis to a more egalitarian interactive style of quintet and sextet writing not heard in Davis’ earlier work for his Prestige recordings.

148.

Crouch, Stanley. 1996. “Play the Right Thing.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. A critical essay in which the author challenges long-accepted notions that compromise the jazz tradition of Miles Davis’ supremacy as a trumpeter and bandleader, innovator of modal jazz, and quintessential jazz fashion plate. Argues that Davis made much fine music for the first half of his professional life and represented for many the uncompromising African American artist contemptuous of Uncle Tom, but he was fallen from grace and has been celebrated for it. This fall from grace has been a form of success. Desperate to maintain his position at the forefront of modern music, to sustain his financial security, and to be admired for his hipness of purported innovations, Davis turned to the “beautiful” in order to genuflect before the commercial.

149.

Crow, Bill. 1990. “Miles Davis and John Coltrane.” In Jazz Anecdotes. New York: Oxford University Press. xiv, 350 p. Bibliography. ISBN: 9-780-19505-588-7. LCCN: ML3506 .C76 1990. A detailed sketch and analysis of the collaborations, styles, and performances are critically discussed.

150.

Crumpacker, Chick, and Bunny Crumpacker. 1995. Jazz Legends. Layton, UT: G. Smith. 93 p. Illustrations and CD. ISBN: 0-879-05683-5. LCCN: ML385 .C75 1995. Presents biographical profiles and descriptive overviews of jazz musicians Billie Holiday, Duke Ellington, Dizzy Gillespie, Charlie Parker, Benny Goodman and the Benny Goodman Quartet, Oscar Peterson, Ella Fitzgerald, Fats Waller, Earl Hines, Miles Davis, and Art Tatum.

151.

Cugny, Laurent. 1993. Electrique: Miles Davis 1968–1975 (Electric: Miles Davis 1968–1975). Marseille: A. Dimanche. 169 p. Series: Collection Birdland.

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Annotations of Books

Bibliography, Index, Discography, and Music Examples. ISBN: 9-782-86916056-9. LCCN: ML419 .D39 C8 1993. A critical analysis and interpretative study of Miles Davis, who greatly defined electric jazz, and his innovations to jazz rock fusion. The book provides insights into Davis’ use of electronic instruments, musical analysis of concepts, and his innovations with Chick Corea, Dave Holland, Keith Jarrett, John McLaughlin, Wayne Shorter, and Joe Zawinul. 152.

Cugny, Laurent. 1989. Las Vegas Tango: Úne vie die Gil Evans. Paris: POL. Series: Collection Birdland. 409 p. French text. Bibliography Index and Discography. ISBN: 2-867-44168-4. LCCN: ML419 .E95 C8 1989. A biography of the life and music of Gil Evans. Includes discussion of Evans’ collaborations with Miles Davis and album recordings such as Porgy and Bess, Sketches of Spain, and Quiet Nights.

153.

Cunningham, Lyn Driggs, and Jimmy Jones. 1989. “Miles Davis.” In Sweet, Hot, and Blue: St. Louis Musical Heritage. Jefferson, NC: McFarland. ix, 245 p. Illustrations and Index. ISBN: 0-899-50302-0. LCCN: ML394 .C86 1989. A work that integrates a focus of African American culture and music history. The author chronicles Miles Davis’ role in the historical development of popular music in St. Louis.

154.

Cuscuna, Michael. 2003. Miles Davis: The Complete Jack Johnson Sessions. New York: Columbia/Legacy. Series: Miles Davis, 7. 116 p. Portraits, Illustrations, and Five Audio Discs. OCLC Number: 57589196. LCCN: ML1366 .D38 M55 2003. A discography and book that contains program and background notes for the accompanying sound recording, The Complete Jack Johnson Sessions.

155.

Cuscuna, Michael, and Michel Ruppli, compilers. 2001. The Blue Note Label: A Discography. Westport, CT: Greenwood Press. Originally published in 1988. Series: Discography Number, 88. xxii, 913 p. Index. ISBN: 0-313-31826-3. LCCN: ML156 .4 .J3 C87 2001. A revised, expanded, and comprehensive discography of recordings of jazz musicians. Also includes Blue Note discography information for Miles Davis recordings. Includes listings of titles, catalogue numbers, personnel, record labels, matrix numbers, and album numbers.

156.

D’ Rozario, Rico, Eddie Determeyer, Hanneke Nagel, and Cherie Van Gelder. 2000. “Nuit sur les Champs Élysées/Miles Davis.” In 25th Anniversary: The History of North Sea Jazz Festival. Hardewijk: Flevodruk. 164 p. Illustrations and CD. ISBN: 9-789-08057-081-8. LCCN: ML3506 .D761 2000. An anniversary issue that chronicles the North Sea Jazz Festival (1976–2000) and the many jazz musicians and performances.

Annotations of Books41

157.

Daniels, Jim. 2011. “Miles Davis.” In Having a Little Talk With Capital P Poetry. Pittsburgh: Carnegie Mellon University Press. 112 p. ISBN: 9-780-88748-531-2. LCCN: PS355 .A5635 H 38 2011. A collection of poetry that includes a tribute to Miles Davis.

158.

Dargenpierre, J. C. 2010. “John Coltrane: A Modern Faust.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A  Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An article that provides a vivid account of the events of November  18, 1961, when members of the Dizzy Gillespie and John Coltrane groups arrived in Paris, France, for their concert at the Olympia. Coltrane discusses many topics of jazz, Paris, and his rendition of “My Favorite Things.” Coltrane discusses the notion that it was Miles Davis who asked him to play as “modern as possible,” claiming that the audience liked “novelty.”

159.

Davis, Francis. 2012. “Miles and Ballads.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. An essay that examines how Miles Davis was among a handful of great jazz instrumentalist who were singers by other means. Miles Davis’ ballad performances went a long way in establishing his mystique. Argues that Davis’ ballad performances help explain why he enjoyed a larger female following than any jazz instrumentalist before and since.

160.

Davis, Francis. 1996. “Miles Agonistes.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. The author uses this essay to commemorate the many facets of Miles Davis’ career. The author views Davis’ career as one continuous reaction to bebop that was evident when Davis was an adolescent. Argues that perhaps an overcompensation for the vagaries of Davis’ hard-driving lifestyle can be seen in all phases of his work. In his Nonet he tamed bebop; in his small group work of the 1950s Davis rejected chord structures and embraced modal jazz in his incorporation of dance rhythms and spacing, background dreamscapes, and even in the repackaging of large amounts of his recorded work by studio technicians.

161.

Davis, Gregory. 2006. Dark Magus: The Jekyll and Hyde Life of Miles Davis. San Francisco, CA: Backbeat Books. xv, 176 p. Illustrations and [16] p. of plates. ISBN: 9-780-87930-875-9. LCCN: ML419.D39 D38 2006. As narrated by his son Gregory Davis, the book strips away the published conception of “Miles Davis” and gets down to the realities of his personality, his relationships, and many quirks.

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162.

Annotations of Books

Davis, John S. 2012. “Miles Davis.” In Historical Dictionary of Jazz. Lanham, MD: Scarecrow Press. xxxv, 433 p. Bibliography, Chronology, and Index. ISBN: 9-780-81086-757-4. LCCN: ML102 .J3 D38 2012. Presents a biographical profile of the life, music, and career of Miles Davis.

163.

Davis, Miles, with Oz Karras. 2001. Improvisations the Drawings of Miles Davis. Lincolnwood, IL: Publications. 79 p. Illustrations. ISBN: 9-780-78553-560-42. LCCN: NC139 .D3943 A4. Similar to his jazz improvisational style, Miles Davis was also an avid visual artist with many different types of creative and improvisation styles in his graphic drawings. This book highlights and features many of Davis’ drawings.

164.

Davis Miles, with Quincy Troupe. 2014. Maiersi Daiweisi zi Azhan Yi Dai Jue Shi da Shi de Chuan Qi (Miles: The Autobiography). Translated by Sun Kan and Li Qi Yi. Chang Sha: Hu Nan Ren Min Chu Ban She. 561 p. Chinese text. Portraits. ISBN: 9-787-54389-226-2. LCCN: ML419 .D26127 A3 2014. A Chinese translation of Miles Davis’ autobiography.

165.

Davis, Miles, with Quincy Troupe. 2011. Miles: Autobiografie (Miles: The Autobiography). Translated by Josef Rauvolf. V Praze: Plus. 460 p. Czech text. Illustrations. ISBN: 9-788-02590-074-1. OCLC Number: 724300057. A Czech translation of Miles Davis’ autobiography.

166.

Davis, Miles, with Quincy Troupe. 2009. Miles, La Autobiografía (Miles: The Autobiography). Translated by Jordi Gubern Ribalta. Barcelona: Alba. Series: Alba Trayectos, 113. 534 p. Spanish text. Discography, Index, and Illustrations. ISBN: 9-788-48428-455-0. LCCN ML149 .D39 A3 2009. A Spanish translation of Miles Davis’ autobiography.

167.

Davis, Miles, with Quincy Troupe. 2005. Avtobiografiia (Miles: The Autobiography). Ekaterinburg: Ul’tra; Kultura; Moskva; Sofia. 538 p. Russian text. ISBN: 9-785-96810-063-4. OCLC Number: 126824781. A Russian translation of Miles Davis’ autobiography.

168.

Davis, Miles, with Quincy Troupe. 2004. Miles: Öneletrajz (Miles: The Autobiography). Translated by Szentgyörgyi Jözsef. Budapest: Park. 409 p. Hungarian text. Illustrations and [16] p. of plates. ISBN: 9-635-30001-8. OCLC Number: 909483244. A Hungarian translation of Miles Davis’ autobiography.

169.

Davis, Miles, with Quincy Troupe. 2000. Miles, die Autogiographie (Miles: The Autobiography). Translated by Brigitte Jakobeit. München: Wilhelm Heyne Verlag. 622 p. German text. Index, [32] p. of plates, and Illustrations. ISBN: 9-78345317-177-0. OCLC Number: 54788026. A German translation of Miles Davis’ autobiography.

Annotations of Books43

170.

Davis, Miles, with Quincy Troupe. 2000. Marusu Deibisu Jijoden (Miles: The Autobiography). Translated by Nakayama Yasuki. Tokyo: Takarajimsha Bunko. Japanese text. 2 vols. Illustrations. ISBN: 9-784-79661-683-6. OCLC Number: 606914879. A Japanese translation of Miles Davis’ autobiography.

171.

Davis, Miles, with Quincy Troupe. 2000. Avtobiografija (Miles Davis: The Autobiography). Translated by Jure Potokar. Ljubljana: Tangram. Slovenian text. 447 p. ISBN: 9-789-61623-911-0. OCLC Number: 443278003. A Slovenian translation of Miles Davis’ autobiography.

172.

Davis, Miles, with Quincy Troupe. 1999. “Miles Davis Speaks His Mind.” In Keeping Time: Readings in Jazz. New York: Oxford University Press. xiv, 450 p. Bibliography, Index, and Music Examples. ISBN: 0-195-09172-8. LCCN: ML3507 .K4 1999. Miles Davis describes two of his influential record projects, the Birth of the Cool collaboration with arranger Gil Evans and his jazz-rock fusion album Bitches Brew. Davis also discusses his musical influences and methods, the music industry, racism, and his views of the relationship between artistic innovation and popular success.

173.

Davis, Miles, with Quincy Troupe. 1996. Miles: de Autobiografie (Miles: The Autobiography). Translated by Irene Eichholtz. Amsterdam: Muntinga. Series: Rainbow, Pocketboeken, 297. 642 p. Dutch text. ISBN: 9-789-0417-005-1. OCLC Number: 68510399. A Dutch translation of Miles Davis’ autobiography.

174.

Davis, Miles, with Quincy Troupe. 1995. Miles: Otobiyografi (Miles: The Autobiography). Translated by Arvi Pardo. Istanbul: Afa. 451 p. Turkish text. Photographs. ISBN: 9-789-75414-261-7. OCLC Number: 850714018. A Turkish translation of Miles Davis’ autobiography.

175.

Davis, Miles, with Quincy Troupe. 1995. “Miles: The Autobiography of Miles Davis.” In Brotherman: The Odyssey of Black Men in America. Herb Boyd, Robert L. Allen, and Tom Feelings, eds. New York: One World. xxxiv, 909 p. Bibliography and Illustrations. ISBN: 9-780-34537-670-1. LCCN: PS508 .N3 B745 1995. A literary tribute to Miles Davis as part of a collection of writings by various African American authors.

176.

Davis, Miles, with Quincy Troupe. 1991. Mails: Autoviographia (Miles: The Autobiography). Translated by Marilena Massarou. Athena: Ekdoseis Selas. 510 p. Greek text. ISBN: 9-789-60850-044-0. OCLC Number: 880497539. A Greek translation of Miles Davis’ autobiography.

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177.

Annotations of Books

Davis, Miles, with Quincy Troupe. 1991. Miles: A  Autobiografia (Miles: The Autobiography). Translated by Marcos Santarrita. Rio de Janeiro: Campus. 382 p. Portuguese text. Illustrations. ISBN: 9-788-57001-650-8. OCLC Number: 46756980. A Portuguese translation of Miles Davis’ autobiography.

178.

Davis, Miles, with Quincy Troupe. 1990. Miles: Omaelämäkerta (Miles: The Autobiography). Translated by Seppo Loponen. Porvoo; Helsinki; Juva: W SOY. Series: Profilli-Sarja. 413 p. Finnish text. Photographs. ISBN: 9-789-51016-438-9. OCLC Number: 57911732. A Finnish translation of Miles Davis’ autobiography.

179.

Davis, Miles, with Quincy Troupe. 1990. Miles: L’ Autobiografia di un Mito del Jazz. (Miles: The Autobiography). Translated by Marco Del Freo. Milano: Rizzoli. 442 p. Italian text. ISBN: 9-788-81784-030-9. OCLC Number: 800053315. An Italian translation of Miles Davis’ autobiography.

180.

Davis, Miles, with Quincy Troupe. 1989. Miles: The Autobiography. New York: Simon & Schuster. 431 p. Index, [30] p. of plates, Illustrations, and Portraits. ISBN: 0-671-63504-2. LCCN: ML 419.D 39 A3 1989. One of the most significant writings of Miles Davis: a candid and provocative autobiography that includes his views about his personal life, career, music styles, the “cool” era, jazz fusion, and work with various musicians in jazz and popular musicians, promoters, and critics. The book is permeated with anecdotes, stories, and comments in certain situations such as Davis’ visit to the White House and his impression when Bill Evans left his band. This book is one of the most significant sources because it provides a narrative/personal landscape of Miles Davis.

181.

Davis, Miles, with Scott Gutterman. 1991. The Art of Miles Davis. New York: ARTS Prentice Hall Editions. 89 p. ISBN: 0-136-08704-3. LCCN: ND239 D2914 D29Q. A biographic profile of Miles Davis as both musician and artist in the visual and graphic arts.

182.

Davis, Miles. 1997. “Self-Portrait.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. Previously published by Columbia Records Biographical Service, November 26, 1957, Miles Davis provides a personal account of his life, music, and career.

183.

Davis, Miles. 1996. “Bird.” In Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism From 1919 to Now. Robert Gottlieb, ed. New York: Pantheon. xiii, 1068 p. ISBN: 0-679-44251-0. LCCN: ML3507 .R44 1996. Miles Davis recounts his experiences of working with Charlie Parker.

Annotations of Books45

184.

Davis, Stephen. 2014. Miles Davis/1973: My Ego Only Needs a Good Rhythm Section. New York: Vigliano Books. 72 p. Illustrations and Portraits. ISBN: 9-78099033-194-0. ML419 .D38D38 2014. A biographical profile stemming from an interview of the life, music, and career of Miles Davis. Davis discusses many aspects of his life and music.

185.

Dawson, Fielding. 1993. “Miles.” In Moment’s Notice: Jazz in Poetry & Prose. Art Lange and Nathaniel Mackey, eds. Minneapolis, MN: Coffee House. 373 p. Index and Illustration. ISBN: 1-566-89001-2. LCCN: PS509 .J33 1993. A tribute to Miles Davis is included in this collection of poetry.

186.

Dean, Roger T. 1997. “Jazz Improvisation and Brass.” In The Cambridge Companion to Brass Instruments. Trevor Herbert and John Wallace, eds. Cambridge: Cambridge University Press. xviii, 341 p. Bibliography, Index, and Illustrations. ISBN: 0-521-56522-7. LCCN: ML933 .C36 1997. An essay that examines how brass instruments have always been integral to jazz. Techniques for blending the sound, as well as the individualizing or distinguishing a player’s sound, have been discussed with varying emphasis at different periods. The contributions of Miles Davis are discussed in this essay.

187.

DeCarava, Roy. 2001. The Sound I Saw: Improvisation on a Jazz Theme. London: Phaidon. 200 p. Illustrations. ISBN: 0-714-84123-4. LCCN: NH32 .D355 D354. A retrospective of Roy DeCarava’s photographic work focusing on jazz and depicting such musicians as John Coltrane, Billie Holiday, Miles Davis, Ornette Coleman, Duke Ellington, Count Basie, Quincy Jones, and others.

188.

Deffaa, Chip, Nancy Miller Elliott, John R. Johnsen, and Andrea Johnsen. 1996. Jazz Veterans: A Portrait Gallery. Fort Bragg, CA: Cypress House. xii, 259. Biography, Bibliography, Index, Illustrations, and Photographs. ISBN: 9-78187934-28-6. LCCN: ML385 .D323 1996. A celebration of America’s famous jazz musicians in biography and photographs. The collection includes photographs of Miles Davis, Duke Ellington, Sarah Vaughan, and many others.

189.

Deffaa, Chip. 1993. “Peter Ecklund: Orphan Newsboy.” In Traditionalists and Revivalists in Jazz. Metuchen, NJ: Scarecrow Press; Newark, NJ: Institute of Jazz Studies, Rutgers University. Series: Studies in Jazz, No. 16. x, 319 p. Bibliography, Index, and Illustrations. ISBN: 0-810-82704-2. LCCN: ML3506 .D433 1995 1993. Presents profiles of fourteen accomplished jazz musicians who greatly contributed to sustain early jazz styles. The profile of jazz cornetist Peter Ecklund also reflects his admiration of Miles Davis, Louis Armstrong, Henry “Red” Allen, Bix Beiderbecke, Bill Coleman, and Jabbo Smith. Discusses Miles Davis’ work and Kind of Blue.

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190.

Annotations of Books

DeFrancesco, Joey. 2001. “Here’s God Walking Around/An Interview With Joey DeFrancesco.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. In this interview Joey DeFrancesco shares his experience beginning at the age of seventeen in 1988 when he was playing keyboards for Miles Davis and other experiences that were influenced Davis.

191.

Delbrouch, Chistophe. 2007. Weather Report une Histoire du Jazz Électrique. Marseille: Mot de le Reste. Series: Formes (Marseille, France). 454 p. ISBN: 9-78291537-849-8. LCCN: ML421 .W 43 .D45 2007. Jazz musicians Wayne Shorter and Joe Zawinul share their experiences of working with Miles Davis and the developments and innovations in electronic jazz technology.

192.

Dell, Pamela. 2005. Miles Davis: Jazz Master. Chanhassen, MN: Child’s World. Series: Journey to Freedom. 40 p. ISBN: 9-781-59296-232-7. LCCN: ML3930 .D33 D45 2005. A brief biography of Miles Davis appropriate for juvenile readers.

193.

Delph, Michael, Conrad Hilberry, and Josie Kearns, eds. 2000. “Miles Davis.” In New Poems From the Third Coast: Contemporary Michigan Poetry. Detroit, MI: Wayne State University Press. Series: Great Lakes Books. 365 p. Illustrations. ISBN: 9-780-81432-797-5. LCCN: PS571 .M5 N49 2000. An edited volume of poetry that includes a tribute to Miles Davis.

194.

DeMichael, Don. 2010. “Coltrane on Coltrane: John Coltrane in Collaboration With Don DeMichael.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An article that was generated during the first two weeks of August 1960, when John Coltrane and his new group were performing at the Sutherland Lounge in Chicago. Down Beat magazine editor Don DeMichael’s discussion during this performance led to the publication of this article. Coltrane discusses his life in jazz and the influences of Johnny Hodges, Lester Young, Count Basie, and Coleman Hawkins. Coltrane also discusses how Miles Davis was extending the boundaries of jazz even further. In 1955 Coltrane describes that he joined Davis on a regular basis and worked with him until the middle of 1957. On returning to Davis’ group he found Davis in the midst of another stage of musical development.

195.

Desjardins, Marie, and Mario Roy. 2013. Vic Vogel: Histories de Jazz (Vic Vogel: Jazz Stories). Montreal: Éditions du CRAM. 297 p. Series: Portrait (Éditions du CRAM). Bibliography, Illustrations, and Portraits. French text. ISBN: 9-782897210-595. LCCN: ML147 V63 D47 2013.

Annotations of Books47

A profile of Canadian-born jazz musician Vic Vogel who has played with Miles Davis, Oscar Peterson, Sammy Davis, Michel Legrand, and others. 196.

DeVito, Chris, Lewis Porter, Yasuhiro Fujioka, Wolf Schmaler, and David Wild, eds. 2008. The John Coltrane Reference. New York and London: Routledge. xxii, 821 p. Illustrations and [24] p. of plates. ISBN: 9-780-41597-755-5. LCCN: ML156 .7 .C58 J64 2008. Provides a day-by-day chronology which extends from 1926 to 1967 detailing John Coltrane’s early years and every known performance given by Coltrane as either a sideman or leader. Includes information of Coltrane’s work and collaboration with Miles Davis.

197.

Dicaire, David. 2006. “Miles Davis (1926–1991): The Cool One.” In Jazz Musicians, 1945 to the Present. Jefferson, NC: McFarland & Co. ix, 282 p. Bibliography, Index, and Discographies. ISBN: 0-786-42097-9. LCCN: ML394 .D53 2006. A work that focuses on five major periods of jazz bebop, hard bop, cool jazz, free jazz, and fusion. The work includes a history of each period and artists, such as Miles Davis, as integral to the evolution to jazz styles and periods.

198.

Dobbins, Bill, Hans Gruber, and Jean-Louis Billoud. 1993. “So What (Miles Davis)” and “Milestones (Miles Davis).” In Modal Jazz. Rottenburg/N: Advance Music, 1993. Series: Jazz Workshop, V. 1. 46 p. Text in English with German and French translations. Illustrations and CD. ISBN: 3-892-21015-2. LCCN: MT68 .D63 M63 1993. An instructional book. Provides commentary and analysis of selected compositions and recorded performances.

199.

Dodd, Julian. 2007. Works of Music: An Essay in Ontology. Oxford: Oxford University Press. xi, 286 p. Bibliography and Index. ISBN: 9-780-19928-437-5. LCCN: ML3800 .D594 2007. A book that defends a two-pronged theory of musical works consisting in the type-token theory and sonicism. Type-token theory claims that a musical work is a type whose tokens are sound-sequence-events such as performances and the playing of performances. Sonicism provides a supporting theory of type-individualism. The relevant types (musical works) are individualized as their correctly performed tokens—their “aural profiles.” Provides examples in classical and popular music such as Ludwig van Beethoven, as well as Miles Davis’ “Tune Up” and his performance of “ ’Round About Midnight.”

200.

Doerschuk, Robert L. 2009. “Miles Davis: The Picasso of Invisible Art.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652706-7. LCCN: ML419 .D39 A5 2009. An interview that was originally published in Keyboard magazine, October 1987. One of the rare interviews in which Davis discusses in full length the pros and

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Annotations of Books

cons of pianos and synthesizers, their influences on his music, and the past keyboardists with whom he worked. 201.

Dombrowski, Ralf. 2011. Basis-Diskothek Jazz. Stuttgart, Germany: Reclam. Series: Reclams Universal-Bibliothek, Nr. 18657. 272 p. German text. Index and Discography. ISBN: 9-783-15018-657-2. LCCN: ML156 .4 J3 D66 2011g. Provides a list of over 100 historically important records identified as indispensable masterpieces including Kind of Blue by Miles Davis, Free Jazz by Ornette Coleman, and A Love Supreme by John Coltrane.

202.

Donà, Messimo. 2015. La Filosofia di Miles Davis. Sesto San Giovanni, MI: Mimesis. Series: Musica Contemporanea, No. 11. 125 p. Italian text. Bibliography. ISBN: 9-788-85753-033-8. LCCN: ML419 .D39 D66 2015. A critical and interpretative biography of the life, career, and music of Miles Davis.

203.

Dorough, Bob, and Christian Farner. 2008. Blue Xmas (To Whom It May Concern), Poem in Blue. Nyack, NY: Circumstantial. 17 p. Illustrations and CD. ISBN: 9-781-89159-207-2. LCCN: MT67 .D67 2008. A literary collection that includes a tribute to Miles Davis.

204.

Dorůžka, Lubomir. 1986. Budut li Muzy Blagosklonny k F’iuzhn? G. Novosioirsk; G: Omsk. 64 p. Russian text translated from Czech. OCLC Number: 893668814. LCCN: ML3507 .D6717 1986. Originally published as “Budut múzy fúzi přát?”, a series of articles in Czech in the journal Melodie, issue numbers 1–12, 1980. The focus of this work is on jazz fusion in both Europe and America, particularly through the works of Miles Davis and John McLaughlin.

205.

Drozdowski, Ted, and Howard Mandel. 2005. The Billboard Illustrated Encyclopedia of Jazz and Blues. Foreword by John Scofield. New York: Billboard. 352 p. Bibliography and Illustrations. ISBN: 0-823-08266-0. LCCN: ML102 .J3 B555 2005g. A reference source that includes a biographical entry on Miles Davis.

206.

Dunphy, John J. 2007. “Miles Davis.” In It Happened at the River Bend. Alton, IL: Second Reading. 175 p. Illustrations. ISBN: 9-780-97416-421-2. LCCN: F549 .A4 D86 2007. A collection of poetry that includes a tribute to Miles Davis.

207.

Dupuis, Robert. 1991. Bunny Berigan: Elusive Legend of Jazz. Baton Rouge: Louisiana State University. xiv, 368 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-807-11648-3. LCCN: ML419 .B297 .D8 1993. A biography of jazz trumpeter Benny Bernard “Bunny” Berigan who in his brief lifetime achieved national and international success. He served as a direct

Annotations of Books49

link between Louis Armstrong and those who developed from his roots—Roy Eldridge, Dizzy Gillespie, Miles Davis, Clifford Brown, Wynton Marsalis, and others. 208.

Dutton, Jacqueline, and Colin Nettlebeck. 2004. Jazz Adventures in French Culture. Nottingham: University of Nottingham. Series: Nottingham French Studies. vi, 167 p. Illustrations. ISBN: 9-780-85358-126-0. LCCN: ML3509 .F7 J3 2004. A collection of essays from a colloquium held at Seysse, near Toulouse, France, in July 2003. The essays explore the influences of jazz in France during the twentieth century. Topics include the success of Revue Nègre with Josephine Baker in the 1920s, jazz musicians such as Django Reinhardt and Boris Vian, and American jazz musicians with French culture such as Duke Ellington’s French tours and Miles Davis’ film score for Louis Malle’s film Ascenseur pour l’ Échafaud.

209.

Eady, Cornelius. 1997. “Photo of Miles Davis at Lennies-on-the-Turnpike, 1968.” In The Autobiography of a Jukebox: Poems. Pittsburgh, PA: Carnegie Mellon University Press. 75 p. ISBN: 0-887-48237-6. LCCN: PS3555 A35 A98 1997. A poetic tribute to Miles Davis is included in this collection of poetry.

210.

Early, Gerald. 2012. “Miles Davis in the Ring: The Boxer as Black Male Hero.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-78284102-152-9. LCCN: ML419 .D39 M54 2012. An essay discussing Miles Davis’ passion for boxing. In adolescence and young adulthood Davis followed the arc of African American boxer Joe Lewis’ career as one of the most prominent black men in the United States and around the world. The author notes that in a 1974 interview Davis revealed that he had aspired to a Joe Lewis–like status and had chosen the boxer as an aspirational role model over other previous jazz icons. This passion extended beyond Joe Lewis. Davis released a studio follow-up of Bitches Brew and the soundtrack to a documentary film about African American boxer Jack Johnson (A Tribute to Jack Johnson), that some consider the greatest fusion of jazz and rock ever recorded.

211.

Early, Gerald. 2002. “On Miles Davis and Vince Lombardi.” In On Inequality. American Academy of Arts and Sciences, ed. Cambridge, MA: American Academy of Arts and Sciences. Series: Daedalus (Boston, MA), v. 131, no. 1. 159 p. Illustrations. ISBN: 9-780-87724-029-7. LCCN: HM146 .O5564 2002. A literary work that focuses on notable figures and innovators that the author associates with themes of “equality.”

212.

Early, Gerald, ed. 2001. Miles Davis and American Culture. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419. D39 M53 2001. An edited volume that incorporates a series of critical essays written by Clark Terry, Ron Carter, Farah Jasmine Griffin, Quincy Troupe, Quincy Jones, Ingrid

50

Annotations of Books

Monson, and others. These essays provide an analytical study of the artistic, sociocultural, and sociopolitical influences of Miles Davis in jazz and American culture. 213.

Early, Gerald. 2001. “The Art of the Muscle: Miles Davis as American Knight and American Knave.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. An essay that surveys the legacy of Miles Davis in jazz and American culture. Explains how Davis came of age when jazz music ceased to be popular commercial music. Thus, Davis was faced with trying to make a living in jazz and greatly succeeded in creating new and lasting innovations for himself with many different jazz styles and musicians.

214.

Early, Gerald, ed. 1998. “From Miles: The Autobiography/Miles Davis.” In “Ain’t But a Place”: An Anthology of African American Writings About St. Louis. St. Louis, MO: Missouri Historical Society Press. xxv, 515 p. Bibliography. ISBN: 1-883-98227-8. LCCN: F474 .S29 N423 1998. An edited collection of fiction, poetry, memoirs, autobiography, history, and journalism about several African American experiences in St. Louis, Missouri, in the nineteenth and twentieth centuries.

215.

Edmondson, Jacqueline, ed. 2013. “Miles Davis (1926–1991).” In Music in American Life: An Encyclopedia of the Songs, Styles, Stars, and Stories That Shaped Our Culture. Santa Barbara, CA: Greenwood; Boston, MA: Credo Reference. 4 vols. Bibliography, Index, and Illustrations. ISBN: 9-780-31339-348-8. LCCN: ML101 .U6 M87 2013. A reference source that includes a biographical profile of Mile Davis.

216.

Einiö, Paavo. 2006. “Miles Davis.” In Jammaten! Helsinki: Lamplite Ltd. 232 p. Finnish text. Index and Illustrations. ISBN: 9-789-52997-231-9. LCCN: ML39 .E394 2006. A compilation and critique of biographical profiles of jazz musicians.

217.

Ellis, Walter M. 1998. Prince of Darkness: A Jazz Fiction Inspired by the Music of Miles Davis. London: 20/20. 187 p. ISBN: 1-874-50964-6. LCCN: PS3555 .L6172 P74 1998. A literary and fictionalized work centered on the music of Miles Davis with a theme of trumpet players and drug abuse.

218.

Eshun, Kodwo. 1998. “Electronic Swarm Program: Teo Macero & Miles Davis, Herbie Hancock.” In More Brilliant Than the Sun: Adventures in Sonic Fiction. London: Quartet Books. xvii, 222 p. Bibliography, Index, Discography, and Filmography. ISBN: 0-704-38025-0. LCCN: ML3470 .E 85 1998. Discusses the legacy of jazz musicians that include Miles Davis, John Coltrane, Herbie Hancock, Teo Macero, and others.

Annotations of Books51

219.

Eskew, Glenn T. 2013. Johnny Mercer: Southern Songwriter for the World. Athens, GA: University of Georgia. xix, 521 p. Bibliography, Index, and Illustrations. ISBN: 9-780-82033-330-4. LCCN: ML423 .M446 E75 2013. A biography of composer and founder of Capitol Records who in his extended career exploited the rich connections he made in the music world, bringing new talent like Miles Davis, Coleman Hawkins, and Chet Baker to Capitol Records alongside figures such as Duke Ellington and Count Basie.

220.

Evans, Bill. 1996. “Miles Davis/Kind of Blue (Columbia).” In Setting the Tempo: Fifty Years of Great Liner Notes. Tom Piazza, ed. New York: Anchor Books Doubleday. xiv, 369 p. ISBN: 9-780-38548-000-0. LCCN: ML3506 .S39 1996. A work comprised of fifty examples of recording album liner notes in which jazz writers and prominent jazz musicians have annotated albums. Included in this work are the liner notes of Miles Davis’ Kind of Blue album written by jazz pianist and collaborator Bill Evans.

221.

Everling, Bo, and Rolf Yrlid. 2009. Nio Jazzliv: [Lester Young, Billie Holiday, Thelonious Monk, Art Blakey, Charlie, Charles Mingus, Miles Davis, Chet Baker, Sonny Rollins]. Stockholm: Atlantis. 265 p. Swedish text. Illustrations. ISBN: 9-78917353-285-3. OCLC Number: 705754281. A monograph of biographical profiles of several notable jazz musicians.

222.

Ewen, David. 1977. All the Years of American Popular Music. Englewood Cliffs, NJ: Prentice Hall. xviii, 850 p. Index. ISBN: 9-780-13022-442-2. LCCN: ML3561 .P6 E95 1977. Surveys the history of all categories of African American popular music from colonial times to the present with information on the music, composers, performers, and entrepreneurs. Provides a retrospective of musicians, styles, and trends in the innovation of American popular music including Miles Davis.

223.

Faulks, Sebastian. 2001. On Green Dolphin Street: A Novel. New York: Random House. 351 p. ISBN: 0-375-50225-4. LCCN: PR6056 .A89 O6 2001. A Miles Davis–inspired novel in New York in which the main character, Mary Van der Linden, undergoes a transformation, guided by a male New York journalist who introduces her to Greenwich Village, Miles Davis, and romance.

224.

Feather, Leonard, and Ira Gitler. 1999. Biographical Encyclopedia of Jazz. New York: Oxford University Press. xx, 718 p. ISBN: 0-195-07418-1. LCCN: ML102 .J3 F39 1999. A reference source compiled with the assistance of Swing Journal, Tokyo, that includes a biographical entry on Miles Davis.

225.

Feather, Leonard, and Ira Gitler. 1976. Encyclopedia of Jazz in the Seventies. Introduction by Quincy Jones. New York: Horizon Press. 393 p. Bibliography, Filmography, Discography, and Illustrations. ISBN: 0-818-01215-3. LCCN: ML105 .F36. A reference source that includes a biographical entry on Miles Davis.

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226.

Annotations of Books

Feather, Leonard. 1972. From Satchmo to Miles. New York: Stein and Day. 258 p. Illustrations. ISBN: 0-812-81471-1. LCCN ML385 .F32. A compilation of selected biographies of notable jazz musicians.

227.

Feinstein, Sasha. 2000. Misterioso: Poems. Port Townsend, WA: Copper Canyon Press. xii, 71 p. ISBN: 1-556-59145-4. LCCN: PS3556 .E435 M57 2000. A collection of jazz poems with verses relating to John Coltrane, Miles Davis, Stan Getz, and Billie Holiday. In poetry, the author links memory, feeling, and autobiography with imagination—the same way recording engineers ingeniously mix, shape, and color sound.

228.

Feinstein, Stephen. 2013. Incredible African American Jazz Musicians. Berkeley Heights, NJ: Enslow Publishers. Series: African American Jazz Musicians. 112 p. Juvenile Literature. ISBN: 9-781-46440-036-0. LCCN: ML3929 .F45 2013. Presents biographical profiles of Louis Armstrong, Duke Ellington, Ella Fitzgerald, Dizzy Gillespie, Charlie Parker, Miles Davis, John Coltrane, and Herbie Hancock.

229.

Fellezs, Kevin. 2011. “Bitches Brew: Considering Genre.” In Birds of Fire: Jazz, Rock, Funk, and the Creation of Fusion. Durham, NC: Duke University Press. Series: Refiguring American Music. xii, 299 p. Bibliography, Index, and Illustrations. ISBN: 9-780-82235-030-9. LCCN: ML3506 .F455 2011. A historical, critical, and interpretative study of the tripartite of jazz, rock music, and fusion. This study includes many of the musicians, recordings, and compositions that greatly innovated popular music in this genre.

230.

Ferrandez, Jacques. 2006. Miles Davis. Paris: Nocturne. 32 p. French text. Bibliography, Discography, Illustrations, and CD. ISBN: 9-782-84907-036-9. OCLC Number: 822816294. A brief biography of the life music and career of Miles Davis as appropriate for general readers.

231.

Filtgen, Gerd, and Michael Ausserbauer. 1998. John Coltrane: Seine Leben, Seine Musik, Seine Schallplatten. Gauting-Buchendor, Germany: Oreos. 220 p. German text. Bibliography, Index, and Illustrations. ISBN: 3-923-65702-1. LCCN: ML419 .C645 F5 1983. A biography of John Coltrane’s career, acceptance, and impact in jazz. Includes references and discussions of several recordings. Among the discussion are Coltrane’s collaborations with Miles Davis, Thelonious Monk, and his role as bandleader.

232.

Fish, David Lee. 2011. “Miles and Coltrane.” In Jazz Then & Now. Milwaukee, WI: Hal Leonard. xv, 223 p. Bibliography, Index, Illustrations, and CD. ISBN: 9-781-61774-232-3. LCCN: ML3508 .F57 2011g.

Annotations of Books53

Traces the history of jazz. The chapters cover an era in jazz history that included people who shaped the music, such as Louis Armstrong, Charlie Parker, Dizzy Gillespie, Miles Davis, Duke Ellington, Benny Goodman, and others. 233.

Fischer, Diego. 2004. Efecto Beethoven: Complejidad y Valor en la Música Popular (The Beethoven Effect: Complexity and Value in Popular Music). Buenos Aires: Paidós. Series: Paidós Diagonales, No. 7. 151 p. Bibliography. Spanish text. ISBN: 9-789-50120-507-7. LCCN: ML197 .F57 2004. A book that reviews new genres that have replaced classical music for educated consumers. Such genres include tango, jazz, progressive rock of the 1970s and 1980s, bossa nova, Brazilian popular music, the stylization of folklore, and political song. The Beatles, Miles Davis, Bill Evans, Astor Piazzolla, Violeta Parra, Chico Buarque, Keith Jarrett, Edith Piaf, and Pink Floyd are discussed.

234.

Fisher, Larry. 1996. Miles Davis and Dave Liebman Jazz Connections. Lewiston, NY: Lampeter; Edwin Mellen. Series: Studies in the History and Interpretation of Music, v. 53. xii, 206 p. Appendix, [87] p. of plates, and Illustrations. ISBN: 9-78088946-426-1. LCCN: ML419 .L5 A5 1996. An oral history based on conversations with jazz saxophonist Dave Liebman about his music, career, and his association with Miles Davis. Liebman’s formative influences (Elvin Jones and Miles Davis) are discussed as are his artistic aims, place in jazz, performance style, and travels and business activities. Two statements made by Liebman on Davis, one shortly before and one shortly after Davis’ death, are included.

235.

Fischlin, Daniel, and Ajay Heble. 2004. The Other Side of Nowhere: Jazz, Improvisation and Communities in Dialogue. Middletown, CT: Wesleyan University Press. Series: Music/Culture. xvi, 439 p. Bibliography and Index. ISBN: 0-81956682-9. LCCN: ML3506 .O68 2004. A collection of essays with extensive discussion of mainstream jazz figures such as Miles Davis, Dizzy Gillespie, and Charlie Parker.

236.

Fitterling, Thomas. 1997. Thelonious Monk: His Life and Music. Translated by Robert Dobbin. Berkeley, CA: Berkeley Hill Books. 238 p. Bibliography, Index, and Illustrations. ISBN: 0-965-37741-5. LCCN: ML417 .M846 F613 1997g. An English translation of the author’s German biography, Thelonious Monk: Seine Leben, Seine Musik, Seine Schallplatten (1987). Discusses Thelonious Monk’s style, personnel, and significance and commercial recordings both as a leader and sideman including ones with Charlie Christian, Miles Davis, John Coltrane, and Sonny Rollins.

237.

Ford, Phil. 2013. “Miles and Monk.” In Dig: Sound and Music in Hip Culture. New York: Oxford University Press. 306 p. Bibliography and Index. ISBN: 9-78019993-991-6. LCCN: ML3470 .F68 2013. Argues that hipness is in fact wedded to music at an altogether deeper level. In hip culture it is the sound itself and the faculty of hearing that is the privileged

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Annotations of Books

part of the sensory experience. Provides discussion of songs and albums in context of the social and political world that intends to illustrate how hip intellectuals conceived of sound as a way of challenging meaning of that which is cognitive and abstract, timeless and placeless with experience which is embodied and anchored in place and time. Provides an analysis of music by Miles Davis and Thelonious Monk. 238.

Ford, William. 2010. Descending With Miles: Poems. Columbus, OH: Pudding House Publications. Series: Pudding House Publications Chapbook. 29 p. ISBN: 9-781-58998-895-8. LCCN: PS3606 .O74726 .D46 2010. A collection of poems that serve as a tribute to Miles Davis.

239.

Fordham, John. 1993. Jazz. London; New York: D. K. Kindersky. 216 p. Illustrations. ISBN: 1-564-58298-1. LCCN: ML3506 .F67 1993. An illustrated guide to the world of jazz and its history, key instruments, and techniques. Provides information on influential musicians such as Miles Davis and landmark recordings.

240.

Fox, Charles. 1972. The Jazz Scene. New York: Hamlyn. 127 p. Bibliography, Index, Illustrations, and Photographs. ISBN: 9-780-60002-119-3. LCCN: ML3561 J3 F69. A collection of jazz musicians’ images including Miles Davis.

241.

Frame, Pete. 2011. Even More Rock Family Trees: A Brand New Book of Rock Family Trees Featuring Oasis, Nirvana, Suede, Elton John, Miles Davis, Martin Cathy and the Watersons, and Many More. London; New York: Omnibus. 31 p. Illustrations Charts, Tables, and Index. ISBN: 9781844490073. LCCN: ML394 .F73 2001g. Presents biographical profiles and genealogical tables of rock musicians.

242.

Franchino, Vittorio, and Elena Carminati. 2007. Jazz Tales. Hanburg: Edel Classics; Earbooks. 124 p. German and Italian texts. Illustrations. ISBN: 9-78394000-245-3. OCLC Number: 47473949. A jazz anthology featuring contributions that include Ornette Coleman, Art Blakey, Bill Evans, Miles Davis, Ella Fitzgerald, Dave Liebman, Sonny Rollins, and Gil Evans.

243.

Franckling, Ken, and George Wein. 2014. Jazz in the Key of Light: Eighty of Our Finest Jazz Musicians Speak for Themselves. North Port, FL: Key of Light Press. 159 p. Illustrations and Portraits. ISBN: 9-780-69226-505-5. LCCN: ML87 .F82 2014. A collection of images and quotes from interviews conducted with great jazz legends such as Miles Davis, Dave Brubeck, Sarah Vaughan, and others.

244.

Frankl, Ron. 1996. Miles Davis. New York: Chelsea House. 126 p. Illustrations. ISBN: 0-791-02157-2. LCCN: ML3930 .D33 F73 1996. A biography of Miles Davis appropriate for juvenile readers.

Annotations of Books55

245.

Frederiksen, Steen. 2009. Pris på Musikken: Léonie Sonnings Musikpris-Begivenheden der Blev til Mere End Penge (A Price on Music: The Léonie Sonning Music Prize-An Event About More Than Just Money). København: Vandkunsten. 447 p. Danish text. Index, Facsimiles, Charts, Diagrams, Illustrations, and Portraits. ISBN: 9-788-77695-155-9. OCLC Number: 759826616. A book about the Léonie Sonning Music Prize that has been awarded in Denmark since 1959. Discusses the awardees—Yehudi Menuhin, Andreas Segovia, Igor Stravinsky, Miles Davis, and many others.

246.

Freedland, David. 2004. Baker’s Biographical Dictionary of Popular Musicians Since 1990. New York: Schrimer Reference. 2 vols. xv, 880 p. Illustrations. ISBN: 9-780-02863-983-3. LCCN: ML102 .P66 B35 2004. A reference source that includes a biographical entry on Miles Davis.

247.

Freeman, Philip. 2005. Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books. xii, 241 p. Bibliography, Discography, and Illustrations. ISBN: 0-879-30828-1. LCCN: ML419.D39 F74 2005. Delves deep into Miles Davis’ electronic music that encompassed the entire second half of his career from 1967 until his death in 1991. Argues that although these recordings were controversial, they were important to the United States and culture in general and Davis’ electric albums of the 1960s and 1970s should be considered in the context of Sly Stone, Jimi Hendrix, and Davis’ sidemen. Sections of the book include “Electricity,” “It’s About That Time (1968–1970),” “What’s Going On,” “Miles, Jimi, and Sly,” “Miles and Teo,” “Michael Henderson,” “Guitar,” “Rated X (1972–1975),” “Pop Life,” “New Blues (1981–1985),” “Big Time (1986–1991),” and Post Miles.”

248.

Fresu, Paulo. 2007. Le 5 Giornate del Jazz: Paulo Fresu Recconta il Jazz Attraverso la Stories dei Grandi Trombettisti Americani. Milano: Auditorium, Provincia Autonoma de Belzano Alto Adige. 124 p. Italian text. Illustrations and DVD. ISBN: 9-788-88678-439-9. LCCN: ML3506 .F73 2007. An integrative book that focuses on biography and critical interpretation of jazz trumpet music and musicians.

249.

Friedwald, Will. 1998. “Sinatra and Jazz.” In Frank Sinatra and Popular Culture: Essays on an American Icon. Leonard Mustazza, ed. Westport, CT: Praeger. xv, 311 p. Bibliography, Index, and Discography. ISBN: 0-313-30466-1. LCCN: ML420 .S565 F73 1998. An essay that examines how popular music vocalist Frank Sinatra’s style was heavily influenced by jazz, and especially by the music of Tommy Dorsey. Argues that Sinatra was influenced by many jazz musicians including Miles Davis. Sinatra’s vocal style often sounded improvisatory.

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250.

Annotations of Books

Fujioka, Yasuhiro, Lewis Porter, and Yoh-ichi Hamada, eds. 1995. John Coltrane: A Discography and Musical Biography. Metuchen: Scarecrow Press; Newark, NJ: Institute of Jazz Studies, Rutgers University. Series: Studies in Jazz, No. 20. xvii, 377 p. Bibliography, Index, and Illustrations. ISBN: 0-810-82986-X. LCCN: ML156 .7 C58 F85 1995. A comprehensive guide to John Coltrane’ s professional career. Includes lists of all known recordings including thirty live sessions not previously cited. Details of the unissued sessions that Coltrane recorded with Miles Davis are also provided.

251.

Gabbard, Krin. 2009. “How Many Miles? Alternate Takes on the Jazz Life.” In Thriving on a Riff: Jazz and Blues Influences in American Literature and Film. Oxford and New York: Oxford University Press. xiii, 296 p. Illustrations. ISBN: 9-780-19533-702-0. LCCN: PS153 .N5 T465 2009. Argues that most jazz autobiographies are heavily edited, ghostwritten, or both. Argues that Miles Davis’ autobiography, co-authored by Quincy Troupe, was based on hours of interview transcripts, but much of the content was heavily edited, or possibly garnered from what was already in print about Miles Davis. Among the problems, the author argues that Davis’ autobiography presents the task of reconciling the violent side of Davis with the sensitive, genius side, and it is possible that Miles: The Autobiography was in part an attempt to create the image Davis wished to project toward the end of his life.

252.

Gabbard, Krin. 2006. “Miles Davis and the Soundtrack of Modernity.” In Cinema and Modernity. Murray Pomerance, ed. New Brunswick, NJ: Rutgers University Press. ix, 373 p. Bibliography and Index. ISBN: 9-780-81353-815-0. LCCN: PN1994 .C4885 2006. Explores the complexity of the essential connection between film and modernity. Also demonstrates effectively significant ways that film has both grown in the context of the modern world and has played a central role in reflecting and shaping interaction with film.

253.

Gabbard, Krin. 2008. “Miles Runs the Voodoo Down.” In Hotter Than That: The Trumpet Jazz and American Culture. New York: Farber and Farber. xvi, 251 p. Bibliography, Index, Music Examples, [16] p. of plates, and Illustrations. ISBN: 9-780-57121-199-9. LCCN: ML960 G33 2008. A cultural history of the trumpet from its origin in ancient Egypt to its role on the battlefield, and ultimately to its strong appropriation by jazz musicians such as Louis Armstrong, Miles Davis, and Wynton Marsalis. Examines how the trumpet has been manufactured over the centuries and the price that artists have paid for devoting their bodies and souls to the technical demands of the trumpet.

254.

Gabbard, Krin. 2007. “White Face, Black Noise: Miles Davis and the Soundtrack.” In Beyond the Soundtrack: Representing Music in Cinema. Daniel Goldmark, Lawrence Kramer, and Ralph Leppert, eds. Berkeley, CA: University of California

Annotations of Books57

Press. vii, 324 p. Bibliography, Filmography, Music Examples, Index, and Illustrations. ISBN: 9-780-52025-070-3. LCCN: ML2075 .B475 2007. A collection of essays by musicologists and film scholars examining music as equal to the image in shaping the experiences of film. The essays refute the idea that music serves as an unnoticed prop for narrative. Often film music is intrinsic to the onscreen narratives. Miles Davis’ role as a film composer is examined in this collection. The essay on Miles Davis argues that Davis is a more prominent figure in American culture than ever, and he no longer raises associations exclusively with black culture among white Americans, mostly due to the use of Davis’ music in a variety of soundtracks and advertisements. 255.

Gammond, Peter, ed. 1991. The Oxford Companion to Popular Music. Oxford and New York: Oxford University Press. Series: Irwin K. Carson Collection. vii, 739 p. Bibliography and Index. ISBN: 0-193-11323-6. LCCN: ML102 .P66G35 1991. A reference source that includes a biographical entry on Miles Davis.

256.

Gardner, Barbara. 2007. “The Enigma of Miles Davis.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article originally published in Down Beat, January 7, 1960, that presents a biographical profile of Miles Davis. The author challenges readers to explore the complexities of Miles Davis and the musical traits that make him a great musician. The author states that Davis is either the greatest living musician or he is just a cool bebopper. Any current jazz discussion can be enlivened simply by dropping in the magic name “Miles Davis.”

257.

Gart, Galen. 2003. Rhythm  & Blues in Cleveland, 1955 ed. Winter Haven, FL: Big Nickel. 143 p. Index, Portraits, and Illustrations. ISBN: 9-780-93643-321-9. LCCN: ML3521 .R48 2003. Provides a chronicle of articles from primary source materials on Cleveland’s rhythm and blues scene in 1955. Includes information on musicians, venues, and more. Includes articles on Miles Davis, Laverne Baker, Duke Ellington, Dizzy Gillespie, and many others.

258.

Gates, Jr., Henry Louis, and Cornel West. 2000. “1950–1959: The African-American Century: How Black Americans Have Shaped Our Country. New York: Free Press. xiv, 414 p. Bibliography, Index, and Illustrations. ISBN: 0-684-86414-2. LCCN: E185.96 .G38 2000. Presents profiles of influential African Americans that include Miles Davis and others who helped shape history of the twentieth century in the fields of music, literature, sports, science, politics, and the civil rights movement.

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259.

Annotations of Books

Gates, Jr., Henry Louis, and Kwame Anthony Appiah, eds. 2005. In Africana: The Encyclopedia of the African and African American Experience, 2nd ed. Oxford and New York: Oxford University Press. 5 vols. Bibliography, Illustrations, and Maps. ISBN: 0-195-17055-5. LCCN: DT14 .A37435 2005. A reference source that includes a biographical entry on Miles Davis.

260.

Gavin, James. 2002. Deep in a Dream: The Long Night of Chet Baker. New York: Alfred A. Knopf. 430 p. Bibliography, Index, [24] p. of plates, Discography, and Illustrations. ISBN: 0-679-44287-1. LCCN: ML419.B14 G38 2002. A book that explores jazz trumpeter Chet Baker, who is often regarded as the James Dean of jazz, and his emergence in the 1950s in cool jazz until his violent, drug-related death in Amsterdam in 1988. The book explores Baker’s role in the birth of the melancholy trumpet playing and also includes discusses of many jazz musicians and influences such as Miles Davis.

261.

Gebhardt, Nicholas. 2016. “Screening the Event: Watching Miles Davis’ ‘My Funny Valentine’ .” In Watching Jazz: Encounters With Jazz Performance on Screen. Björn Heile, Peter Elsdon, and Jennifer R. Doctor, eds. New York: Oxford University Press. xiii, 289 p. Bibliography and Index. ISBN: 9-780-19934-766-7. LCCN: PN1995 .9 .J37 W38 2016. A collection of essays that focus on jazz and jazz musicians featured in motion pictures and television.

262.

Gelbard, Jo. 2012. Miles and Jo: Love Story in Blue. Bloomington, IN: AuthorHouse. 186 p. ISBN: 9-781-47728-957-0. LCCN: ML419 .D39 G44 2012. The author shares an autobiographical account of her affair with Miles Davis.

263.

Gennari, John. 2001. “Miles and the Jazz Critics.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. An essay that offers a unique perspective on jazz criticism reversed. The essay provides details and experiences of several jazz critics (Pete Long, Nat Hentoff, Ira Gitler, John Wilson, Martin Williams, Stanley Dance, Robert Reisner, and Dan Morgenstern) at Miles Davis’ apartment in New York City who engaged in a post–cocktail party interrogation by jazz musicians: Julian “Cannonball” Adderley, Gerry Mulligan, J. J. Johnson, Philly Joe Jones, Horace Silver, Billy Taylor, and Gil Evans. As host, Miles Davis relegated in the hour-long inquisition to a few concise interjections.

264.

Gerber, Alain. 2007. “Miles Davis” In Fiesta in Blue: Textes de Jazz. Paris: Coda. 283 p. French text. ISBN: 9-782-84967-004-2. LCCN: ML3506 .G472 2007. A critical and interpretative book of biographical profiles of notable jazz musicians. The texts stem from books, CD booklets, forewords, presentations for the radio program “Black and Blue,” magazine articles, historic insights, and memories.

Annotations of Books59

265.

Gerber, Alain. 2007. Balades en Jazz. Paris: Gallimard. Series: Collection Folio, 4504. 141 p. Bibliography, Illustrations, and Portraits. ISBN: 9-782-07034-171-9. LCCN: ML3508 .G472 2007. A collection of biographical profiles of Miles Davis, Charlie Parker, Art Blakey, and more.

266.

Gerber, Alain. 2003. Miles Davis: La Ballade du Honky-Tonk Man (Miles Davis et le Blues du Blanc). Paris: Fayard. 134 p. Discography and Index. ISBN: 2-21361460-1. LCCN: ML419 .D39 G47. A critical and interpretative biography of the life, music, and career of Miles Davis.

267.

Gerber, Alain. 2007. Miles: Roman. Paris: Fayard. 419 p. French text. ISBN: 9-782-21363-162-2. LCCN: PQ2667 .E674 M55 2007. A foreign language novel that centers on Miles Davis, jazz, and jazz musicians.

268.

Gerber, Alain. 2001. Clifford Brown: Le Roman d’un Enfant Sage. Paris: Fayard. 288 p. French text. Index and Discography. ISBN: 2-213-60928-4. LCCN: ML419 .B75 G47 2001. A biography of jazz trumpeter Clifford Brown. Begins with his early years and musical experiences in Wilmington, Delaware; Paris, France; and Stockholm, Sweden. Discusses Brown and Miles Davis, Fats Navarro, Max Roach, Lionel Hampton, and others.

269.

Giddins, Gary. 1998. “Miles Davis (Kinds of Blues).” In Visions of Jazz: The First Century. New York: Oxford University Press. ix, 690 p. Index and Music Examples. ISBN: 9-780-19507-675-2. LCCN: ML385 .G53 1998. A focus work that combines criticism, biography, history, anecdote, and musicology.

270.

Giddins, Gary. 1997. “Miles to Go, Promises to Keep.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. An article that was written by the author a few days after Miles Davis’ death in 1991. The article provides a concise and at times revelatory survey of Davis’ career.

271.

Giddins, Gary. 1997. “Miles’ Wiles.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. An essay that reflects Miles Davis’ innovation with several recordings: The Man With the Horn, A Tribute to Jack Johnson, Kind of Blue, Milestones, Miles in the Sky, Porgy and Bess, and Filles de Kilimanjaro.

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272.

Annotations of Books

Giddins, Gary. 1996. “The Danish Connection.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. Examines Miles Davis’ album Aura, written by Palle Mikkelborg as a ten-movement work. As a result, Davis was awarded the 1984 Sonnig Music Award, Denmark’s highest honor for lifetime achievements in the arts. The essay also discusses the various parallels between Aura and Davis’ past work: the two-note riff reminiscent of “So What,” brass voicing similar to Gil Evans. But despite the mélange of musical references, funky rhythms, and a ten-note row spelling Miles Davis, Aura is primarily a vehicle that makes it an important constituent of Davis’ body of work.

273.

Giddins, Gary. 2006. “Call It Anything (Miles Electric).” In Natural Selection: Gary Giddins on Comedy, Film, Music, and Books. Oxford: Oxford University Press. xxii, 410 p. Index. ISBN: 9-780-19517-951-4. LCCN: PN 1995 .G485 2006. A compilation based on a range of topics that offers perspective on diverse figures such as Federico Fellini, Miles Davis, Duke Ellington, Bob Dylan, and others.

274.

Giddins, Gary. 1992. “Juilliard Dropout Makes Good [Miles Davis].” In Faces in the Crowd: Players and Writers. New York: Oxford University Press. x, 278 p. Index. ISBN: 0-195-05488-1. LCCN: NX504 .G5 1992. Personal reflection, interview, commentary, and critical analysis are the proponents of this book. The author explores the achievements of thirty-seven artists including Miles Davis, Spike Lee, Billie Holiday, and others.

275.

Giddins, Gary. 2004. “Miles Ahead.” In Weather Bird: Jazz at the Dawn of Its Second Century. Oxford and New York: Oxford University Press. xxiv, 632. Bibliography and Index. ISBN: 9-780-19530-449-7. LCCN: ML3057 .G53 2004. A book that covers the criticism of jazz critic Gary Giddins from 1990 to 2003. A group of major works on musicians such as Miles Davis, Louis Armstrong, and Billie Holiday are included.

276.

Giddins, Gary, and Scott DeVeaux, eds. 2011. “Modality: Miles Davis and John Coltrane.” In Jazz: Essential Listening. New York. W. W. Norton. xx, 404 p. Appendix, Bibliography, Index, Discography, Filmography, and Illustrations. ISBN: ISBN: 9-870-39393-563-9. LCCN: ML3508 .D473 2011. A text that combines listening experience with narrative history and must-hear masterworks. This work attempts to explain what is jazz, where it came from, how it works, and who created it, all within the context of American life and culture.

277.

Giddins, Gary, and Scott DeVeaux, eds. 2009. “Modality: Miles Davis and John Coltrane,” “Miles Davis, ‘So What’, ” “Miles Davis, ‘E.S.P.’, ” “Fusion II: Jazz, Rock, and Beyond,” and “Miles Davis, ‘Tutu’ ” In Jazz. New York: W. W. Norton. xiii, 704

Annotations of Books61

p. Bibliography, Index, Music Examples, [8] p. of plates, and Illustrations. ISBN: 9-780-39306-861-0. LCCN: ML3508 .G54 2009. An edited volume based on the history of jazz that explains the theoretical definitions of jazz, its origins, and many jazz innovators. The volume is geared within the context of American life and culture. 278.

Giel, Lex. 2004. The Music of Miles Davis: A Study and Analysis of Compositions and Transcriptions From the Great Jazz Composers and Improvisers. Milwaukee, WI: Hal Leonard. 316 p. Discography, Transcriptions, and Charts. ISBN: 9-78063401-040-8. LCCN: MT146 .G53 2004. Provides thorough analysis and break-down of Miles Davis’ music by the following subjects: keys and tonalities, chords, chord functions, substation, modulation, song form, show tunes, jazz standards, scales, arpeggios, and melodic devices.

279.

Gieske, Tony. 2010. “Accent on Jazz: The Kings Wears a Cockeyed Crown.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An interesting interview with Washington Post columnist Tony Gieske who had previously attempted to arrange an interview with Miles Davis while John Coltrane was still in Davis’ band. In this later interview Coltrane, now performing with his own group, discusses many topics including his ideas of “Aesthetic Fascist” which he describes in jazz as what can be described as “hippy.” Coltrane also discusses use of chords by Ahmad Jamal and Miles Davis’ influences on his musical style.

280.

Gillespie, Dizzy, with Al Fraser. 1979. To Be or Not. . .To Bop: Memoirs. Garden City, NY: Doubleday. xix, 552 p. [28] p. of plates and Illustrations. ISBN: 0-38512052-4. LCCN: ML419 .G54 A3. An extensive biography that is intertwined with reflections from Dizzy Gillespie’s associates that include Cab Calloway, Count Basie, Miles Davis, Thelonious Monk, Mary Lou Williams, and Ella Fitzgerald. These reflections provide perspectives of Gillespie’s early start on the road to fame and the spirited times that would follow.

281.

Gilmore, Mikal. 1998. “Miles Davis: The Lion in the Winter.” In Night Beat: A Shadow History of Rock & Roll: Collected Writings. New York: Doubleday. ix, 461 p. ISBN: 0-385-48435-6. LCCN: ML3534 .G545 1998. The author compiles a collection of previously published articles of cultural criticism, interviews, reviews, and assorted commentaries. The collection includes topics such as Elvis Presley’s role in the birth of rock and roll and Miles Davis’ role in jazz fusion by tracing the stylistic changes and musicians in American popular music.

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282.

Annotations of Books

Ginell, Cary. 2013. Mr. B.: The Life and Music of Billy Eckstine. Milwaukee, WI: Hal Leonard. Series: Hall Leonard Jazz Biography. xix, 228 p. Bibliography, Index, and Illustrations. ISBN: 9-781-45841-980-4. LCCN: ML420 .E225 G56 2013. A biography of legendary jazz vocalist and bandleader Billy Eckstine who in 1944 formed what is now considered the first bebop orchestra that included legendary figures such as Charlie Parker, Dizzy Gillespie, Miles Davis, and Sarah Vaughan.

283.

Ginell, Cary. 2013. “Milestones,” and “Kind of Blue.” In Walk Tall: The Music & Life of Julian “Cannonball” Adderley. Milwaukee, WI: Hal Leonard. Series: Hall Leonard Jazz Biography. xvii, 190 p. Bibliography, Index, Illustrations, Discography, and Portraits. ISBN: 9-781-45841-979-8. LCCN: ML419 .A27 G56 2013. A biography of Julian “Cannonball” Adderley. Topics include Adderley’s work with Miles Davis on the Kind of Blue album that helped further his reputation as a unique stylist.

284.

Gioia, Ted. 2009. “The Prince of Darkness: Miles Davis” and “Everybody Act Likes Miles Davis.” In The Birth (and Death) of the Cool. Golden, CO: Speck Press. x, 251 p. Bibliography and Index. ISBN: 9-781-93310-831-5. LCCN: HQ2044.U6 G 56 2009. A critical work that examines why “cool” is not a timeless concept and how it has begun to lose meaning and fade into history. The author argues effectively that what became iconic in the 1950s with Miles Davis and others has been manipulated, stretched, and pushed to a breaking point, not just in the media, entertainment, and fashion industries but also by corporations, political leaders, and social institutions.

285.

Gioia, Ted. 1997. The History of Jazz. New York: Oxford University Press. viii, 471. Bibliography, Index, Illustrations, and Portraits. ISBN: 9-780-19539-970-7. LCCN: ML3506 .G54 1997. Provides biographical profiles of jazz and jazz musicians such as Miles Davis, Duke Ellington, Lester Young, and others, intertwined with commentary on the music they created.

286.

Gioia, Ted. 2000. “Cool Jazz and West Coast Jazz.” In Oxford Companion to Jazz. Bill Kirchner, ed. Oxford and New York: Oxford University Press. xi, 852 p. Bibliography and Index. ISBN: 9-780-19518-359-7. LCCN: ML3507 .O94 2000. An essay that surveys the lives and careers of the foremost exponents of cool jazz including Bix Beiderbecke, Miles Davis (especially with respect to his nonet recordings from 1949 and 1950), Gerry Mulligan, the Modern Jazz Quartet, Lee Konitz, Stan Getz, and several musicians very much associated with California and the United States West Coast during the 1950s such as Shelly Manne, Jimmy Giuffre, Shorty Rogers, Art Pepper, and Dave Brubeck.

287.

Gitler, Ira. 2010. “Trank the Track.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books.

Annotations of Books63

xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976287-5. LCCN: ML419 .C645 A5 2010. One of the first articles published on John Coltrane. Coltrane discusses his background, Miles Davis as a major influence in his musical career, and more. 288.

Gitte, Lose. 1975. Miles Davis: En Biografisk og Analytisk Behandling Specielt Med Henblik på “Birth of the Cool”-Indspilningerne 1949–50: Med Tilhørende Bibliografiog Diskografi. Denmark: København. 38 p. Swedish text. Bibliography and Discography. No ISBN. OCLC Number: 894889638. An analytical study of Miles Davis and the Birth of the Cool band.

289.

Gleason, Ralph J. 1996. “At the Blackhawk.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. An essay that reflects on the April 1961 Blackhawk performance, Miles Davis’ first live recording dates. Davis wanted everything the band played that weekend including mistakes to be put on the record. For Davis a “mistake” was not merely a chord, phrase, or drum roll that could have been executed better and unfortunately had to be retained before it was recorded in tape. In Davis’ mind a mistake was a positive thing—something a soloist or rhythm player did in the heat of performance that went awry when stretching for something original. To Davis, who strove for originality at every turn, mistakes were paradoxically sympathetic of music-making of the highest order.

290.

Gleason, Ralph J. 1975. Celebrating the Duke, and Louis, Bessie, Billie, Bird, Carmen, Miles, Dizzy and Other Heroes. Boston, MA: Little, Brown. xx, 280 p. Index and Discography. ISBN: 0-316-31585-0. LCCN: ML3561 .J3 G5595 1975. A compilation centering on jazz heroes beginning with its founding fathers to the post-bop generation.

291.

Gluck, Bob. 2016. The Miles Davis Lost Quintet: And Other Revolutionary Ensembles. Chicago: University of Chicago Press. xii, 264 p. Bibliography, [12] p. of plates, Index, Discography, and Appendices. ISBN: 9-780-22618-076-2. LCCN: ML419 .D39 G58 2016. Focuses on several topics that include Bitches Brew, “Miles Davis Goes Electronic,” 1970, 1971–75, Anthony Braxton, and Ornette Coleman. The sections of the book include “Miles Goes Electric,” “Bitches Brew in the Studio and on the Road,” “Anthony Braxton: Leroy Jenkins, Musica Electronica Viva, and the Peach Church Concert,” Interlude: Musical Rumblings in Chelsea,” “Miles Davis’ Increasingly Electric 1970, a Reflection on His 1971–75 Bands,” “Circle,” “The Revolutionary Ensemble,” “Ornette Coleman: Children, Comparisons and Contrasts Inside and Outside the Jazz Economy,” “Appendix 1: Timeline (begins with 1967–1973 with Miles Davis),” “Appendix 2: Reconsidering Miles Davis at the

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Annotations of Books

Fillmore: Live at the Fillmore East (1970),” “In Light of Miles at the Fillmore (2014),” and “Appendix 3: Circle’s Performance of Its Member’s Compositions.” 292.

Goaty, Frédéric, Richard Seidel, and Franck Bergerot. 2009. Miles Davis: The Complete Columbia Album Collection. New York: Columbia/Legacy: Sony Music Entertainment. 247 p. No ISBN. OCLC Number: 670714667. Illustrations and CD. Writing that focus on Miles Davis’ recordings on the Columbia recording label. Sections include “Miles Davis in Perpetual Motion,” “Track Listing,” “Discography,” “Comments,” and “Track Index.”

293.

Goaty, Frédéric. 1995. Miles Davis. Paris: CD Livre. 190 p. French text. Illustrations and CD. ISBN: 9-782-90982-820-6. OCLC Number: 55171690. A biography of Miles Davis.

294.

Goldberg, Bill. 1979. WKCR Miles Davis Festival Handbook. New York: WKCR-FM. iii, 36 p. OCLC Number: 860716258. LCCN: ML156 .7 .D4G65 1979. A discography of Miles Davis’ performances.

295.

Goldberg, Joe. 1965. Jazz Masters of the Fifties. New York: Macmillan. Series: The Macmillan Jazz Masters. 246 p. Discography. ISBN: 0-306-76031-2. LCCN: ML394 .G63. A collection of biographical profiles on Miles Davis, Gerry Mulligan, Thelonious Monk, Art Blakey, Charles Mingus, Paul Desmond, John Coltrane, Ray Charles, Sonny Rollins, the Modern Jazz Quartet, Cecil Taylor, and Ornette Coleman.

296.

Golson, Benny. 1996. “Milestones.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. An article by jazz tenor saxophonist and music arranger Benny Golson. Presents a discussion of Miles Davis’ album Milestones.

297.

Goodman, Jr., George. 2009. “I  Just Pick Up My Horn and Play.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. An interview with contributing editor George Goodman, Jr., that was originally published in The New York Times, June 28, 1981. This a rare interview that occurred during a time when Davis had taken a break from performing and recording. The interview reflects some issues, such as during that time Davis wrote no music nor recorded tracks. Instead he struggled to recover from serious physical illnesses. Davis’ recovery was demanding but he never resigned himself to defeat.

Annotations of Books65

298.

Gordon, Lorraine, and Barry Singer. 2006. Alive at the Village Vanguard: My Life In and Out of Jazz Time. Milwaukee, WI: Hal Leonard. 288 p. Index, Discography, Portraits, and Chronology. ISBN: 0-634-07399-0. LCCN: PN1968 .U5G58 2006. A book that presents the inside story of the Village Vanguard club told by Lorraine Gordon, an icon and wife of founder Max Gordon. Lorraine Gordon tells her story of experiences with a spectrum of entertainers from Miles Davis and Thelonious Monk to Lenny Bruce, Norman Mailer, and Barbra Streisand.

299.

Gordon, Max. 1980. “Miles: A Portrait.” In Live at the Village Vanguard. New York: St. Martin’s Press. Series: African American Music Reference. 146 p. [32] p. of plates and Illustrations. ISBN: 0-312-48879-3. LC Number: PN1968 .U5 G6 1980. Max Gordon was the owner of the Village Vanguard, one of the world’s most famous jazz clubs, for fifty-four years until his death in 1989. A profile of Miles Davis is incorporated from Gordon’s autobiography with dominant themes: Gordon and Davis joust over salary, Davis walks off the job and threatens not to return, Gordon complains about Davis’ disregard for his customers, Davis is unhappy with the workplace, and Davis refuses to change his job description. But Gordon admits that the problems that he experienced with Davis were worth it because Davis was “money in the bank.”

300.

Goss, Linda, and Clay Goss, eds. 1995. “Jazz Scene/Miles Davis and Quincy Troupe.” In Jump Up and Say! A  Collection of Black Storytelling. New York: Simon & Schuster. 297 p. Bibliography and Index. ISBN: 0-684-81001-8. LCCN: PS647 .A35 J85 1995. A compilation of over seventy stories including tales from Africa and the West Indies, and a tribute to Miles Davis.

301.

Gottlieb, Robert. 1996. “Miles Davis, Bird” and “Miles Davis.” In Reading Jazz: A Gathering of Autobiography, Reportage, and Criticism From 1919 to Now. New York: Pantheon. xiii, 1068 p. ISBN: 0-679-44251-0. LCCN: ML3507 .R44 1996. One of the most comprehensive collections of autobiographical essays published on jazz and jazz musicians. In addition to the essays on Miles Davis, some of the other musicians covered include Louis Armstrong, Sidney Bechet, Cab Calloway, Charles Mingus, and Mary Lou Williams. The collection also includes criticism from writers such as Stanley Crouch, Gene Lees, Gary Giddins, and Dan Morgenstern.

302.

Gourse, Leslie. 1997. “The Orbit of Miles Davis.” In Blowing on the Change: The Art of Jazz Horn Players. New York: Franklin Watts. Series: The Art of Jazz. 144 p. Bibliography, Illustrations, and Index. ISBN: 9-780-53111-357-8. LCCN: ML3929 .G64 1997. An informative source that introduces readers to some of the legendary jazz horn players of trumpet and saxophone. The essay on Miles Davis provides a biographical profile of the artist and trumpet players influenced by Davis.

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303.

Annotations of Books

Gourse, Leslie. 1997. Straight No Chaser: The Life and Genius of Thelonious Monk. New York: Schrimer Books. xvi, 340 p. Bibliography, Index, Sessiongraphy, and Videography. ISBN: 0-028-64656-8. LCCN: ML417 .M846 G68 1997. A biography of the life of Thelonious Monk, this book discusses performances at Minton’s Playhouse with jazz musicians such as Dizzy Gillespie, Kenny Clarke, and Charlie Parker. Discussion of many of Monk’s compositions that include “ ’Round Midnight,” “Straight No Chaser,” “Blue Monk,” “Misterioso,” and others. Also includes discussions of Miles Davis collaborations.

304.

Gourse, Leslie. 1997. “The Pianist in Miles Davis’ Groups: Bill Evans, Wynton Kelly, Herbie Hancock, Chick Corea, Keith Jarrett, Joe Zawinul.” In Striders to Beboppers and Beyond: The art of Jazz Piano. New York: Franklin Watts. 144 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-531-11320-5. LCCN: ML3929 G716 S8. Describes the lives and artistry of some of the well-known pianists by tracing their influence on one another. Also investigates the impact of different innovators on the development of jazz music.

305.

Gravesen, Finn, ed. 1993. “Om Miles Davis” and “Om Messiaen & Miles Davis.” In Musikken Har Ordet: 36 Musikalske Studier. [s.l.]: Gad. 367 p. Danish text. Illustrations. No ISBN. OCLC Number: 475548127. Two analytical essays on Miles Davis are included in a scholarly collection that focuses on classical and popular music and musicians.

306.

Greco, Juliette. 2012. Je suis Faite Comme Ça. Paris: Flammarion. 345 p. French text. Illustrations, [16] p. of plates, and Portraits. ISBN: 9-782-08125-489-3. LCCN: ML420 .G84 A3 2012. A biography of French singer Juliette Greco who recalls the cafes in Flora with her friend Maurice Merleau-Ponty, evenings with Boris Vian, her first auditions, concerts, venues, and her encounters with Charlie Parker, Miles Davis, and many others.

307.

Green, Stanley, and Albert McCarthy. 1978. Kings of Jazz. South Brunswick, NJ: A. S. Barnes. Series: Kings of Jazz. 367 p. Illustrations. ISBN: 9-780-49801-724-7. LCCN: ML385 .K56. Presents biographical profiles of Miles Davis and several other legendary musicians such as Charlie Parker, Duke Ellington, Bessie Smith, and others.

308.

Greenblatt, Dan. 2004. The Blues Scales: The Essential Tools for Jazz Improvisation. Petaluma, CA: Sher Music. Electronic Resource, Illustrations, and Accompanying CD. ISBN: 9-781-45710-154-0. OCLC Number: 799875172. A book that demonstrates how the blues scales (major and minor) are used to create jazz solos. The book is designed to aid beginners to quickly learn how to create meaningful solos without having to first master all the scales and chords

Annotations of Books67

of a tune. Includes transcriptions of solos phrases by Miles Davis, Dave Sanborn, Dizzy Gillespie, and others to show how the blues scales are used. 309.

Gregory, Hugh. 1998. A Century of Pop. Chicago: A Cappella. 253 p. Illustrations and Discography. ISBN: 9-781-55652-338-0. LCCN: ML3470 .G74 1998. Examines 100 years of music that changed the world. Includes a diverse list of musicians, such as Miles Davis, and influences from vaudeville, to rock, big band to techno.

310.

Gregory, Sean. 2005. “The Creative Music Workshop: A  Contextual Study of Origin and Practice.” In Reflective Conservatoire: Studies in Music Education. London: Guildhall School of Music; Aldershot: Ashgate. Series: Research Studies (Guildhall School of Music and Drama, London England), No. 4. 426 p. Bibliography, Portraits, Music Examples, and DVD. ISBN: 0-754-65415-X. LCCN: MT3 .E5 R44 2005. The history of Western music since the nineteenth century is reviewed in terms of increasing distances between composers, performers, and audiences as notation became important and improvisation less so. Examines how the efforts of twentieth-century composers John Cage, Karlheinz Stockhausen, and Cornelius Cardew attempted to breach these distances. Also considers the influence from the 1960s of African and African American music, especially the work of Miles Davis and his collaborative improvisatory way of working.

311.

Grella, George. 2015. Bitches Brew. New York: Bloomsburg Academic. Series: 33 1/3. xvii, 28 p. Bibliography. ISBN: 9-781-62892-943-0. LCCN: ML419 .D39 G74 2015. A biography and a work that focuses on Miles Davis’ Bitches Brew. Contents of the book include “Miles Davis Doesn’t Care What You Think,” “Directions in Music by Miles Davis,” “Gramophone,” “Trumpet,” “Razor Blade,” “Bitches Brew CS 9995,” “Bitches Brew CS9996,” and “It’s About That Time.”

312.

Gridley, Mark C. 1997. “Cool Jazz, Miles Davis His Group and Sidemen, and Jazz Rock Fusion.” In Jazz Styles: History and Analysis. Upper Saddle River, NJ: Prentice Hall. xxii, 442 p. Bibliography, Index, and Illustrations. ISBN: 0-13260985-1. LCCN: ML23506 .G74 1997. A detailed historical survey of jazz and musicians that can be used as a primary textbook for jazz introductory courses.

313.

Gridley, Mark C. 1998. “Blue in Green/Miles Davis, John Coltrane and Bill Evans.” In Concise Guide to Jazz. Englewood Cliffs, NJ: Prentice Hall. x, 230 p. Illustrations. ISBN: 0-137-59044-X. LCCN: ML3506 .G736 1998. A history of jazz and an analytical study of a Miles Davis composition.

314.

Griffin, Farah Jasmine, and Salim Washington. 2008. Clawing at the Limits of Cool: Miles Davis, John Coltrane and the Greatest Jazz Collaboration Ever. New

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Annotations of Books

York: Thomas Dunne. 294 p. Bibliography, Index, Discography, and Illustrations. ISBN: 9-780-31232-785-9. LCCN: ML3508 .G75 2008. A descriptive and interpretative work that focuses on the collaborations between Miles Davis and John Coltrane. A major emphasis of this work is the focus on Davis’ and Coltrane’s influences upon each other and the impact their music has made in the jazz arena. 315.

Griffin, Farah Jasmine. 2004. “When Malindy Sings: A  Mediation on Black Women’s Vocality.” In Uptown Conversations: The New Jazz Studies. Robert O’ Meally, Brent Hayes, and Farrah Jasmine Griffin, eds. New York: Columbia University Press. vii, 427 p. Bibliography, Index, and Illustrations. ISBN: 0-23112351-5. LCCN: ML3507 .U68 2004. An essay that examines black women singers from a variety of genres (gospel, jazz, opera, and rhythm and blues) that have been invested with meaning at a national level. Argues that the black woman’s voice has become the quintessential American voice and it has been used at moments of national crisis and represents both a soothing effect and a spirit of longing. Black writers have described the sound and power of black women singing voices over 100 years. Black women’s voices have been situated as the origin of black male literary and musical productivity. The writing of W.E.B. DuBois, Jean Toomer, and Quincy Troupe, and the music of Miles Davis and Cassandra Wilson, provide evidence of the mythical power of the black woman’s voice.

316.

Griffin, Farah Jasmine. 2001. “Ladies Sing Miles.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. An interesting essay regarding Miles Davis’ music that grants him a deep dimension with womanhood as expressed in previous essays by women artists. Musicians such as Shirley Horn and Cassandra Wilson have devoted entire albums to Davis. The essay argues that Davis’ music seems to provide a safe, aural, emotional, and seductive space.

317.

Groves, Maketa. 1997. “Master of the Blue Note (Mantra for Miles Dewey Davis).” In Red Hot on a Silver Note. Willimantic, CT: Curbstone. 67 p. ISBN: 1-880-68422-5. LCCN: PS3557 .R747 R43 1997. A collection of poetry that includes a tribute to Miles Davis.

318.

Guillon, Roland. 2013. “Part Six-Les Représentants d’une Synthèse-Miles Davis.” In Le Blues dans le Jazz Instrumental des Années 1950 et 1960. Paris: Harmattan. Series: Collection Univers Musical. 190 p. French text. Bibliography. ISBN: 9-78234300-787-8. LCCN: ML3561 .J3 G78 2013g. A critical and interpretative study of the 1950s and 1960s and the influence of the blues genre in popular music. A special emphasis includes a discussion of Miles Davis’ influences of blues and jazz.

Annotations of Books69

319.

Guillon, Roland. 1999. Le Hard Bop: Un Style de Jazz (Hard Bop: A Style of Jazz). Paris, France: L’ Harmattan. 80 p. French text. Bibliography, Index, Illustrations, and Discography. ISBN: 2-738-48516-2. LCCN: ML3508 .G85 1999. Examines hard bop as a style of jazz that developed during the 1950s and became the vector of intense creative activity in the 1960s. Several musicians and their particular aesthetic and musical connections are analyzed: Charles Mingus, Max Roach, Art Blakey, Thelonious Monk, Bud Powell, Sonny Rollins, John Coltrane, and Miles Davis.

320.

Gutterman, Scott. 2013. Miles Davis: The Collected Artworks. San Rafael, CA: Insight Editions. 203 p. Illustrations. ISBN: 9-781-60887-223-7. LCCN: NC139 .D38 A4 2013. An interesting compilation of artworks that reveal another aspect of Miles Davis’ artistic creativity. Throughout the 1980s Davis studied with New York painter Jo Gelbard, developing a distinct graphic style that incorporates bright colors and geometric shapes that is reminiscent of works by Pablo Picasso as well as African tribal art. The artwork demonstrates how Miles Davis turned to sketching and painting to keep his “mind occupied with something when not playing music.”

321.

Guy, Shelley. 2002. Miles une Pièce Inspire de la vie du Trompetteisté de Jazz Miles Davis. Paris: M. de Maule. 135 p. French text. ISBN: 2-876-23131-X. LCCN: PQ2719 .H34 M55 2002. A fictional work based on and inspired by the life and music of Miles Davis.

322.

Hacker, Carlotta. 1997. Great African Americans in Jazz. New York: Crabtree Publications. Series: Outstanding African Americans. 64 p. ISBN: 0-865-05818-0. LCCN: ML3929 .H33 1997. A reference source that includes a biographical entry on Miles Davis.

323.

Haddix, Charles. 2013. Bird: The Life and Music of Charlie Parker. Urbana, IL: University of Illinois Press. 188 p. Bibliography, Index, Illustrations, and Portraits. ISBN: 9-780-25209-517-7. LCCN: ML419 .P4 HG4 2013. A biography of saxophonist and bebop legend Charlie “Bird” Parker. Demonstrates how Parker was a transitional composer and improviser who ushered in a new era in jazz by pioneering bebop and influenced subsequent musicians.

324.

Hahn, Ove. 1994. Gröna Lund, Stora Scenen, kl. 2000: Från Evert till Miles Davis (Tivoli Gröna Lund in Stockholm: From Evert Taube to Miles Davis). Stockholm, Sweden: Wahlström & Widstrand. 347 p. Swedish text. Index and Illustrations. ISBN: 9146165932. LCCN: GV1853 .4 S942 G765 1994. Discusses artists who have performed on the open-air stage of the Stockholm Tivoli such as Evert Taube, Miles Davis, Zarah Leander, Marlene Dietrich, Birgit Nilsson, Juliette Greco, Louis Armstrong, Duke Ellington, Count Basie, and many others.

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325.

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Haley, Alex, ed. 1993. The Playboy Interviews Conducted by Alex Haley With an Introduction by Murray Fisher. New York: Ballantine. xx, 503 p. Series: Many Cultures, One World. Illustrations. ISBN: 0-345-38300-1. LCCN: CT120 .H255 1993. Compilation of interviews originally published in Playboy magazine 1962–1992 and conducted by Alex Haley of several noted celebrities on many different topics. Some of the celebrities that Haley interviewed include Miles Davis, Johnny Carson, Cassius Clay (Muhammad Ali), Martin Luther King, Jr., Sammy Davis, Jr., and others.

326.

Hall, Charles J. 1996. A Chronicle of American Music 1700–1995. New York: Schrimer. xi, 825 p. ISBN: 0-02860-296-X. LCCN: ML200 H15 1996. A reference source on the history of American music for the period 1700–1995 that includes a biographical entry on Miles Davis.

327.

Hall, Greg. 2007. “Miles: Today’s Most Influential Contemporary Musician.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, July 18, 1974. In this interview with Miles Davis, the author attempted to convey facets of Davis’ life that had not been previously revealed to readers. In the interview Davis shared his general knowledge of music, humanity, politics, recording, sports, and concerns about betterment of his life. Davis also discusses contemporary music, the Miles Davis “mystique,” Bitches Brew, and trends in contemporary recording.

328.

Hamilton, Andy. 2007. “Early Collaborators: Miles Davis and Warne Marsh.” In Lee Konitz: Conversations on the Improviser’s Art. Ann Arbor, MI: University of Michigan Press. Series: Jazz Perspectives. xxv, 284 p. Bibliography, Discography, Music Examples, [8] p. of plates, Illustrations, and Index. ISBN: 9-780-47211587-7. LCCN: ML419 .K 66 H 36 2007. An interesting biography of alto saxophonist Lee Konitz, a prominent cool jazz musician, and his early collaborations with trumpeter Miles Davis and tenor saxophonist Warne Marsh.

329.

Hancock, Herbie, with Lisa Dickey. 2014. Possibilities. New York: Viking. 344 p. Index, [16] p. of plates and Illustrations. ISBN: 9-780-67001-471-2. LCCN: ML417 .H23 A3 2014. Jazz musician Herbie Hancock shares in his autobiography a reflection of his career, music, and his collaborations with musicians such as Miles Davis.

330.

Handy, Chris. 2006. “Miles Davis and John Coltrane.” In Jazz. Oxford: Heinemann Library. 48 p. Bibliography, Index, and Illustrations. ISBN: 9-781-40348149-8. LCCN: ML3506 .H26 2006. Describes the origins and characteristics of jazz and traces its history and development in the United States.

Annotations of Books71

331.

Hardy, Phil. 1990. The Faber Companion to 20th Century Popular Music. London and Boston, MA: Farber and Farber. xi, 875 p. ISBN: 0-57113-837-3. LCCN: ML102 .P66 H37 1990X. A reference source that includes a biographical entry on Miles Davis.

332.

Harker, Brian. 2005. Jazz: An American Journey. Upper Saddle River, NJ: Pearson Prentice Hall. ix, 358 p. Index, Illustration, and Maps. ISBN: 0-130-98261-X. LCCN: ML3506 .H35 2005. Explains how and why jazz evolved as it did. Emphasizes chronology, historical cause and effect, and interactions between music and American history and culture.

333.

Harper, Colin. 2014. Bathed in Lightning: John McLaughlin, the 60s, and the Emerald Beyond. London: Jawbone Press. 511 p. Bibliography, Index, Illustrations, and Portrait. ISBN: 9-781-90827-951-4. LCCN: ML419 .M36 H37 2014g. A biography of guitarist John McLaughlin who recalls his work with Miles Davis, especially that on February 16, 1969, when he flew to New York and the following day Miles Davis, his hero, invited him to play on a record. Two years later he launched the Mahavishnu Orchestra, an evolution in music of spiritual aspiration and extraordinary power, volume, and complexity far beyond anything else in jazz and rock.

334.

Harris, Pat. 2007. “Nothing But Bop? “Stupid Says Miles.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article originally published in Down Beat, January 27, 1950, which is Down Beat’s first interview with Miles Davis where Davis relayed his sentiments about bop by stating that people who say there’s no music besides bop are stupid. Davis defended a universality of jazz. The article provides a biographical profile of Davis and his opinions about jazz musicians and change in jazz.

335.

Harrison, Max. 1997. “Sheer Alchemy, for a While: Miles Davis and Gil Evans.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-56098774-X. LCCN: ML419.D39 M55 1997. An essay that examines the musical partnership between Miles Davis and Gil Evans as one of the most significant collaborations rivaled by those of Duke Ellington and Billy Strayhorn, and Frank Sinatra and Nelson Riddle.

336.

Harrison, Max. 1960. “Miles Davis: A Reappraisal.” In This Is Jazz. Kenneth C. Williamson, ed. London: Newnes. Series: The Jazz Book Club. 256 p. Illustrations. OCLC Number: 470769165. LCCN: ML3561 .J3 W534. Provides a discussion of notable figures in jazz. Includes a reevaluation of Miles Davis’ life, music, and career.

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337.

Annotations of Books

Harsløf, Olav, Finn Slumstrup, and Kjeld Frandsen, eds. 2011. Jazz i Danmark 1950–2010. København: Politikens Forlag. 624 p. Danish text. Bibliography, Index, Discography, Illustrations, and Photographs. ISBN: 9-788-75679-565-4. LCCN: ML3509 .D45 J39 2011. A comprehensive reference source about the history of jazz and jazz musicians in the country of Denmark. This source contains a vast amount of material on musicians, groups, and styles as well as information on American jazz musicians such as Miles Davis and many others that have influenced jazz in Denmark.

338.

Harvey, John. 1997. Still Water: A Charlie Resnick Mystery. New York: Mysterious Press.com: Open Road Integrated Media. 9-781-45323-955-1. LCCN: PR6058 .A6989 S75 1997. A mystery novel focusing Charlie Resnick, the main character, a jazz advocate who attempts to solve a crime committed the night jazz musician Milt Jackson performed a concert. The main character likens Jackson to a contemporary of Miles Davis and Thelonious Monk.

339.

Hasse, John Edward, ed. 2000. Jazz: The First Century. Forewords by Quincy Jones and Tony Bennett. New York William Morrow. ix, 246 p. Bibliography, Index, and Illustrations. ISBN: 0-688-17074-9. LCCN: ML3506 .J47 2000. An edited volume that presents a history of jazz that can serve as a reference for Miles Davis and many other jazz musicians. Sections include “Emergence of Jazz,” “The Flourishing of Jazz,” “The Swing Era,” “The Birth of Modern Jazz,” “Mainstream Jazz,” “Departures of Explorations,” “Jazz Worldwide,” and “Late-Century Tradition and Innovation.”

340.

Havers, Richard. 2014. Uncompromising Expression: Blue Note, the Finest in Jazz Since 1939. San Francisco, CA: Chronicle Books. 399 p. Bibliography, Index, Discography, Facsimiles, Illustrations, and Portraits. ISBN: 9-781-45214-144-2. LCCN: ML3792 .B58 H38 2014. A presentation of Blue Note record label roster profiles of artists in jazz—Miles Davis, John Coltrane, Thelonious Monk, Art Blakey, and many others.

341.

Havers, Richard, Richard Evans, and William P Gottlieb. 2009. Jazz: The Golden Era. New York: Chatwell Books. 192 p. Illustrations and CD. ISBN: 9-780-78582498-5. LCCN: ML3506 .H38 2009. Provides a chronicle of the history of jazz from its emergence in 1897 New Orleans through the twentieth century. Describes the musical accomplishments of Louis Armstrong, Billie Holiday, Charlie Parker, Miles Davis, and others.

342.

Haygood, Wil. 2009. Sweet Thunder: The Life and Times of Sugar Ray Robinson. New York: Alfred A. Knopf. 461 p. Bibliography, Index, and Illustrations. ISBN: 9-781-40004-497-9. LCCN: GV1132 .R6 H39 2009. A biography of African American boxer Sugar Ray Robinson who emerged as a powerful and often controversial black symbol who also represented a rapidly

Annotations of Books73

changing America. The author weaves in the stories of Langston Hughes, Lena Horne, and Miles Davis whose lives not only intersected with Robinson’s but also contribute greatly to the scope and soul of the book. 343.

Heath, Jimmy, with Joseph McLaren. 2010. “High Note-Low-Note: Dizzy and Miles.” In I Walked With Giants: The Autobiography. Philadelphia, PA: Temple University Press. xviii, 322 p. Bibliography, Index, Chronology, and Discography. ISBN: 9-781-43990-198-4. LCCN: ML419 .H357 A 2010. An autobiography of Jimmy Heath, a jazz saxophonist, composer, Grammy winner, and performer of over 125 albums. Over his career Heath collaborated with many jazz greats including John Coltrane, Miles Davis, and especially Dizzy Gillespie.

344.

Heble, Ajay. 2000. Leading on the Wrong Notes: Jazz, Dissonance, and Critical Practice. New York: Routledge. xiv, 258 p. Bibliography and Index. ISBN: 0-41592349-2. LCCN: ML3506 .H42 2000. A book that provides an analysis of jazz in its cultural contexts and in terms of musical form itself. Argues that jazz is the most cerebral and most unpredictable musical form. Provides examples of Miles Davis’ transformation of the simplest tunes and structure into widely imaginative improvisation.

345.

Heckman, Don. 1997. “Miles Davis Times Three: The Evolution of a Jazz Artist.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-56098774-X. LCCN: ML419.D39 M55 1997. An analytical study that provides an examination of Miles Davis’ style. Discussion of many of Davis’ works and a discography are provided.

346.

Heckman, Don. 1995. “Herbie Hancock: Watermelon Man.” In Down Beat: 60 Years of Jazz. Frank Alkyer, ed. Milwaukee, WI: Hal Leonard. 270 p. Illustrations and photographs. ISBN: 0-793-53491-7. LCCN: ML3506 .D68 1995. An article and interview with Herbie Hancock after the success of his recording of “Watermelon Man.” The article was originally published in Down Beat magazine October 21, 1965. Hancock discusses his background in jazz, influences, and his membership in the Miles Davis Quintet.

347.

Heidkamp, Konrad. 1999. It’s All Over Now: Musik einer Generation-40 Jahre Rock and Jazz. Berlin: Alexander Fest Verlag. 311 p. German text. Discography and Illustrations. ISBN: 9-783-82860-048-5. LCCN: ML 3509 .G3 H433 1999. A critical interpretation and chronicle of popular music in the style of jazz and rock music and musicians.

348.

Heineman, Alan. 2007. “Miles Davis-Filles de Kilimanjaro, Columbia 9750.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LC Number: ML419 .D39 M554 2007g.

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An article that was originally published in Down Beat, May 29, 1969, that provides a discussion, list of selections, and list of personnel for the album Filles de Kilimanjaro, recorded on the Columbia record label. 349.

Heining, Duncan. 2010. George Russell: The Story of an American Composer. Lanham, MD: Scarecrow Press. Series: African American Cultural Theory and Heritage. xii, 373 p. Bibliography, Index, [8] p. of plates, and Illustrations. ISBN: 9-780-81086-997-4. LCCN: ML410 .R96 H 45 2010. A biography of George Russell, one of the great figures in jazz whose story is interwoven with several jazz legends such as Dizzy Gillespie, Gerry Mulligan, Miles Davis, and Gil Evans.

350.

Hellhund, Herbert. 2007. “Eine alte Kunst in Neuem Licht: Miles Davis und die Paraphrasen-Improvisation, Dokumentiert Druch die Quintettaufanhmen 1955/56.” In Franz Kerschbaumer: Festschrift zum 60. Geburtstag (Franz Kersch­ baumer for His 60th Birthday). Franz Krieger and Bernd Hoffman, eds. Graz, Austria: Akadeische Drucken-u-Verlagsanstalt. Series: Jazzforschung, 39. 353 p. German and English texts. Bibliography, Illustrations, and Musical Examples. ISBN: 9-783-20101-889-0. LCCN: ML3506 .F72 K4 2007. An essay that is included as part of a festschrift in honor of Franz Kerschbaumer. This essay examines the Miles Davis Quintet methods of jazz improvisation and how Miles Davis played an integral role in bringing modern jazz improvisation into the forefront of jazz.

351.

Hellhund, Herbert. 2005. “Improvisation und Psychischer Prozess: Zu Einigen Musikalischen Steuerungsvariablen der Improvisation im Modernen Jazz (Improvisation and Psychological Process: Some Musical Control Variables in Modern-Jazz Improvisation).” In Musik: Gehört, Gesehen und Erlebt-Festschrift Klaus-Ernst Behne sum 65. Geburstag. Hannover, Germany: Institut für Musikpäd­ agogische Forschung der Hochschule für Musik und Theater. Series: IfMpFMonographie, No. 12. 579 p. German text. Bibliography, Index, Illustrations, and Music Examples. ISBN: 9-783-93185-269-6. LCCN: ML3845 .M874 2005g. Examines the complexities of modern jazz improvisation. Argues that the player must continually invent melodies, have a clear overview of the metric-harmonic coordinates, be an instrumental virtuoso, and seamlessly react to his/her fellow players’ musical ideas. To understand what goes on in a musician’s mind when he/ she is improvising a holistic approach is most useful. Examples are presented and discussed using compositions by Miles Davis, Charlie Parker, and Chet Baker.

352.

Hentoff, Nat. 2010. “Giant Steps Liner Notes.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. The author notes Giant Steps is the first set composed entirely of John Coltrane originals. Miles Davis encouraged and also stimulated Coltrane’s harmonic

Annotations of Books75

thinking. Coltrane feels he learned from Davis’ strategies to make sure that a song is in the right tempo to be most effective. Davis also encouraged Coltrane to proceed further into experimenting with different modes in his writing. 353.

Hentoff, Nat. 1996. “Miles: Not in a Silent Way.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419. D39 75 1996. Focuses on the events of 1955, with Miles Davis’ five-year struggle with drug addiction and his absence from the jazz scene that finally came to an end. Davis’ July performance with Thelonious Monk at the Newport Jazz Festival was acclaimed as “triumphant.” In an effort to mark his return as a bandleader and reclaim his audience Davis consented to be interviewed by Nat Hentoff for the November 2, 1955, Down Beat magazine where Davis does not look back at his troubled past or speak about his life transition.

354.

Hentoff, Nat. 1996. “Miles’ Jazz Life.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. Other than Ralph Gleason, Nat Hentoff was the only well-known American jazz journalist that Miles Davis developed a trust in. In this essay Hentoff conveys a sense of an intimacy with Davis by offering rare glimpses of Miles Davis behind the public mask. He presents a full-breath of Davis’ personality—moods, habits, styles, opinions, and humanity at a time of enormous financial success and worldwide popularity.

355.

Hentoff, Nat. 1995. “The Birth of the Cool.” In Down Beat: 60 Years of Jazz. Frank Alkyer, ed. Milwaukee, WI: Hal Leonard. 270 p. Illustrations and Photographs. ISBN: 0-793-53491-7. LCCN: ML3506 .D68 1995. Originally published in Down Beat magazine, May  2, 1957, this article on Gil Evans discusses the Birth of the Cool movement in jazz, influences such as Claude Thornhill, and the work of Miles Davis on the Birth of the Cool album. Evans also discusses several compositions and arrangements from Davis’ recording such as “Moon Dreams,” “Boplicity,” and instrumentation used in the Birth of the Cool or the Miles Davis Nonet.

356.

Hentoff, Nat. 2007. “Miles: A Trumpeter in the Midst of a Big Comeback Makes a Very Frank Appraisal of Today’s Jazz Scene.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-78142343-076-6. LCCN: ML419 .D39 M554 2007g. An interview that was originally published in Down Beat magazine, November 2, 1955. The interview was conducted after Miles Davis had experienced several obstacles in his personal life and was again rapidly moving to the

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forefront of modern jazz. Davis had just signed a contract guaranteeing him twenty weeks a year in Birdland and had shown how important his jazz voice was when he performed at the Newport Jazz Festival. In this article/interview Davis shares his thoughts on many aspects of the jazz industry including his comments on Dave Brubeck, Charlie Parker, the Modern Jazz Quartet, Max Roach, Clifford Brown, contemporary jazz writing, and instrumentalists Bobby Brookmeyer, J. J. Johnson, Kenny Clarke, Philly Joe Jones, Art Blakey, and Roy Haynes. 357.

Hentoff, Nat.1962. “An Afternoon With Miles Davis.” In Jazz Panorama From the Pages of Jazz Review. Martin T. Williams, ed. New York: Crowell-Collier Press. 318 p. Illustrations. OCLC Number: 891848. LCCN: ML3561 .J3 J33. An early interview with Miles Davis as he shares many comments including his ideas about jazz and popular music.

358.

Hentoff, Nat. 1961. “Three Ways of Making It: John Lewis, Miles Davis, Thelonious Monk.” In The Jazz Life. New York: Dial Press. 255 p. ISBN: 0-306-70681-4. LCCN: ML3561 .J3 H45. A focus on a small inside world of modern jazz and musicians in New York City.

359.

Hicock, Larry. 2002. Castles Made of Sound: The Story of Gil Evans. Cambridge, MA: Da Capo; London: Eurospan. xiv, 306 p. Index, Illustrations, and [8] p. of plates. ISBN: 0-306-80945-1. LCCN: ML419 .E95 H5 2002g. The collaborations of Miles Davis and composer, arranger, and bandleader Gil Evans produced album recordings such as Milestones, Porgy and Bess, and Sketches of Spain. This definitive biography provides Evans’ work and collaborations with Davis.

360.

Hine, Darlene Clark. 1996. “Divine Obsessions: History and Culture of Miles Davis.” In Speak Truth to Power: Black Professional Class in United States History. Brooklyn, NY: Carlson. lii, 222 p. Bibliography, Index, and Illustrations. ISBN: 0-926-01991-0. LCCN: E185 .H535 1996. Presents a historical analysis of Miles Davis and other African Americans employed in different professions.

361.

Hinton, Milt, David Berger, and Holly Maxson. 2008. Playing the Changes: Milt Hinton’s Life in Stories and Photographs. Foreword by Clint Eastwood. Preface by Dan Morgenstern. Nashville, TN: Vanderbilt University Press. xiv, 364 p. Bibliography, Index, Discography, Filmography, Illustrations, and CD. ISBN: 9-78082651-574-2. LCCN: ML418 .H5 A3 2008. Legendary jazz bassist Milt Hinton conveys the story of his life and illustrates it with more than 260 of his photographs. Included are Hinton’s photographs capturing life on the road with Cab Calloway, Billie Holiday, and personal views of icons such as Louis Armstrong, Miles Davis, Aretha Franklin, Dizzy Gillespie, and Barbra Streisand.

Annotations of Books77

362.

Hiraoka, Masaaki. 1998. Mairusu Devisu no Geijutsu (Music of Miles Davis). Tokyo: Mainichi Shinbunsha. 397 p. Japanese text. ISBN: 4-620-31246-0. OCLC Number: 674610695. An appreciation book focusing on the musically and political-evolutionary character of Miles Davis’ work in his last decade.

363.

Hitchcock, H. Wiley, and Stanley Sadie, eds. 1986. New Grove Dictionary of American Music. New York: Grove’s Dictionaries of Music. 4 vols. Bibliography. ISBN: 0-943-81836-2. LCCN: ML101.U6 N48 1986. A reference source that includes a biographical entry on Miles Davis.

364.

Hoagland, Everett. 2002. “Kinda Blue: Miles Davis Died Today.” In Here: New and Selected Poems. Wellfleet, MA: Leagfrog Press; St. Paul, MN: Consortium Books. 2002. 122 p. ISBN: 0-967-95205-0. LCCN: PS3558 .O335 H47 2002. A collection of poetry that includes a tribute to Miles Davis.

365.

Hobsbawm, Eric. 1993. The Jazz Scene. New York: Pantheon Books. lxviii, 392 p. Index and Appendix. ISBN: 0-679-40633-6. LCCN: ML3506 .H6 1993. A book that critiques jazz and jazz musicians. Topics include jazz history, prehistory, expansions, and transformation, blues and orchestral jazz, the Instrumentalists, musical achievements, jazz and the other arts, the jazz business, musicians, the public, and jazz as protest. Includes discussions of Miles Davis’ innovations and trumpet style.

366.

Hochstat-Greenberg, Janice Leslie. 2010. Jazz Book in the 1990s: An Annotated Bibliography. Lanham, MD: Scarecrow Press. Series: Studies in Jazz, no. 61. xvii, 211 p. Bibliography and Index. ISBN: 9-780-81086-985-1. LCCN: ML128 .J 3 H63 2010. A useful source to investigate publication research on Miles Davis as well as many other jazz figures. This source is divided into several sections that include “Biographies,” “History,” “Individual Instruments,” “Essays and Criticism,” “Musicology,” “Regional Studies,” “Discographies,” “Record Guides,” “Pictorial,” “Reference Works,” and “Miscellaneous.”

367.

Hodeir, André. 1956. “Miles Davis and the Cool Tendency.” In Jazz: Its Evolution and Essence. New York: Grove Press. Translation from French of the book, Hommes et Problèmes du Jazz. Paris: Flammarion, 1954. Translated by David Noakes. Index, Discography, and Music Examples. ix, 295 p. ISBN: 9-780-39417-292-7. LCCN: ML 3561 .J3 H6383. Discusses musicians, musical elements, and other factors which have been influential in the development of jazz music. This essay represents a classic evaluation of the early 1950s tone with Miles Davis’ first major musical achievement in the new style—“cool,” a feeling in jazz, the musicians, the cool sonority, phrasing, melody, rhythm, and the Miles Davis band. The essay observes Davis’ cool jazz

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period while also referring to his experimental nature as a whole reflecting on his propensity to change trends by his own choice. 368.

Hodgkinson, Tom, and Matthew De Abaitura, eds. 1997. “Miles: The Autobiography/Miles Davis.” In Idler’s Companion: An Anthology of Lazy Literature. Hopewell, NJ: Ecco. xiii, 215 p. Illustrations. ISBN: 9-780-88001-549-3. LCCN: PN6071 .L37 I35 1997. An edited volume of poetry that includes a tribute to Miles Davis.

369.

Hodson, Robert. 2007. “Miles Davis’ Flamenco Sketches.” In Interaction, Improvisation, and Interplay in Jazz. London: Routledge. ix, 197 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 9-780-41597-681-7. LCCN: ML3506 .H65 2007. A source that offers perspectives on a way to listen to and understand jazz. The work explores the process of player interaction in jazz and the role this interaction plays in creating improvised music, including jazz. Miles Davis’ highly regarded composition “Flamenco Sketches” is discussed as an example of improvised music.

370.

Hoefer, George. 2007. “Early Miles.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-0766. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, April 6, 1967, that presents a biographical profile of Miles Davis from his early childhood experience, early collaborations in St. Louis and New York, and with Charlie Parker.

371.

Hoefer, George. 2007. “Miles in the Hot Box.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-78142343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, October 27, 1960, reflecting on the image of Miles Davis which has been formed from the effect of Davis’ frustrations, unhappiness, and problems. But the author regards this image as not a valid representation of Davis. Moreover, Davis has been criticized by club owners for his attitude toward listeners and for walking off stage while not performing. Davis’ response was that “I feel silly standing around.” In essence, Davis reasoned that the musical format of his group with long solos by its members does not require the leader’s constant presence. The author reasons that instead of being critical, it is more realistic to judge Davis upon the contributions he has made to his art. The author also discusses Davis’ artistry on his album Sketches of Spain.

372.

Hoffmann, Frank, ed. 2005. Encyclopedia of Recorded Sound, 2nd ed. New York & London: Routledge. 2 vols. xii, 1289 p. Bibliography, Index, and Illustrations. ISBN: 0-415-93835-X. LCCN: ML102 .S67E5 2005.

Annotations of Books79

Provides a biographical profile of the life, music, and career of Miles Davis. Includes listings of many of his albums. 373.

Holbrook, Morris B. 2011. “God Is in the Details: His Eye Is on the Sparrow: Small-But Significant Cinemusical Moments in Jazz Film Scores by Miles Davis and John Lewis.” In Music, Movies, Meaning, and Markets: Cinemajazzmatazz. New York: Routledge. Series: Routledge Interpretative Marketing Research, 14. xxiv, 382 p. Bibliography and Illustrations. ISBN: 9-780-41589-313-8. LCCN: ML2075 .H635 2011. A series of essays that examine jazz in motion pictures and the relationship between music, film, commercial markets, and social implications for consumers. Examines the role of ambi-diegetic film music in the product design of Hollywood movies.

374.

Horn, Paul, with Lee Underwood. 1990. Inside Paul Horn: The Spiritual Odyssey of a Universal Traveler. San Francisco, CA: Harper San Francisco. xv, 284 p. Illustrations, [12] p. of plates, and Discography. ISBN: 0-062-50388-X. LCCN: ML419 .H67 A31990. This book in essence relates to music creativity and transformation, psychological evolution, and spiritual transformation. The book provides coverage of Paul Horn’s life and times from insider perspectives by a creative and innovative musician. It discusses his belief in one creator, one humanity, one world, and of music as a potent force for change. Provides coverage of Paul Horn’s life and times including his work with Duke Ellington, Miles Davis, Chico Hamilton, Buddy Rich, Ravi Shankar, Tony Bennett, Frank Sinatra, and the Beatles.

375.

Horricks, Raymond. 2001. Miles Davis/John Coltrane: The Good, the Bad, and the Experimental. Worthing: Owlett Press. vii, 72 p. ISBN: 0-953-38002-5. LCCN: ML399 .H67 2001. A biography that examines the collaborations, styles, and trends of Miles Davis and John Coltrane.

376.

Horricks, Raymond. 1991. “Other Aspects of Miles Davis.” In Profiles in Jazz: From Sidney Bechet to John Coltrane. New Brunswick, NJ: Transaction Publishers. vi, 267 p. [8] p. of plates, Illustrations, and Discography. ISBN: 0-887-384323. LCCN: ML394 .H67 1991. A book that presents biographical profiles of jazz musicians that include Sidney Bechet, John Coltrane, Miles Davis, Bill Evans, Duke Ellington, and more.

377.

Horricks, Raymond. 1986. Gerry Mulligan’s Ark. London: Apollo. Series: Jazz Masters, 12. 96 p. ISBN: 9-780-94882-001-4. LCCN: ML419 .M79 H 1986. Baritone saxophonist Gerry Mulligan was a member of Miles Davis’ Nonet/Birth of the Cool band who recorded the Birth of the Cool compilation album. Mulligan’s biography reflects his long career as an instrumentalist, arranger, and composer. The book contains information on Mulligan’s compositions/arrangements,

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concert jazz band, quartet, and style. Mulligan’s association with artists and the influence of jazz saxophonist Lester Young are discussed. Mulligan’s association, recordings with musicians such as Claude Thornhill and Miles Davis, and his role in the 1949 Birth of the Cool album with Davis are discussed as well as his extended stay in Denmark. 378.

Horricks, Raymond. 1984. Svengali, or the Orchestra Called Gill [sic] Evans. Turnbridge Wells: Spellmount; New York: Hippocrene Books. 95 p. Series: Jazz Masters (Turnbridge Wells, England). Bibliography, Illustrations, and a Selected Discography prepared by Richard Middleton. ISBN: 0-882-54909-X. LCCN: ML419 .E95 H7 1984. A bio-discography of Gil Evans detailing his orchestrating style and musical association with insights into his association with Miles Davis. The book provides details of how Evans put together sounds with combinations of instruments for decades.

379.

Horricks, Raymond. 1959. “Miles Davis.” These Jazz Men of Our Time With Photos of Herman Leonard. London: V. Gollanz. 236 p. Illustrations and Photographs. OCLC Number: 851455. LCCN: ML 385 .H74. A collection of writing about jazz musicians by Charles Fox, Frank Ténot, Robert Paris, Benny Green, Max Harrison, Nat Hentoff, Ed Michel, Alun Morgan, and Martin Williams. Profiles of jazz musicians include Art Blakey, Dave Brubeck, Miles Davis, Jimmy Giuffre, Gigi Gryce, Milt Jackson, J. J. Johnson, Quincy Jones, John Lewis, Charles Mingus, Thelonious Monk, Gerry Mulligan, Bud Powell, Max Roach, and Sonny Rollins.

380.

Hovenga, Dick. 2011. Miles Davis Birth of the Cool. Netherlands: Paperview, Europe, Ltd. 47 p. Series: Best of Blue Note, 01. Dutch text. Photographs and CD. ISBN: 9-782-80580-162-4. OCLC Number: 842703169. A biography and retrospective of Miles Davis’ contributions to cool jazz.

381.

Hughes, John. 2013. Invisible Now: Bob Dylan in the 1960s. Burlington, VT: Ashgate. Series: Ashgate Popular and Folk Music. xvii, 238 p. Bibliography and Index. ISBN: 9-781-40943-002-5. LCCN: ML420 .D98 H77 2013. A book that presents scholarship, documentation, source material, illustrations, and comparison of Bob Dylan’s work to Ralph Waldo Emerson, Henry David Thoreau, Miles Davis, John Coltrane, and others.

382.

Hultin, Randi. 2010. “John Coltrane-“Trane” (Part 1).” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An interview conducted with Norwegian journalist Randi Hultin when she met John Coltrane in Oslo, Norway, on October 23, 1963, where the John Coltrane Quartet was performing. Coltrane discusses many topics including his music influences and describes his years working and collaborating with Miles Davis.

Annotations of Books81

383.

Hunstein, Don, Leo Sacks, Jon Pareles, and Columbia Records, Inc. 2013. Keeping Time: The Photographs of Don Hunstein-The Unseen Archive of Columbia Records. San Rafael, CA: Insight. 221 p. Illustrations and Photographs. ISBN: 9-781-60887-224-4. LCCN: ML87 .H86 K44 2013. Photographs of singers, songwriters, composers, and musicians such as Miles Davis, Glen Gould, and Aretha Franklin, from the archives of Columbia Records’ staff photographs of more than four decades.

384.

Hutton, Courtney. 2010. Frank O’ Hara and Miles Davis: The Poetry and Jazz of the New York School. [s.l.]: 6 Degrees Books. 147 p. ISBN: 9-781-17106-254-7. OCLC Number: 926855203. A collection of jazz-influenced and experimental poetry.

385.

Hyde, Stephen, and Geno Zanetti, eds. 2002. “From Miles: The Autobiography.” In White Lines: Writers on Cocaine. New York: Thunder’s Mouth Press. xi, 340 p. ISBN: 1-560-25378-9. LCCN: PS509 .C587 W48 2002. A literary work that reflects cocaine abuse. Includes excerpts from Miles Davis’ autobiography.

386.

Jackson, Blair. 2015. This Is All a Dream: We Dreamed an Oral History of the Grateful Dead. New York: MacMillan and Flatiron Books. xxiii, 488 p. Illustrations. ISBN: 9-781-25005-856-2. LCCN: ML421 .G72 J33 2015. Traces the Grateful Dead’s evolution from its beginning as a folk/bluegrass band playing small venues in Palo Alto, California, to become the psychedelic warriors jam band that led the way in popular music through the 1990s. In this chronicle are accounts of noted celebrities that were touched by the Grateful Dead including David Crosby, Miles Davis, Ken Kersey, and many others.

387.

Jackson, Jean-Pierre. 2007. Miles Davis. Arles: Actes sud. 178 p. Bibliography, Index, Discography, and Filmography. ISBN: 9-782-74765-25-6. LCCN: ML419 .D39 J33 2007. A biography of Miles Davis’ life and career.

388.

Jalard, Michel-Claude, and Alain Gerber. 1986. Le Jazz est-il Encore Possible? Marseille: Parenthéses. Series: Epistrophy, 0293–1842. 198 p. French text. Bibliography and Index. ISBN: 2-863-64035-6. LCCN: ML3506 .J3 1986. A study of jazz with special emphasis given to the musicians Thelonious Monk, Horace Silver, Miles Davis, John Coltrane, Ornette Coleman, Cecil Taylor, and Eric Dolphy.

389.

Jamal, Ahmad. 2001. “Sensational Pulse/An Interview With Ahmad Jamal.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. In an interview Ahmad Jamal offers some perspective on Miles Davis. Jamal discusses how Miles Davis was impressed with his rhythmic sensibility which Davis

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later referred to as Jamal’s concept of space, lightness of touch, and understanding of jazz. Jamal also discusses Davis’ innovation in jazz. 390.

James, Clive. 2007. Cultural Amnesia Necessary Memories From History and the Arts. New York: W. W. Norton. xxxii, 876 p. Index and Portraits. ISBN: 9-78039306-116-1. LCCN: CB245 .J338 2007. Presents over 100 original essays organized by quotations from A to Z. This book includes information on the greatest thinkers, humanists, artists, and philosophers of the twentieth century. The essays focus on figures such as Louis Armstrong, Sigmund Freud, F. Scott Fitzgerald, and Miles Davis.

391.

James, Michael, and Schrijver Over Jazz. 1961. Miles Davis. London: Cassell. 89 p. Portuguese text. Portraits. No ISBN. OCLC Number: 901494439. A Portuguese translation of a biography on Miles Davis and his contributions to the body of jazz.

392.

James, Michael. 1961. Miles Davis. London: Cassell. Series: Kings of Jazz Series, 9. 89 p. Bibliography, Discography, [2] p. of plates, and Portraits. OCLC Number: 3135237. LCCN: ML419 .D39J3 1961. A biography of Miles Davis and his contributions to the body of jazz. Also provides a study of Davis’ musical development from approximately 1945 with Charlie Parker to 1959 with selected recordings. The author also discusses Davis’ strengths and weaknesses.

393.

James, Michael. 1960. Ten Modern Jazzmen: An Appraisal of Recorded Work of Ten Modern Jazzmen. London: Cassell. xix, 145 p. Illustrations. OCLC Number: 5152800. LCCN: ML3561 .J3 J25. Presents critical analysis of selected recordings of jazz musicians such as Miles Davis, Stan Getz, Dizzy Gillespie, Wardell Gray, John Lewis, Lee Konitz, Thelonious Monk, Gerry Mulligan, and Bud Powell.

394.

James, Rick, with David Ritz. 2014. Glow: The Autobiography of Rick James. New York: Atria Books. 342 p. Index, Discography, [16] p. of plates, and Illustrations. ISBN: 9-781-47676-414-6. LCCN: ML420 .J233 A3 2014. Popular musician Rick James recalls his life in music beginning during his youth when he watched, listened, and was mesmerized by the performances of musicians such as Etta James and Miles Davis.

395.

Jenson, Ingrid. 2002. “What Do I Have in Common With Miles Davis?” In Top Brass Interviews and Master Classes With Jazz’s Leading Brass Players. Bob Bernotas, ed. New York: Boptism Music Pub. 282 p. Index and Illustrations. ISBN: 9-780-97179-830-4. LCCN: ML399 .B45 2002. A pedagogical resource of articles, biographies, and interviews collected for instruction and study topics for brass performers and students.

Annotations of Books83

396.

Jepsen, Jørgen Grunnet. 1960. Discography of Miles Davis. Brande, Denmark: Debut Records. 21 p. Biographical notes by Knud H. Ditlevson. OCLC Number: 769278289. LCCN: ML149 .D39 J4 1960. An early discography of Miles Davis’ recordings. Provides a chronological listing of all recordings covering both Davis’ band and recordings with other bands. Includes details of dates, recording venues, matrix and take numbers, original and LP reissue numbers, and titles of compositions. Also incorporates details on many transcriptions taken from radio broadcasts and televisions shows.

397.

Jerfino, Luca. 2005. “Die Drogenprobleme von Art Pepper und Miles Davis im Vergleich.” In Jazz Life: Essays zum Altag von Jazz Musikern Anhand ihrer Autogiografien. Silvano Luca Gerosa and Karoline Thürkauf, eds. Frankfurt am Main and New York: Peter Lang. Series: Menschyen und Struckturen, Bd. 14. 197 p. German text. Bibliography and Illustrations. ISSN: 0179-3705. ISBN: 9-78363152-922-5. LCCN: ML419 .J39 2005. An overview of jazz musicians that have impacted jazz in the United States.

398.

Johnson, Kenneth T., ed. 1995. The Encyclopedia of New York City. New Haven, CT: Yale University Press; New York: New York Historical Society. xxi, 1350 p. Index. ISBN: 9-780-30018-257-6. LCCN: F128 .3 .E75 1995 Q. A biographical profile of the life, music, and career of Miles Davis.

399.

Jones, Nalini. 2012. “Miles and Women.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. Deals with the cognitive dissonance inherent in appreciating a great male artist who is not necessarily a great man especially when it comes to his treatment of women. The author argues that Miles Davis’ admitted physical and mental abuse of women presents a quandary to his female listeners. But the author also offers contradictions that for Davis, women were central to much of his music and were spiritually, soulfully, and sexually at the heart of his work.

400.

Jones, Quincy. 2001. “I Just Adored That Man/An Interview With Quincy Jones.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. Composer, arranger, and producer Quincy Jones provides an intimate portrait of Miles Davis. Discusses how he first met Davis in 1950 in New York at the Downbeat Club. This friendship and admiration of Davis continued to have an impact on Jones’ life and music. Jones and Davis later collaborated on the albums Back on the Block (Qwest, 1989) and Miles & Quincy Live at Montreux (Warner Bros. 1991).

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Joos, Herbert, and Volker Kriegel. 1991. Miles Davis: An Illustrated Portrait. Stuttgart: Phono Books. One volume (unpaged). Text in English and German. CD and Photographs. ISBN: 9-783-89113-031-5. LCCN: ML419 .D39 J65 1991. A collection of portraits of Miles Davis preceded by text commentary.

402.

Jordan, A. Van. 2007. “Sculpting the Head of Miles Davis.” In Quantum Lyrics: Poems. New York: W. W. Norton. 116 p. ISBN: 9-780-39306-499-5. LCCN: PS3610 .O654 Q83 2007. A collection of poetry that includes a tribute to Miles Davis.

403.

Jost, Ekkehard. 1989. “Miles Davis’ Milestones als Lehrstück über die Beziehungen Zwischen Musikalischem Material, Zeitstil und Individuellen Ausdrucksmitteln.” In Rock, Pop, Jazz Musikimmanent Durchleuchtet: Beiträge Zu einem Seminar des Arbeitskreises Studium Populärer Musik. Helmut Rösing, ed. Hamburg: Arbeitskreis Studium Populärer Musik E.V. (ASPM). 152 p. Series: Beiträge zur Popularmusikforschung 7/8. Conference Proceedings. German text. Bibliography, Music Examples, and Illustrations. No ISBN. OCLC Number: 31083234. A group of scholarly papers presented at a popular music conference in Germany, April 28–30, 1989. Paper topics include rock music, jazz, popular music, and Miles Davis.

404.

Jové, Joseph Ramon. 2011. Gigantes del Jazz. Barcelona: Robinbook. 266 p. Spanish text. Bibliography, Illustrations, and Discography. ISBN: 9-788-4525-616-8. OCLC Number: 757472852. Presents biographical profiles that include Buddy Bolden, Miles Davis, John Coltrane, Quinteto de Hot Club de France, Stan Getz, and more.

405.

Joyner, David. 1998. “Jazz From 1930 to 1960.” In The Cambridge History of American Music. David Nicholls, ed. Cambridge: Cambridge University Press. xv, 637 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 0-52145429-8. LCCN: ML200 .C36 1998. Examines the 1930s and how white musicians adopted elements of African American jazz and shaped it into what became known as swing. Transition from swing to bebop during World War II was affected by smaller combos and figures such as Dizzy Gillespie, Charlie Parker, and Thelonious Monk. Big bands continued often blending elements of Western art music with jazz, a trend that led to third-stream music under the leadership of Gunther Schuller. The 1950s saw a transition from bebop to cool jazz and West Coast jazz as well as an extension to hard bop and rhythm and blues. Foremost in the 1960s were Miles Davis and John Coltrane, both instrumental in developing free jazz.

406.

Kahn, Ashley, ed. 2013. Miles Davis: L’ Histoire Complète Illustrée (Miles Davis: The Complete Illustrated History). Antony: Du May. 223 p. French text. Illustrations. ISBN: 9-782-84102-152-9. OCLC Number: 879280183.

Annotations of Books85

A French translation of the edited volume focusing on Miles Davis compiled as a tribute publication by personalities who worked and performed with Davis. 407.

Kahn, Ashley. 2012. “Beginnings.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. An essay that covers the story of Miles Davis’ formative years spent in East St. Louis, his tutorship under Eddie Randle as a member of his St. Louis–based territory band and the Blue Devils, and the move to New York City to attend Juilliard. The essay also deals with Davis’ realization that he could learn a great deal more uptown in Harlem in a single session at Minton’s Playhouse featuring musicians such as Charlie Parker and Dizzy Gillespie than he could if he had spent years studying at Juilliard.

408.

Kahn, Ashley, ed. 2012. Miles Davis: The Complete Illustrated History. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-780-76034-262-6. LCCN: ML419 .D39 M54 2012. A collection of essays and articles compiled and published as a tribute publication by personalities who worked and performed with Davis. The sections of the book include: “Introduction: Running the Voodoo Down”; “The Young Artist 1926– 1948: Beginnings” (by Ashley Kahn), “There was a Time . . .” (by Clark Terry); “Birth of the Cool 1949–1953: Miles in the 1940s and Early 1950” (by Sonny Rollins); “Miles and Style” (by Bill Cosby); “Hard Bop 1954–1958: Miles in France” (by Vincenet Bessières); “Love for Sale” (by Robin D. G. Kelley); “Kind of Blue 1958–1963: Miles, Newport, and the Business of Jazz” (by George Wein); “New Energy 1964–1968: Miles and the 1960s Quintet” (by Ron Carter and Herbie Hancock); “Miles and the Ballads” (by Francis Davis); “Bitches Brew and Beyond 1969–1974: Miles, Tony Williams, and the Road to Bitches Brew” (by Lenny White); “Hiatus and Recovery 1975–1985: Miles and Women” (by Nalini Jones); “Miles Davis in the Ring: The Boxer as Black Male Hero” (by Gerald Early); “Tutu and Farewell 1986–1991: Miles in the 1980s” (by Greg Tate); “Timing” (by Dave Liebman); and “Afterword: Miles in the Afterlife” (by Nate Chinen).

409.

Kahn, Ashley. 2009. Kind of Blue: Le Making of du Chef D’oeuvre de Miles Davis (Kind of Blue: The Making of the Miles Davis Masterpiece). Translated by Philippe Paringaux. Marseille: Le Mot et le Reste. Series: Formes. French text. 247 p. Illustrations. ISBN: 9-782-91537-892-4. LCCN: ML419 .D395 K3414 2009. A French translation of the author’s first take-by-take account of the sessions and analysis of Miles Davis’ recording of the Kind of Blue album.

410.

Kahn, Ashley. 2002. Miles Davis y Kind of Blue: La Creación de una Obra Maestra (Kind of Blue: The Making of the Miles Davis Masterpiece). Translated by Victor Obiols. Barcelona: Alba Editorial. Series: Trayectos/Alba Vidas y Letras, 44. 340 p. Spanish text. Illustrations. ISBN: 9-788-48428-143-6. OCLC Number: 49760032. A Spanish translation of the author’s first take-by-take account of the sessions and analysis of Miles Davis’ recording of the Kind of Blue album.

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411.

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Kahn, Ashley. 2002. “Miles Ahead, Miles Behind.” In A Love Supreme: The Story of John Coltrane’s Signature Album. New York: Viking. xxiii, 269 p. Bibliography, Index, and Discography. ISBN: 9-780-67003-136-8. LCCN: ML419 .C645 K3 2002. A biography that focuses on Coltrane’s 1965 classic A Love Supreme, a record that proved jazz was a fitting medium for spiritual exploration and for expression of the sublime. Also reflects on Coltrane’s experience of collaborations with Miles Davis.

412.

Kahn, Ashley. 2000. Kind of Blue: The Making of the Miles Davis Masterpiece. Foreword by Jimmy Cobb. New York: Da Capo Press. 222 p. Bibliography, Discography, Illustrations, and Index. ISBN: 0-306-80986-9. LCCN: ML419 .D39 K34 2000. Documents how the album Kind of Blue was recorded over two days in the spring of 1959 in the studio of Columbia Records which was in fact a deconsecrated Greek Orthodox Church located on East 30th Street in New York City. Includes the first take-by-take account of the sessions and analysis of Miles Davis’ recording of the Kind of Blue album. Includes never-released fragmentary takes drawn from rare access to the complete master takes, unedited session tapes, and extensive interviews with musicians. Also included are the scenes through numerous interviews and newly discovered documents from Columbia Records’ archives. Includes interviews with drummer Jimmy Cobb; Bob Waller, the technician and tape operator of the session; and Don Hunstein, the photographer.

413.

Kamien, Roger. 2011. “Miles Runs the Voodoo Down.” In Music: An Appreciation. New York: McGraw Hill. xxxvii, 583 p. Illustrations, Music Examples, and CD. ISBN: 9-780-0774331-2. LCCN: MT6 .K15 M9 2011. A textbook that presents musical elements, history, and a carefully chosen repertoire of musical selections and listening guide appropriate for a music appreciation course.

414.

Kampmann, Wolf, and Ekkehard Jost, eds. 2003. Reclams Jazzlexikon. Stuttgart: P. Reclams. 687 p. German text. Bibliographies and Illustrations. ISBN: 3-15010528-5. LCCN: ML102 .J3 R43 2003. A reference source that includes a biographical profile of Miles Davis.

415.

Kart, Larry. 2004. Jazz in Search of Itself. New Haven, CT: Yale University Press. x, 342 p. ISBN: 0-300-10420-0. LCCN: ML3506 .K37 2004. Discusses approximately seventy major jazz figures and many key stylistic developments. Considers jazz as a perpetual narrative in which musicians, their audiences, and the evolving music itself are intimately intertwined. Also provides a resource of the musical and stylistic contributions of Miles Davis.

416.

Kart, Larry. 1997. “Miles Davis Biography Fails to Unravel Strands of Art and Image.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian

Annotations of Books87

Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. An essay that was influenced by a review of Jack Chambers’ biopic book Milestones. The essay likens Miles Davis to a superstar of celebrity status. But as with any celebrity who happens to be an artist, the art is what matters most, even when Davis is colorful and image-conscious. Thus, if the image and the art have merged in Davis’ case, it is the biographer’s task to separate the strands. 417.

Kaufman, Alan, Neil Ortenberg, and Barney Rosset, eds. 2004. “Miles/Miles Davis.” In The Outlaw Bible of American Literature. New York: Thunder’s Mouth Press. xix, 662 p. Illustrations. ISBN: 1-560-25550-1. LCCN: PS228 .R34 088 2004. An anthology of American prose literature written primarily in the post–World War II era on a variety of American authors working outside of the mainstream of the genre. Included in the anthology is a tribute to Miles Davis.

418.

Keepnews, Peter. 1997. “Lost Quintet.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. Examines how in 1969 the Miles Davis Quintet, the immediate successor to the Shorter-Hancock-Carter-Williams band, fell into a kind of historical black hole. Except for one track, “Sanctuary” on the Bitches Brew album, it went unrecorded in a studio setting by Columbia Records, and virtually the only aural documentation of the group is a handful of bootleg recordings and private tapes. From these one can hear this quintet with Chick Corea, Dave Holland, and Jack DeJohnette. This article gives a vivid account of this group and the era of which it was part.

419.

Kelley, Robin, D. G. 2012. “Love for Sale.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. Examines how even in death Miles Davis remains one of the most revered and reviled artists. Examines many commentaries on Miles Davis such as his praise as a musical genius, criticism for his brutal treatment of women, his exploitative behavior, and his anger toward whites or for the selling out to the forces of popular music. Argues that most cannot reconcile these sides of Davis because we want our heroes to be likeable especially when it comes to America’s so-called classical music. But by dividing Miles Davis this way we miss  how the things we don’t like about the man are fundamental to what we love about his music. Davis’ deep distrust of others, his desire for easy living, his detachment, and his violence derive from the same principles behind his romanticism, his coolness, and sense of style.

420.

Kelley, Robin D. G. 2004. “Beneath the Underground: Exploring New Currents in ‘Jazz’. ” In Uptown Conversations: The New Jazz Studies. Robert O’Meally, Brent Hayes, and Farrah Jasmine Griffin, eds. New York: Columbia University Press.

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vii, 427 p. Bibliography, Index, and Illustrations. ISBN: 0-231-12351-5. LCCN: ML3507 .U68 2004. An essay that explores some of the trends in jazz that include the incorporation of sampling, DJs, and the use of nontraditional instruments. Argues that some artists who embrace these new technologies view this as twenty-first-century jazz while others view jazz as being dead. They regard these innovations as stepping into a new way of thinking about improvisation, composition, and sound, yet they often acknowledge their debt to Miles Davis whose experiments in the 1970s in albums such as Bitches Brew and On the Corner paved the way for these new currents. 421.

Kenney, William Howland. 2001. “Just Before Miles: Jazz in St. Louis, 1926– 1944.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419. D39 M53 2001. Presents a historical survey of the happenings of jazz in St. Louis before the emergence of Miles Davis. Includes discussion of notable St. Louis musicians such as Elwood Buchanan and Eddie Randle who had an impact of Miles Davis’ early beginning in jazz.

422.

Kent, Nick. 2002. “Lightening Up With the Prince of Darkness: Miles Davis.” In The Dark Stuff: Selected Writings on Rock Music, 1972–1995. New York: Da Capo Press. xix, 343 p. ISBN: 9-780-30681-182-1. LCCN: ML3534 K47 1995. Biographical profiles that focus on the most hell-bent performers of our time. Davis discusses his contentious relationship with Wynton Marsalis, his unreleased collaboration with Prince, and his views on Mick Jagger, Sadie, and Sting.

423.

Kerman, Joseph, Gary Tomlinson, and Vivian Kerman. 2008. “Later Jazz: Charlie Parker and Miles Davis-‘Out of Nowhere’ and “Miles Davis-‘Bitches Brew’. ” In Listen. Boston, MA: Bedford/St. Martins. xxx, 457 p. Bibliography, Index, Glossary, Illustrations, and DVD. ISBN: 9-780-31243-425-0. LCCN: MT6 .K365 2008g. Surveys different musicians, styles, trends, and periods of music.

424.

Kernfeld, Barry Dean, ed. 2002. The New Grove Dictionary of Jazz, 2nd ed. New York: Grove’s Dictionaries Inc. 3 vols. Bibliographies, Illustrations, and Discographies. ISBN: 1-561-59284-6. LCCN: ML102.J3 N48 2002. A reference source that includes a biographical entry on Miles Davis.

425.

Kernfeld, Barry Dean. 1995. “ ’Round Midnight: 1956 (Miles Davis Quintet).” In What to Listen for in Jazz? New Haven, CT: Yale University Press. xvii, 247 p. Index, Discography, Music Examples, and CD. ISBN: 0-300-05902-7. LCCN: ML3506 .K47 1995. Provides a thorough assessment of jazz by discussing concepts, procedures, and styles by providing the background to a series of historical recordings that are

Annotations of Books89

analyzed to illustrate jazz rhythm, form, arrangement, composition, improvisation, style, and sound. 426.

Kerschbaumer, Franz. 2003. Die Musik in Geschichte und Gegenwart Allgemeine Enzyklopädie der Musik Begründet von Friedrich Blume [Personentiel, Vol. 5]. Ludwig Finscher, ed. Kassel: Bärenreiter. 17 vols. German text. Bibliography, Illustrations, Facsimiles, Music Examples, and CD. ISBN: 3-76181-100-4. LCCN: ML100 .92 2003. A reference source that includes a biographical entry on Miles Davis. Includes several musical examples/transcriptions, filmography, bibliography, and discography.

427.

Kerschbaumer, Franz. 2000. “Bluestrukturen und der Stellenwert des Blues in der Musik von Miles Davis (Blues Structures and the Role of the Blues in the Music of Miles Davis).” In Kultur, Bildung, Politik: Festschrift fur Hermann Rauhe zum 70: Geburststag (Culture, Education, Politics: Festschrift for Hermann Rauhe on His 70th Birthday). Hanns-Werner Heister and Wolfgang Hochstein, eds. Hamburg: Von Bockel Verlag. 766 p. German text. Bibliography, Illustrations, and Music Examples. ISBN: 3-932-69634-4. LCCN: ML55 .R244 2000. An essay focusing on Miles Davis is included in this comprehensive festschrift. The essay on Miles Davis focuses on the blues scene in and around St. Louis, Missouri, in the 1930s and 1940s that was the formative musical context for Miles Davis. The author argues that throughout his stylistically varied musical output, Davis felt a link to this and referred to it musically. Furthermore, traditional blues voice leading is fundamental for the modern improvisational techniques used by Davis in stylistic contexts of bebop, mainstream, hard bop, and fusion.

428.

Kerschbaumer, Franz. 2001. “Modal Improvisation in the Music of Miles Davis From 1958–1965.” In Analyse et Création Musicales: Actes du Troisième Congrès Européen d’Analyse Musicale, Montpellier, 1995. Paris: l’ Harmattan. 580 p. French text. Bibliography, Music Examples, and Illustrations. ISBN: 2-74750689-4. LCCN: MT90 .E87 1995. Scholarly paper on Miles Davis presented at the 1995 European Conference of Music Analysis Proceedings held in Montpellier, France. This paper is a formal and tonal analysis of Miles Davis’ improvisation of Milestones.

429.

Kerschbaumer, Franz. 1997. “Studioaufnahmen und Live. Konzerte: ein Dualismus in der Musik von Miles Davis (Studio Recordings and Live Concert’s Dualism in the Music of Miles Davis).” In Jazz als Ereignis und Konserve (Jazz as an Event as Preserved Artificial). Alfred Smudits and Heinz Steinert, eds. Wien: Guthmann-Peterson. Series: Musik und Gesellschraft- Heft 25. 83 p. German text. ISSN: 0259-076X. ISBN: 3-900-78212-1. LCCN: ML3507 .J34 1997. A study that examines how Miles Davis during his career recorded all new repertoire and his ideas in the studio before playing them in live performances. The study argues that after recording a piece Davis would develop it further

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by improvising during live performances. His concert recordings are richer, freer, and more elaborate than corresponding studio recordings. The study also includes a chronological survey of Davis’ career and his studio and live performance practices. 430.

Kerschbaumer, Franz. 1978. Miles Davis; Stilkritische. Untersuchugen zur Musikalischen Entwicklung Seines Personalistils. Graz: Akadem. Druck-u-Verlagsanst. Series: Beiträge zur Jazzforschung-5. 238 p. Bibliography, Discography, and Music Examples/Transcriptions. ISBN: 3-201-01071-5. LCCN: ML419.D39 K47 1978g. A critical and interpretative study of Miles Davis and his music. Originally presented as the author’s thesis, Graz, 1976. The book focuses on Davis’ musical style from 1945 to 1968. Incorporating a musicological approach, the book is divided into five style periods that include bebop, cool, mainstream (East Coast), hard bop, and modal style. The book concludes with a concise discussion of Davis’ work from 1968 to 1975. The chapters provide a historical summary of the style, Davis’ music during the period, and musical analysis of performances. This book also has a substantial amount of transcriptions of Miles Davis’ solos that include “Move,” “Milestones,” “My Funny Valentine,” “E.S.P.,” “Eight One,” “Bye Bye Blackbird,” “Flamenco Sketches,” and many more.

431.

King, Colin. 2003. “Cool Jazz: Miles Davis, Lester Young, Gerry Mulligan.” In And All That Jazz. London: Caxton. 127 p. Index, Portraits, Illustrations, and CD. ISBN: 9-781-84067-475-0. LCCN: ML3506 .K56 2003. Biographical profiles of jazz musicians that contributed to the history of jazz. Incudes a compact disc featuring Miles Davis’ performances of renditions of “Autumn Leaves” and “ ’Round Midnight.”

432.

Kinyua, Kimani. 2014. The Brotherhood of Man. Largo, MD: Strebor Books. 280 p. ISBN: 1593090641. LCCN: PS3611 .I66 B76 2014. A fictional mystery about four male acquaintances that include a photographer, jazz artist, professional thief, and detective. One of the characters, Lorenzo Dale, is the reincarnation of Miles Davis.

433.

Kirchner, Bill. 1997. “Miles Davis and the Birth of the Cool: A Question of Influence.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. The author aims to demonstrate that the influence of the Birth of the Cool has been far wider than generally acknowledged.

434.

Kirchner, Bill, ed. 1997. A Miles Davis Reader. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. Resourceful edited anthology of interviews, critical essays, reviews, and liner notes that provide information about the life, music, career, personality, changing

Annotations of Books91

styles, formal innovations, and controversies of legendary jazz trumpeter Miles Davis. The essays trace the evolution of Davis’ career from his early years with Charlie Parker through the 1949–1950 Birth of the Cool recordings, Davis’ groups in the 1950s and 1960s, the Bitches Brew album, and Davis’ reemergence in 1981 after his six-year hiatus. Essayists include Peter Keepnews, Gary Giddins, Don Heckman, and Amiri Baraka. 435.

Klinkowitz, Jerome. 1991. Listen-Gerry Mulligan: An Aural Narrative in Jazz. New York: Schrimer Books. xii, 306 p. Bibliography, Index, [16] p. of plates, Illustrations, and Discography. ISBN: 0-028-71265-X. LCCN: ML419 .M79 K6 1991. A biography of Gerry Mulligan who began his career with Gene Krupa and played with Miles Davis in the Birth of the Cool sessions and later formed his own groups including his pianoless quartet. Biographical information is provided as it relates to specific recordings.

436.

Knight, Arthur. 2001. “ ‘It Ain’t Necessarily So That It Ain’t Necessarily So’: African American Recordings of Porgy and Bess as Film and Cultural Criticism.” In Soundtrack Available: Essays on Film and Popular Music. Durham, NC: Duke University Press. x, 491 p. Bibliography, Index, and Illustrations. ISBN: 0-82232800-3. LCCN: ML2075 .S68 2001. Examines the recordings of Porgy and Bess from the late 1950s particularly by Louis Armstrong, Ella Fitzgerald, and Miles Davis and Gil Evans in two contexts: the history of the folk opera (and the novel and the play that proceeded it) and the pending production of the 1959 film version starring by Sidney Poitier, Dorothy Dandridge, and Sammy Davis, Jr. Also examines the complicated relationships among artists and varying recording data media required for scholars to rethink about Porgy and Bess and the influential notion of African American “signifying.”

437.

Koenigswerter, Nicade, Nadine Koenigswerter, Frédéric Pajac, and Florence Hertz. 2006. Les Musiciens de Jazz et Leurs Trois Voeux: Propos Recueillis et Photographies. Paris: Buchet Chastel. 302 p. French text. ISBN: 9-782-28302-038-8. LCCN: ML385 .M87 2006. A collection of approximately 300 photographs taken between the years 1950 and 1960 that includes images of jazz musicians—Miles Davis, Thelonious Monk, Dizzy Gillespie, Count Basie, and Louis Armstrong.

438.

Kofsky, Frank. 2010. “Interview With John Coltrane.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An interview with John Coltrane conducted on August 8, 1966, originally published in Jazz & Pop magazine, September 1967. The interview focuses on many aspects of Coltrane’s music and career. Coltrane also discusses what he describes as the public reception that he received when first working with Miles Davis.

92

439.

Annotations of Books

Kohshin, Satoh. 1993. Kohshin, the Best to Best, Miles. San Francisco, CA: Cadence Books. One volume. Apparel/Fashion and Photographs. ISBN: 9-78092927-992-3. LCCN: NK4798 .S38 A4 1993. A clothing catalogue that consists of photographs of designs by Satoh Kohshin for and modeled by Miles Davis.

440.

Konrad, Jörg. 2008. Miles Davis die Geschichte seiner Musik (Miles Davis: The History of His Music). Kassel: New York: Bärenreiter. 201 p. German text. Illustrations. Biography. ISBN: 9-783-76181-818-3. LCCN: ML419 .D39 K66 2008. Focuses on Miles Davis’ life, music career, and examines his role as an innovator of bebop as well as his major role in the formation of cool jazz and other styles.

441.

Kosmicki, Guillame. 2012. “Miles Davis Ascenseur pour l’Échafaud 1957.” In Musiques savants de Debussy au mur de Berlin, 1882–1962. Marseille: Mot el le Reste. Series: Formes [Marseilles, France]. 427 p. Bibliography, Index, and Illustrations. ISBN: 9-782-36054-055-6. LCCN: ML197 .K785 2012g. A study juxtaposes the concentration of film, Impressionism, and Claude Debussy. Incudes an analysis of Miles Davis’ work as a composer of a French film.

442.

Kragsbjerg, Torben. 1991. Miles Davis-That’s Right: Hans Music i 1980’erne, Belyst ved Indspilninger Baseret på Blues, Pop, Spanske Modi og Modern Kompositionmusik (Miles Davis: That’s Right: His Music of the 1980s, Shown Through Recordings Based on Blues, Pop, Spanish Modi and Contemporary Music). Denmark: Kumulus. 188 p. Danish text. Illustrations. No ISBN: OCLC Number: 464129409. A biographic profile and analysis of Miles Davis with emphasis on his improvisations and aesthetics with a survey of recordings from the 1980s.

443.

Kruth, John. 2000. Bright Moments: The Life & Legacy of Rahsaan Roland Kirk. New York: Welcome Rain. x, 400 p. ISBN: 1-566-49105-3. LCCN: ML419 .K584 K78 2000. A biography that chronicles the life and music career of Rahsaan Roland Kirk who established a place in the pantheon of jazz greats alongside Charlie Parker, Miles Davis, and Thelonious Monk.

444.

Kuehl, Linda, Ellie Schocket, and Dan Morgenstern. 1997. “Billie Holiday Remembered.” In The Billie Holiday Companion: Seven Decades of Commentary. Leslie Gourse, ed. New York: Schrimer Books. xxii, 210 p. Index and Discography. ISBN: 0-028-64613-4. LCCN: ML420 .H58 B45 1997. Originally published as part of a booklet produced by the New York Jazz Museum in 1973 as a collection of memoirs on jazz vocalist Billie Holiday. Miles Davis was one of the commentators and during an interview he commented that “Billie Holiday sings like jazz saxophonist Lester Young and jazz trumpeter Louis Armstrong. Holiday sings the way she hears it that is usually the way best suited for

Annotations of Books93

her. Holiday sings behind the beat, and then she brings it up—hitting right on the beat.” Other participants include Philly Jo Jones, Mary Lou Williams, Billy Taylor, Duke Ellington, and others. 445.

Kuhn, Laura, ed. 2000. Baker’s Biographical Dictionary of Musicians, Centennial Edition. Nicolas Slonimsky, ed. emeritus. New York: Schrimer Books. 6 vols. Bibliographies and Discographies. ISBN: 0-028-65525-7. LCCN: ML105 .B16 2000. A resource that includes a biographical profile of Miles Davis.

446.

Kuyper, Rudd. 1988. Miles Davis Dichterbij. Utrecht: Uitgeverji Luitingh. 125 p. Dutch text. Index, Illustrations, [24] p. of plates, and Discography. ISBN: 9-02451874-1. OCLC Number: 902014033. A biography of Miles Davis.

447.

Lackowski, Rich. 2012. On the Beaten Path of Jazz: The Drummer’s Guide to the Genres and the Legends Who Defined It. Van Nuys, CA: Alfred Music. 112 p. Illustrations and Music Examples. ISBN: 9-780-73909-272-9. OCLC Number: 876863425. A retrospective of several jazz drummers that includes Tony Williams, Philly Joe Jones, Max Roach, and Jack DeJohnette, all of whom performed with Miles Davis and other groups.

448.

Lajoie, Steve. 2003. Gil Evans and Miles Davis Historic Collaborations: An Analysis of Selected Gil Evans Works, 1957–1962. Rottenburg am Neckar: Advance Music. Originally presented as the author’s Ph.D. dissertation, New York University 1999. 429 p. Bibliography and Music Examples. ISBN: 3-892-21064-0. LCCN: ML419.E95 L35 2003g. A critical analysis and interpretation of selected works of the Miles Davis/Gil Evans collaborations. Analysis, discussions, and transcriptions include “Blues for Pablo,” “New Rhumba,” “Bess, You Is My Woman Now,” and “Will O’ the Wisp.”

449.

Larkin, Colin, ed. 1992. The Guinness Who’s Who of Jazz. Enfield: Guinness Publishing. 446 p. ISBN: 0-85112-580-8. LCCN: ML105 .G86 1992. An entire volume that is dedicated to the memory of Miles Davis. Also includes a biographical entry on Miles Davis.

450.

Larsen, Peter, compiler. 1984. Turn on the Stars: Bill Evans: The Complete Discography. Holte, Denmark: P. H. Larsen. 124 p. Illustrations. ISBN: 8-798-16530-5. LCCN: ML156.7 E88 L4 1984. Lists all of jazz pianist Bill Evans’ recordings from 1954 to 1980 including his work with Eddie Gomez, Scott La Faro, and Miles Davis. The entries cover broadcasts, film work, transcriptions, and recording sessions. Each entry includes titles, personnel, dates, venues, master number, record numbers, and reissue where known.

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451.

Annotations of Books

Larson, Tom. 2011. “Miles Davis, Part I: 1926–1959,” and “Miles Davis, Part II: 1959–1991.” In History and Tradition of Jazz. Dubuque, IA: Kendall/Hunt. xi, 236 p. Bibliography, Index, Illustrations, and CDs. ISBN: 0-787-27574-3. LCCN: ML3506 .L37 2002. Covers the history of jazz, styles, and trends, and musicians.

452.

Lavezzoli, Peter. 2001. The King of All, Sir Duke: Ellington and the Artistic Revolution. New York: Continuum. 207 p. Illustrations. ISBN: 0-826-41328-5. LCCN: ML410 .E44 L37 2001. Biographical in scope, this book in addition to providing a major focus on Duke Ellington also includes profiled discussions of Miles Davis, Steely Dan, Butch Ballard, and more.

453.

Lawn, Richard. 2007. “Miles and Miles of Miles” and “Miles Davis and His Sidemen Redefine Postmodern Jazz.” In Experiencing Jazz. New York: McGraw Hill. xxviii, 436 p. ISBN: 9-780-07245-179-5. LCCN: ML3506 .L39 2007. Illustrations. A jazz textbook that aids in placing important musical trends in larger cultural and historical context.

454.

Lees, Gene. 2000. “He Fell From a Star: Gil Evans.” In Arranging the Score: Portraits of Great Arrangers. London and New York: Cassell. ix, 310 p. ISBN: 0-30470488-1. LCCN: ML390 .L43 2000. A collection of essays that draws the author’s observations on the craft of the arranger. Among this collection is an essay that focuses on the Miles Davis and Gil Evans collaborations.

455.

Lehmkuhl, Tobias. 2009. Coolness über Miles Davis. Berlin: Rogner & Bernhard. 166 p. Bibliography and Illustrations. ISBN: 9-783-80771-048-8. LCCN: ML419 .D39 L44 2009. A biographical study of Miles Davis and his innovations in cool jazz.

456.

Leonard, Herman. 1989. The Eye of Jazz. London; New York: Viking. 155 p. Index and Photographs. ISBN: 0-670-82771-1. LCCN: ML87 .L4713 1989g. A collection of jazz images including Miles Davis.

457.

Leonard, Herman. 2006. Jazz, Giants, and Journeys: The Photography of Herman Leonard. Foreword by Quincy Jones. London: Scala. 239 p. Index and Photographs. ISBN: 9-788-57594-34-8. LCCN: NH32 L533 J33. A photographic compilation of notable jazz musicians.

458.

Le Querrec, Guyle, and Philippe Carles. 1996. Jazz de J à ZZ. Paris: Marval. 224 p. French text. Illustrations and Photographs. ISBN: 9-782-86234-218-4. LCCN: ML3506 .L39 1996. Presents biographical profiles of legendary jazz musicians: Thelonious Monk, Miles Davis, Dizzy Gillespie, Sonny Rollins, and others.

Annotations of Books95

459.

Lerch, Tobias. 2005. “Zwischen bürgerlicher Erziechung und dem Milieu des Bebop: Miles Davis’ Suche nach identitát.” In Jazz Life: Essays zum Altag von Jazz Musikern Anhand ihrer Autogiografien. Silvano Luca Gerosa and Karoline Thürkauf, eds. Frankfurt am Main and New York: Peter Lang. Series: Menschyen und Struckturen, Bd. 14. 197 p. German text. Bibliography and Illustrations. ISBN: 9-783-63152-922-5. LCCN: ML419 .J39 2005. Provides an in-depth inquiry into bebop as style of jazz as well as early performance and stylistic contributions of Miles Davis and various musicians.

460.

LeTanneur, Hugues. 2001. Charlie Parker. Paris: E.J.L. Series: Librio Musique; Librio 455. 89 p. French text. ISBN: 9-782-29031-303-9. LCCN: ML419 .P37 L428 2001. A biography of Charlie Parker and his influence on jazz musicians such as Miles Davis.

461.

Leth, Jørgen. 2008. “En Helt Ufattelig Finhed og Grandiositet Miles Davis” and “Elevator til Skafottet: Davis  & Coltrane in Danmark.” In En Dag Forsvandt Duke Jordan I  Harlem: Tekster om Jazz. København: Bebop. Series: Dänemark Jazz. 382 p. Danish text. Illustrations. ISBN: 9-788-79098-955-2. OCLC Number: 904532026. Focuses on the music of Miles Davis and his Denmark experience. This collection also provides information about Bud Powell, Oscar Pettiford, Stan Getz, Duke Jordan, and Charlie Parker.

462.

Levinson, Peter J. 1999. Trumpet Blues: The Life of Harry James. New York: Oxford University Press. xvii, 334 p. Bibliography, Index, [16] p. of plates, and Illustrations. ISBN: 0-195-11030-7. LCCN: ML419 .J36 L48 1999. Provides details beginning in the 1930s and continuing for five decades of jazz trumpeter Harry James’ life, relationships, travel, and contributions to jazz. Includes references to recordings, his infatuation with bebop, and his accomplishments as a bandleader. The author also reveals James’ attempt to build his band in the mold of Count Basie and discusses his respect for such artists as Louis Armstrong, Miles Davis, Roy Eldridge, Dizzy Gillespie, and others.

463.

Lhamon, W. T. 1990. Deliberate Speed: The Origins of a Cultural Style in the American 1950s. Washington, DC: Smithsonian Institution Press. xxxix, 286 p. Bibliography and Index. ISBN: 0-874-74379-6. LCCN: E169 .12 L49 1990. Critiques on popular culture of the 1950s and the influences of Jack Kerouac, Jackson Pollack, Miles Davis, Ralph Ellison, Chuck Berry, Little Richard, T. S. Eliot, Allen Ginsberg, and Thomas Pynchon.

464.

Lhamon, W. T. 1997. “They All Juggled Milk Bottles.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997.

96

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An essay that was originally printed in the author’s book Deliberate Speed: The Origins of a Cultural Style in American 1950s. This essay/chapter incorporates an image borrowed from playwright William Inge’s 1955 play Bus Stop that spotlights artists who were pushing through “pop-lore” and absorbing it into their work. One such artist was Miles Davis whose music receives by the author an examination as part of the zeitgeist of the mid-1950s. 465.

Liebman, Dave, and Eric Porter. 2012. “It’s Different Out There: On the Job With the Prince of Darkness.” In What Is It: The Life of a Jazz Artist. Lanham, MD: Scarecrow Press. xxii, 363 p. Index, [16] p. of plates, and Discography. ISBN: 9-780-81088-203-4. LCCN: ML419 .L A5 2012. A biography about the life, music, and career of jazz saxophonist Dave Liebman. In the book Liebman notes that everything changed for him the day Miles Davis told him “you should join my band.” Liebman recalls his tenure with Davis.

466.

Liebman, Dave. 2012. “Timing.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. Jazz saxophonist Dave Liebman expresses that if he had to sum up Miles Davis in one word it would be “timing” in the musical sense, with Davis playing eighth notes directly in the middle of the beat and knowing when to hire someone new or to make changes, or when to explore a new style to current and cutting-edge. Davis was the ultimate producer and director in addition to his musical skills and creativity.

467.

Lippegaus, Karl. 2011. John Coltrane: Biografie (John Coltrane: A  Biography). Hamburg, Germany: Edel. Series: Vita. 317 p. German text. Bibliography and Illustrations. ISBN: 9-783-84190-069-2. LCCN: Ml419 .C645 L566 2011. A biography that examines John Coltrane and Miles Davis as the “stylites” of modern jazz and a dissimilar pair of musicians. Each one can be explained by his life and music. Coltrane’s influences were not limited to jazz but encompassed large areas of progressive rock. He inspired bands such as Cream and the Grateful Dead to long collective improvisations. Coltrane’s biography is conveyed in terms of his musical evolution in the Miles Davis Quintet and recording his legendary album Love Supreme.

468.

Litweiler, John. 1984. “Transition: Miles Davis and Modal Jazz.” In The Freedom Principle: Jazz After 1958. New York: W. Morrow. 324 p. Bibliography, Index, and Discography. ISBN: 0-688-02246-4. LCCN: ML3506 .L57 1984. A thorough examination of Miles Davis’ role and importance in the creation of modal jazz performance, style, and composition.

469.

Lock, Graham. 2009. “The Many Faces of Miles Davis.” In Thriving on a Riff: Jazz and Blues Influences in African American Literature and Film. Oxford and New York: Oxford University Press. xiii, 296 p. Illustrations. ISBN: 9-780-19533-7020. LCCN: PS153 .N5 T465 2009.

Annotations of Books97

Presents an Afro-centric theoretical perspective on the relationships and influences of jazz and blues on literary writing using Miles Davis as a case in point. 470.

Lohmann, Jan. 1991. The Sound of Miles Davis: The Discography: A  Listing of Records and Tapes, 1945–1991. Copenhagen, Denmark: Jazz Media. xiv, 396 p. Indexes. ISBN: 8-788-04312-6. LCCN: ML156.7 .D4 L64 1991g. A discography and catalogue of records and tapes of Miles Davis. Includes titles, dates, and catalogue numbers.

471.

Long, Daryl N. 1992. Miles Davis for Beginners. New York: Writers and Readers. 128 p. Bibliography, Illustrations, and Discography. ISBN: 0-863-16153-7. LCCN: ML419 D26 L65 1992. A biography of Miles Davis appropriate for juvenile readers.

472.

Lord, Tom. 1992. The Jazz Discography, Volume 5: Dahlander-Dutch Dixie Devils. West Vancouver, BC: Lord Music Reference. v, 608 p. Indexes. ISBN: 9-78188199-304-9. LCCN: ML156 .4 .J3 L67 1992. A comprehensive discography of recordings of jazz musicians. Includes discography information for many of Miles Davis’ recordings. Includes listings of titles, catalogue numbers, personnel, record labels, matrix numbers, and album numbers.

473.

Loupien, Serge. 1999. Miles Davis. Paris: EJL. Series: Librio musique; Librio (Paris), 37. 93 p. French text. ISBN: 9-782-27730-307-7. LCCN: ML419 .D39 L68 1999. A biography sketch of the life, career, and music of Miles Davis.

474.

Lynette, Rachael. 2010. Miles Davis Legendary Jazz Musician. Detroit: KidHaven Press. Series: Innovators. 48 p. Illustrations. ISBN: 9-780-73775-034-8. LCCN: ML3930 .D33 L96 2010. A brief biography of Miles Davis appropriate for juvenile readers.

475.

MacAdams, Lewis. 2001. Birth of the Cool: Beat, Bebop and the American AvantGarde. New York: Scribner’s Sons. 288 p. Bibliography, Index, Illustrations, Portraits, and Filmography. ISBN: 0-684-81354-8. LCCN: ML3508 .M23 2001. Examines Miles Davis, Juliette Greco, Jackson Pollack, Jack Kerouac, Marlon Brando, Bob Dylan, William Burroughs, and traits of “coolness.” The book is intended to illustrate cultural history of American avant-garde in the 1940s and 1950s, the decade in which “cool” was born.

476.

Maggin, Donald L. 1996. Stan Getz: A Life in Jazz. New York: W. Morrow. viii, 417 p. Bibliography, Index, and Illustrations. ISBN: 9-780-68812-315-4. LCCN: ML419.G48 M34 1996. A biography of jazz saxophonist Stan Getz who over the course of over forty years performed an array of jazz from Dixieland, swing, bebop, and Brazilian

98

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bossa nova to free jazz. This book contains portraits of seminal bandleaders as well as other jazz greats who influenced Getz’s art: Lester Young, Charlie Parker, Miles Davis, John Coltrane, and Ornette Coleman. 477.

Maher, Jr., Paul, and Michael K. Dorr, eds. 2011. Mairusu on Mairusu: Mairusu Deivisu intavū Senshu (Miles on Miles: Interviews and Encounters With Miles Davis). Translated by Yasuki Nakayama and Keiko Nakayama. Tokyo: Takarajimasha. 494 p. Japanese text. ISBN: 9-784-79667-672-4. OCLC Number: 745972204. A Japanese translation of a collection of interviews on Miles Davis.

478.

Maher, Jr., Paul, and Michael K. Dorr, eds. 2009. Miles on Miles: Interviews and Encounters With Miles Davis. Chicago: Lawrence Hill Books. 342 p. Illustrations. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. A collection that gathers vital Miles Davis interviews on his music, life, and philosophy. This collection reveals Davis as a complex and contradictory man, secretive at times but extraordinarily revealing at others. The collection reveals that Davis was not only a musical genius but also a compelling enigma.

479.

Malone, Leonard. 1985. The Danish Radio Big Band, 1964–1984. Copenhagen: Denmark Radio. 83 p. Illustrations and Score Facsimiles. OCLC Number: 55180733. LCCN: ML3509 .D45 M34 1985. Provides a discussion of the role and function of the Danish Radio Big Band in disseminating jazz and the impact of several African American artists in the dissemination: Thad Jones, Miles Davis, Dizzy Gillespie, and several others.

480.

Malson, Lucien. 1952. Les Maîtres du Jazz (Masters of Jazz). Paris: Presses Universitaires de France. Series: Que Sais-Je?, 548. 127 p. French text. Index. ISBN: 9-782-13045-721-3. LCCN: ML3506 .M35 1952. A critical and interpretative work that presents biographical profiles on several jazz musicians including Miles Davis, Joe King Oliver, Sidney Bechet, and others.

481.

Mandel, Howard. 2008. Miles, Ornette, Cecil: Jazz and Beyond Jazz. New York: Routledge. xii, 292 p. Bibliography, Index, and Illustrations. ISBN: 9-780-41596714-3. LCCN: Ml385.M235 2008. A work that examines the roles of jazz musicians Miles Davis, Ornette Coleman, and Cecil Taylor in revolutionizing music from the end of the twentieth century into the twenty-first century, expanding jazz traditions with new concepts of composition, improvisation, instrumentation, and performance.

482.

Mannucci, Michele, and Furio Fossati, eds. 1979. “Miles Davis and Douglas Ewart, Vol. 2” In Grandi della Musica Jazz. Milano: Langanesi. Series: Guide Paratiche, 19–20. 317 p. Bibliography, Index, Discography, Illustrations, and [16] p. of plates. No ISBN. LCCN: ML394 .M26 1979. A critical and interpretative study of Miles Davis and jazz musician Douglas Ewart.

Annotations of Books99

483.

Maresco, Franco, Guido Michelano, and Stefani Zenni. 2001. Miles Gloriosus: Tributo a Miles Davis 1926–1991. Palermo: Associazione Culturale “Il Genio” Cumme-di Palermo Settare Attivita Culturai. Italian text. 125 p. Bibliography, Illustrations, and Discography. OCLC Number: 71804818. LCCN: 788. 92165 D263mi. A tribute to the life, music, and career of Miles Davis.

484.

Marmorstein, Gary. 2007. The Label: The Story of Columbia Records. New York: Thunder’s Mouth Press. xxii, 602 p. Bibliography, Index, [16] p. of plates, and Illustrations. ISBN: 9-781-56025-707-3. LCCN: ML3792 .C65 M37 2007. This book conveys the story behind the emergence of Columbia Records and the host of artists such as Miles Davis and many others, producers, executives, engineers and other staff that contributed to history and legacy of this record label.

485.

Marsh, Graham. 2002. Blue Note: Album Cover Art: The Ultimate Collection. San Francisco, CA: Chronicle Books. 287 p. Illustrations. ISBN: 9-780-81183-688-3. LCCN: NC1882 .7 .J39 M37 2002. A book that gathers approximately 400 of the legendary covers from the world’s best-loved jazz labels spanning from the 1940s to the 1970s and featuring the greatest works of Miles Davis and many others.

486.

Marti, Jacky. 1998. “Two Arrivals: Miles Davis and Ray Charles.” In Venti di Estival: Twenty Years of Lugano Estival Jazz (Twenty Years of Lugano Estival Jazz). Pregassona-Lugano [Switzerland]: Fontana Edizoni. 135 p. Italian and English texts. Illustrations. ISBN: 9-788-88191-120-2. LCCN: ML38 .L95 V46 1998. A celebratory reading that focuses on the impact of Miles Davis as performer at the Lugano Jazz Festival.

487.

Martin, Bill. 2002. Avant Rock: Experimental Music From the Beatles to Björk. Chicago: Open Court. Series: Feedback (Chicago, Ill.) v. 3. xvi, 269 p. Bibliography and Index. ISBN: 0-812-69500-3. LCCN: ML3534 .M411 2002. A book that considers both aesthetic and sociopolitical issues raised by avant rock. This entire phenomenon is outlined from early avant-garde activity to progressive and punk rock in the 1970s to contemporary figures who continue to push boundaries of rock. Argues that avant rock is a contradiction in terms of avant-garde trends that emerged through the cultural and political upheavals of the 1960s and acquired a new focus with the later Beatles, drawing upon many sources outside rock like John Cage, Glen Gould, John Coltrane, Cecil Taylor, Miles Davis, the Velvet Underground, Jimi Hendrix, Patti Smith, George Clinton and P-Funk, Brian Eno, and others.

488.

Martin, Henry, and Keith Waters. 2010. Jazz: The First 100 Years. Boston, MA: Cengage Learning. xxiv, 419 p. Bibliography, Index, Illustrations, and CD. ISBN: 9-781-43908-333-8. LCCN: ML3506 .M355 2010. A jazz and jazz musician’s historical survey highly appropriate for undergraduate classroom study and instruction.

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489.

Annotations of Books

Martin, Henry. 2004. “Miles Davis, Birth of the Cool: Scores From the Original Parts, edited by Jeffrey Sultanoff.” In Annual Review of Jazz Studies, 12, 2002. Edward Berger, ed. Lanham, MD: Scarecrow Press and Newark, NJ: Rutgers University Institute of Jazz Studies. 251 p. Illustrations, Portraits, and Music Examples. ISBN: 9-780-81085-005-7. LCCN: ML544 .A78 vol. 12. A review and critical analysis of Miles Davis, cool jazz, and collaborations and a review of Jeffery Sultanoff ’s edited version of Miles Davis’ Birth of the Cool scores.

490.

Martin, Marvin. 2004. Extraordinary People in Jazz. New York: Children’s Press. Series: Extraordinary People. 288 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-516-22275-9. LCCN: ML3929 .M37 2004. Presents biographical profiles of leading jazz musicians from early times to the present.

491.

Martin, Jr., Waldo E. 2001. “Miles Davis and the 1960s Avant-Garde.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. An essay that examines how by 1960 Miles Davis had become the most acclaimed jazz musician of his generation. Davis vividly personified the popular perception of the jazz avant-garde principally from signal contributions to the major developments from the mid-1940s on. This body of music gave Davis impeccable avant-garde credentials and was vital to his expanding capital.

492.

Masotti, Roberto. 2015. Keith Jarrett: Un Ritratto (Keith Jarrett: A  Portrait). Roma: Arcana. 176 p. Italian text. Illustrations and Portraits. ISBN: 9-788-86231800-6. LCCN: ML417 .J35 M37X 2015. A book compilation of images taken by Roberto Masotti who followed Keith Jarrett since 1969 and offers his perspectives on Jarrett. The book covers an extensive span from 1969 to 2011 to create an artistic and human portrait of jazz both alone and together with musicians from historic bands including Miles Davis, Jack DeJohnette, Gary Peacock, and others.

493.

Mathieson, Kenny. 1999. Giant Steps: Bebop and the Creators of Modern Jazz 1945–65. Edinburgh: Payback Press. ix, 339 p. Bibliography and Discography. ISBN: 0-862-41859-3. LCCN: ML3508 .M38 1999. A concise examination of the important figures in the creation of modern jazz detaining the emergence of bebop through a focus on musicians such as Miles Davis, Dizzy Gillespie, Thelonious Monk, and others.

494.

Matzner, Antonin, and Igor Wasserberger. 1969. Jazzové Profily. Praha: Supraphon. 406 p. Czech text. No ISBN. OCLC Number: 215671407. A collection of bio-musical profiles of twenty-three artists covering styles from early jazz to the late sixties. Includes biographies of Louis Armstrong, Count

Annotations of Books101

Basie, Bix Beiderbecke, Clifford Brown, Charlie Christian, Ornette Coleman, Miles Davis, Ella Fitzgerald, and more. 495.

Mauro, Walter. 2008. Miles e Juliette. Roma: G. Perrone. 125 p. Italian text. ISBN: 9-788-86004-125-8. LCCN: PQ4873 .A9122 M55 2008. A foreign language novel inspired by the life of Miles Davis and actress and singer Juliette Greco.

496.

Maxile, Jr., Horace J. 2011. Encyclopedia of African American Music. Emmett Price III, Tammy L. Kernodley, and Horace J. Maxile, Jr. eds. Santa Monica, CA: ABC-CLIO. 3 vols. xlix, 1116 p. Bibliography and Illustrations. ISBN: 9-78031334-19-9. LCCN: ML101.U6 .E53 2011. A reference source that includes a biographical entry on Miles Davis.

497.

Mazzola, Guerino, and Paul B. Cherlin. 2009. “Part 5—What Group Flow Generates—What Is Flow (Miles Davis’ Bitches Brew).” In Flow, Gesture, and Spaces in Free Jazz: Towards a Theory of Collaboration. Berlin: Springer-Verlag. Series: Computational Music Sciences. xiii, 141 p. Bibliography, CD, Illustrations, and Music Examples. ISBN: 9-783-54092-194-3. LCCN: ML3506 .M37 2009g. Formulates geometric theories of gestures and distributed identities also known as swarm intelligence. Theories are presented in the framework of free jazz, which is considered to be a prototypical creative and collaborative art form.

498.

McCalla, James. 2000. “Miles Davis, Gil Evans, and Bill Evans.” In Jazz: A Listener’s Guide. Upper Saddle River, NJ: Prentice Hall. vii, 216 p. Illustrations. ISBN: 9-780-13014-545-1. LCCN: ML3508 .M35 2000. Examples from the collaborations of Miles Davis, Gil Evans, and Bill Evans are included in this listener’s resource guide comprised with audio and reading excerpts.

499.

McCann, Les. 2015. Invitation to Openness: The Jazz & Soul Photographs of Les McCann 1960–1980. Seattle, WA: Fantagraphic Books. 199 p. Illustrations and Photographs. ISBN: 9-781-60699-786-4. LC Number: ML87 .M398 2015g. A collection of photos at clubs, studios, and festivals around the world that document the vibrant cultural life of jazz and soul between 1960 and 1980. Included in this collection are images of Miles Davis, Nina Simone, Tina Turner, Quincy Jones, and others.

500.

McCurdy, Ronald C. 2004. Meet the Great Jazz Legends. Van Nuys, CA: Alfred. 72 p. CD and Illustrations. ISBN: 9-780-73905-937-1. LCCN: ML3792 .C65 W55 2004. A selection of biographical profiles of prominent jazz musicians such as Miles Davis.

102

501.

Annotations of Books

McLellan, John. 1998. “Interview: Charlie Parker, Paul Desmond, and John T. Fitch.” In The Charlie Parker Companion: Six Decades of Commentary. Carl Woideck, ed. New York: Schrimer Books. xii, 194 p. Bibliography, Index, and Discography. ISBN: 0-028-64714-9. LCCN: ML419 .P4 C45 1998. An interview with Charlie Parker that was broadcast on WHDH in Boston in January 1954. Parker discusses many topics including meeting composer Edgard Varese in New York and traveling to Paris to study Western classical music composition and saxophone techniques. Parker also shares insights to meeting and working with Miles Davis beginning in 1944 in St. Louis, Missouri.

502.

McMullen, Jim, and Dick Gautier. 1994. Musicians as Artists. Boston, MA: Journey Editions. 109 p. Illustrations. ISBN: 9-788-85203-06-9. LCCN: N6512 M22 1994. Biographical profiles of Miles Davis along with various musicians that the author regards as true jazz artists.

503.

McRae, Barry. 1988. Miles Davis. London: Apollo. 96 p. Series: Jazz Masters, v. 14. Illustrations, [8] p. of plates, and Discography. ISBN: 0-948-82005-5. LCCN: ML419.D39 M4 1988g. A biography of Miles Davis’ music and career. Selected discography complied by Tony Middleton is included.

504.

Meadows, Eddie S. 2006. Jazz Scholarship and Pedagogy, 3rd ed. New York and London: Routledge. xxxi, 740 p. Index. ISBN: 0-415-93965-8. LCCN: ML128 .J3M34 2005. An excellent source for research on Miles Davis and jazz music. Include citations to aesthetics, appreciation, books, reference works, photography essays, pedagogy materials, transcriptions, jazz in culture, theses and dissertations, videos, biographies and autobiographies, history surveys, and discographies.

505.

Meadows, Eddie S. 2003. “The Musical Language of Miles Davis.” In Bebop to Cool: Context, Ideology, and Musical Identity. Westport, CT: Greenwood Press. xxiv, 383 p. Bibliography, Index, and Illustrations. ISBN: 0-313-30071-2. LCCN: ML3508 .M43 2003. This volume traces the cultural and ideological contexts that produced bebop from the 1920s through the period of Miles Davis, Dizzy Gillespie, Thelonious Monk, and others. The topic headings include, “The Musical Language of Miles Davis,” “Davis in New York,” “Influences,” “Davis and Evans,” “A New Directions,” “Birth of the Cool,” “Racial Integration,” “Impact of Birth of the Cool,” “Miles Ahead,” “Porgy and Bess,” “Sketches of Spain,” and “Davis’ Impact.”

506.

Meadows, Eddie S. 1998. “African Americans and ‘Lites Out Jazz’ in San Diego: Marketing, Impact, and Criticism.” In California Soul: Music of African Americans in the West. Jacqueline C. DjeDje and Eddie S. Meadows, eds. Berkeley and

Annotations of Books103

Los Angeles, CA: University of California Press. x, 507 p. Bibliography, Index, Illustrations, and Portraits. ISBN: 0-520-20627-4. LCCN: ML3479 .C37 1998. A detailed essay that discusses “lites out jazz,” a San Diego–based subgenre of popular jazz styles adopted by KIFM radio in 1980. Lites out jazz is rooted in the late style of musicians such as Miles Davis, Chick Corea, John McLaughlin, Joe Zawinul, Wayne Shorter, Herbie Hancock, and Tony Williams. The author discuses that the style emphasizes melody over rhythm, uses electronic instruments, and lacks the unusual swing percussion and walking bass lines of older jazz styles. Local musicians performing this style include Carl Evans, Fattburger, Talk of the Town, and New Shooz. 507.

Meadows, Eddie S. 1995. Jazz Research and Performance Materials: A Selected Annotated Bibliography, 2nd ed. New York and London: Garland. 806 p. 1995. ISBN: 0-815-30373-4. LCCN: ML128 .J3 M33 1995. A reference source that can be a useful tool for researching Miles Davis, the jazz idiom, and many jazz musicians. Provides scholars, performers, and teachers with a comprehensive listing of materials on jazz up to early 1995.

508.

Mears, Patricia. 2012. Ivy Style: Radical Conformists. New Haven, CT: Yale University Press; New York: Fashion Institute of Technology. 192 p. Bibliography and Illustrations. ISBN: 9-780-30017-055-9. LCCN: GT738 .I79 2012. Focuses on the Ivy League style of dress that spread from Harvard, Yale, and Princeton. From 1945 to 1965 the Ivy style of Oxford shirts, khakis, and penny loafers was worn by diverse groups that included working-class students and jazz musicians. This book celebrates the high-profile proponents of the style including the Duke of Windsor, Steve McQueen, Paul Newman, and Miles Davis who made the Ivy style look their own.

509.

Medioni, Franck. 2009. Miles Davis: 80 Musiciens de Jazz Témoignent. Arles: Actes Sud. 522 p. French text. Illustrations. ISBN: 9-782-74278-632-9. LCCN: ML419 .D39 M52 2009. A collection of biographical profiles that focus on several notable jazz musicians with contributions by Juliette Greco, Philippe Carles, and Francis Marmande.

510.

Meeder, Christopher. 2008. “Part 12-Miles Davis-Three Biographical Treatments of Miles Davis, Bebop With Parker, Birth of the Cool, the Prestige Albums, the First Great Quintet, Gil Evans, Kind of Blue, the Second Great Quintet, Early Electricity, and Fusion” and “Part 14-John Coltrane the Early Years With Miles Davis.” In Jazz: The Basics. New York: Routledge. Series: Basics (Routledge). xv, 278 p. Bibliography, Discography, and Index. ISBN: 9-780-41596-694-8. LCCN: ML3506 .M38 2008. Focuses on the history and styles of jazz and jazz musicians. This book provides an introduction to a century of jazz, tracing its origins through early recording and New Orleans stars, the big band and swing era, bebop, cool jazz, and the

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neo-conservative movement, the 1980s and 1990s. Key figures from each area are introduced including Louis Armstrong, Benny Goodman, Charlie Parker, Miles Davis, John Coltrane, and Wynton Marsalis, and others. 511.

Megill, Donald D., and Richard S. Demory. 1989. Introduction to Jazz History. Englewood Cliffs, NJ: Prentice Hall. x, 292 p. Bibliography, Index, Discography, and Illustrations. ISBN: 0-134-85475-6. LCCN: ML3506 .M43 1989. An introductory textbook of jazz history that can be a useful and appropriate tool for undergraduate instruction and study.

512.

Meisel, Perry. 1999. “Miles Apart.” In The Cowboy and the Dandy: Crossing Over From Romanticism to Rock and Roll. New York: Oxford University Press. ix, 156 p. Bibliography, Index, and Illustrations. ISBN: 0-195-11817-0. LCCN: ML3849 .M49 1999. Music, literature, and culture are examined with juxtaposed discussions on rhythm and blues, Ralph Waldo Emerson and the cowboy, urban blues, the dandy and psychedelic, Willa Cather, Miles Davis, Virginia Woolf, and 1960s rock. Argues that the presumable difference between “high” and “mass” (or “pop”) culture disappears when both turn out to have similar structures and canons emerge inevitably within all traditions rather than being imposed upon from without.

513.

Mellers, Wilfrid. 1987. “From Jazz Back to Art: Modern Jazz and the Improvising Composer: Miles Davis and Gil Evans, Gerry Mulligan and John Lewis.” In Music in a New Found Land: Themes and Developments in the History of American Music. New York: Oxford University Press. xxxi, 544 p. Bibliography, Index, Discography, and Music Examples. ISBN: 0-195-20526-X. LCCN: ML200 .M44 1987. Explores various styles, histories, and trends in the foundation of American music. Includes discussion about innovations in American music. A  prime example of innovation is the focus of jazz improvisational technique incorporated by Miles Davis, Gil Evans, Gerry Mulligan, and John Lewis.

514.

Menist, Chris, and Stuart Baker, eds. 2014. “Miles Davis.” In Black Fire! New Spirits Images of a Revolution: Radical Jazz in the USA 1960–75. London: Soul Jazz Books. 187 p. Illustrations and Still Images. ISBN: 9-780-95726-001-6. LCCN: ML87 .B35 2014. Miles Davis as an innovator and a major spokesman for change in jazz and civil rights is highly represented in this volume. This edited volume examines the early 1960s as jazz entered a unique new period of revolution as African American musicians redefined the art form in the context of the civil rights movement of Afro-centric rhythm, thought, and an ideology of black economic empowerment.

515.

Mercer, Michelle. 2004. Footprints: The Life and Music of Wayne Shorter. New York: J. P. Tarcher/Penguin. xii, 298 p. Bibliography, Index, [16] p. of plates, Illustrations, and Music Examples. ISBN: 1-585-42353-X. LCCN: ML419 .S55 M47 2000.

Annotations of Books105

A portrait of jazz saxophonist and composer Wayne Shorter. This work traces Shorter’s fifty-year career from his youth and collaborations with Miles Davis to the present day and his influence on the development of modern jazz. 516.

Merlin, Enrico. 2009. Bitches Brew Genesi del Capolavoro di Miles Davis. Milano: ll Saggiatore. Series: Opere e libri. 318 p. Italian text. Bibliography, Discography, Illustrations, and Index. ISBN: 9-788-84281-501-3. LCCN: ML419.D39 M47 2009g. Critical analysis of Bitches Brew, one of Miles Davis’ most significant compositions.

517.

Meyer, Donald Carl. 2003. “Musician Biography: Miles Davis (1926–1991)” and “Listening Activity: Flamenco Sketches.” In Perspectives on Music. Upper Saddle River, NJ: Prentice Hall. xiii, 366 p. Index and Illustrations. ISBN: 9-780-13030440-7. LCCN: MT90 .M49 2003. A retrospective of Miles Davis’ styles and trends is reflected in this resource that is geared as a music appreciation textbook.

518.

Middleton, Richard. 2000. “Work-in-(g) Practice: Configuration of the Popular Music Intertext.” In The Musical Work: Reality or Invention? Series: Liverpool Music Symposium, No. 1. Michael Talbot, ed. Liverpool: Liverpool University. viii, 260 p. Bibliography. ISBN: 0-853-23835-9. LCCN: ML3845 .L59 2000g. Examines the view that popular music seems to be at odds with the assumptions of the work concept, central to the sphere of Western art music from around 1800. Argues that recent technological developments have created a remix culture and have intensified the sense that intertextuality is a more appropriate model for understanding this practice. As a case in point the author provides a detailed analysis of Bill Laswell’s remix of recordings by Miles Davis and Bob Marley.

519.

Milkowski, Bill, and Joe Lovano. 2011. Legends of Jazz. Vercelli, Italy: White Star. 270 p. Index, Illustrations, and Portraits. ISBN: 9-788-85440-604-9. LCCN: ML394 .M55 2011. Contains photographs and brief biographies of Miles Davis and several other well-known musicians, singers, and composers.

520.

Milkowski, Bill. 2000. “Fusion.” In Oxford Companion to Jazz. Bill Kirchner, ed. Oxford and New York: Oxford University Press. xi, 852 p. Bibliography and Index. ISBN: 9-780-19518-359-7. LCCN: ML3507 .O94 2000. An essay that describes the development and major players of fusion. Some important musicians that are discussed include Larry Coryell, Frank Zappa, Miles Davis, Tony Williams, and Weather Report.

521.

Milkowski, Bill. 1996. “Jimi Hendrix: The Jazz Connection.” In The Jimi Hendrix Companion: Three Decades of Commentary. Chris Potash, ed. New York: Schrimer Books. xix, 239 p. Bibliography, Index, and Discography. ISBN: 9-78002864-609-1. LCCN: ML410 .H479 J57 1996.

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An essay original published in Down Beat, October 1982, that examines how Jimi Hendrix was at the forefront of a movement that gradually brought about the ultimate cross-pollination of rock and jazz. The essay relates Hendrix and Miles Davis with Bitches Brew as a landmark fusion work in 1970. But it argues that Hendrix as early as 1967 produced a revolutionary debut album in Are You Experienced. The essay also makes mention that there was some kind of collaboration that took place with Hendrix and Davis in the studio around the time of Davis’ album Filles de Kilimanjaro (recorded in 1968). 522.

Miller, John, and Randall Koral, eds. 1995. “Ferrari/Miles Davis.” In White Rabbit: A Psychedelic Reader. San Francisco, CA: Chronicle Books. xvi, 282 p. ISBN: 0-811-80666-9. LCCN: PN6071 D77 W48 1995. Writing on Miles Davis in a literary work on the topic of drug and narcotic use.

523.

Miller, Karl Hagstrom. 2012. “Miles Goes Acoustic.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. In this essay the author comments that in most writings of Miles Davis history, one key chapter/commentary is the dawn of the 1980s when Davis split his audience by going electric with a jazz-rock band. As a result, Davis’ career is often split off into pre- and post-Bitches Brew era. In this essay the author explains that Miles Davis did not go to electric but rather to acoustic and finds that Davis’ work in the 1980s was revolutionary.

524.

Miller, Michael Vincent. 2003. “The Aesthetics of Commitment: What Gestalt Therapists Can Learn From Cezanne and Miles Davis.” In Creative License: The Art of Gestalt Therapy. Margherita Spagnuolo Lobb and Nancy Amendt-Lyon, eds. Wein and New York: Springer. xv, 312 p. Bibliography, Index, and Illustrations. ISBN: 3-211-83901-1. LCCN: RC489 .G4 C74 2003. Explores creativity traditionally seen as a special gift of remarkable and exceptional personalities. Discussions of Miles Davis and other personalities are included in this volume to examine the concept of Gestalt therapy, a quality of spontaneous adaptation in interpersonal processes as well as an important ingredient of healthy social living.

525.

Mingus, Charles. 1971. Beneath the Underdog: His World as Composed by Mingus. Nel King, ed. Series: Borzoi Books. New York: Alfred A. Knopf. 365 p. ISBN: 9-780-39443-622-7. LCCN: ML410 .M6795 A3. In a lyrical and impressionistic memoir, jazz bassist Charles Mingus discusses his childhood in the Watts neighborhood of Los Angeles, California, during the 1920s and 1930s, his outcast adolescent years, his apprenticeship, and his golden years in New York City with such legendary figures as Duke Ellington, Lionel Hampton, Miles Davis, Charlie Parker, and Dizzy Gillespie.

Annotations of Books107

526.

Minor, William. 2004. Jazz Journeys to Japan the Heart Within. Ann Arbor, MI: University of Michigan Press. Series: Jazz Perspectives (Ann Arbor, MI). x, 369 p. Illustrations. ISBN: 9-780-47211-345-3. LCCN: ML305 .J3 M46 2004. Provides a musical history, cultural focus, and travel narrative about jazz and jazz musicians in Japan. The author examines the experiences of individual jazz musicians such as Toshiko Akiyoshi, Masahiko Satoh, Makoto Ozone, and Yosuke Yamashita. The book also discusses the influences of American jazz in Japan (and vice versa) such as John Coltrane, Miles Davis, Duke Ellington (The Far East Suite), Billie Holiday, and others.

527.

Minor, William. 1997. Monterey Jazz Festival: Forty Legendary Years. Santa Monica, CA: Angel City Press. 176 p. Illustrations. ISBN: 1-883-31840-8. LCCN: M657 .M64 1997. Provides insights into the forty-year historical legacy of the Monterey Jazz Festival that welcomed musicians Miles Davis, Dizzy Gillespie, Louis Armstrong, and many others.

528.

Monceaux, Morgan. 1994. “Miles Davis.” In Jazz: My Music, My People. New York: Knopf. 64 p. Illustrations. ISBN: 9-780-67985-618-4. LCCN: ML385 .M62 1994. A collection of biographical profiles of various jazz musicians published as appropriate reading for juvenile readers.

529.

Monson, Ingrid. 2007. Freedom Sounds: Civil Rights Call Out to Jazz and Africa. New York: Oxford University Press. xi, 402 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 9-780-19512-825-3. LCCN: ML3508 .M65 2007. Argues that jazz music and discourse about jazz during the civil rights era are inseparable from the racial politics of the time. Focuses on the music of many African American jazz musicians including Art Blakey, Clark Terry, Max Roach, Miles Davis, John Coltrane, and others.

530.

Monson, Ingrid. 2001. “Miles, Politics, and Image.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. Makes the argument that nothing seemed to cause more consternation in the late 1950s than Miles Davis’ stage demeanor. Davis’ refusal to announce tunes or introduce his band members and his habit of leaving the stage during the solos of his sidemen were, for some, signs of malice, and hostility for others. Davis was the ultimate embodiment of hipness. Those who admired Davis’ attitude found it political in nature, the ultimate refusal of Jim Crow and segregation in American society of the 1950s.

531.

Moody, Bill. 2008. Shades of Blue. Scottsdale, AZ: Poisoned Pen Press. 265 p. ISBN: 9-781-59058-485-9. LCCN: PS3563 .O552 S53 2008.

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A Miles Davis–inspired fiction that centers on a jazz pianist who stumbles on his deceased mentor’s dark secrets. The pianist investigates why the mentor had handwritten notes of jazz that he was never credited with. 532.

Moore, Jessica C. 2013. Sunlight Through Bullet Holes: Poems (That Will Live). Detroit: Moore Black Press. 169 p. Illustrations. ISBN: 9-780-61599-724-7. LCCN: PS3613 .O674 S86 2013. A collection of poems that are inspired by the jazz idiom, music of Miles Davis, and rock/funk singer Betty Davis, the former wife of Miles Davis.

533.

Morgan, Robert. 1993. “Visual Improvisations: The Art of Miles Davis.” In After the Deluge: Essays on Art in the Nineties. New York: Red Bass. Series: Red Bass, #16. 79 p. Illustrations. OCLC Number: 29375037. LCCN: N6490D .M674 1993. The inclusion of the visual art of Miles Davis intended to demonstrate this jazz musician’s creative ability beyond the confines of the jazz idiom.

534.

Morgenstern, Dan. 2007. “Miles in Motion.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-78142343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, September  3, 1970, as an interview with Miles Davis where Davis provides comments about his ideas about music. Davis points out he writes music to set a mood. Davis states that making music (performing or the creative process of writing) can go for hours— you play it and its finished. Once you resolve it there is nothing more to it. But when its open you can suspend. “Suspension” is a word Davis used frequently when talking about his music in sound and feeling.

535.

Morgenstern, Dan. 2004. “Miles Davis” and “Miles in Motion.” In Living With Jazz. Sheldon Meyer, ed. New York: Pantheon Books. xvii, 712 p. Index. ISBN: 0-375-42072-X. LCCN: ML3057 .M67 2004. A collection of essays, biographical profiles, and critical analysis. The collection includes commentary on Miles Davis as well as other topics—the work of jazz and musicians and an assessment of the role of jazz in contemporary culture and its influence on modern music.

536.

Morsbroich, Schloss, curator. 1990. Miles Davis: Artworks, 1987–1990. Leverkusen: Städtisches Museum Leverkusen, Schloss Morsbroich. 24 p. ISBN: 9-78392552-030-3. LCCN: ND237 .D3325 M55 1990. Catalog of an exhibition held at the Museum Morsbroich Leverkusen, Germany, October 10, 1990 to November 18, 1990. The exhibition was held during the eleventh Leverkusener Jazztage 1990, and on the occasion of the Miles Davis group concert on October 14, 1990, in Leverkusen.

537.

Morton, Brian. 2005. Miles Davis. London: Haus Publishing. Series: Life  & Times. 170 p. ISBN: 1-904-34178-0. LCCN: ML419 .D39 M77 2005.

Annotations of Books109

A biography that intently examines the career of Miles Davis as a musician, bandleader, and composer. Special emphasis is placed on Davis’ output of several of the most acclaimed and popular jazz albums. Sections of the book include “That Was the Sound,” “Too White for Me,” “Morpheus,” “Blue Haze,” “Post-Bird,” “Svengali,” “You’re Under Arrest,” “So What,” “The Prince of Darkness,” “Directions in Music,” “Extrasensory Perception,” “Black All Right,” “Time After Time,” and “Epilogue.” 538.

Moten, Fred. 2010. “Jeanne Moreau/Miles Davis” and “Miles Davis and Glynda White.” In B Jenkins. Durham, NC: Duke University Press. Series: Refiguring American Music. 112 p. ISBN: 9-780-82234-696-8. LCCN: PS3563 .O8867 B54 2010. A collection of poetry titled B Jenkins, named after the author’s deceased mother. The collection reflects language, music, performance, improvisation, the black aesthetic, and political tradition.

539.

Mortensen, Tore. 1977. Miles Davis: Den NY Jazz (Udviklingen i Miles Davis’ Musik Perioden 1969–1975). Arhus: Forlaget. vi, 155 p. Danish text. Bibliography, Index, and Discography. OCLC Number: 874552098. LCCN: ML419 .D39 M7. A comprehensive discography and critical work covering Miles Davis’ music between 1969 and 1975.

540.

Mour, Stanley I. 2014. Innovators of American Jazz. Berkeley Heights, NJ: Enslow. 112 p. Illustrations. ISBN: 9-780-76604-166-0. LCCN: ML3929 .M68 2014. Presents biographical profiles of Scott Joplin, Louis Armstrong, Duke Ellington, Benny Goodman, Dizzy Gillespie, Miles Davis, Charlie Parker, John Coltrane, and Wynton Marsalis.

541.

Mour, Stanley I. 1998. “Miles Dewey Davis, III/The Phoenix of Jazz.” In American Jazz Musicians. Springfield, NJ: Enslow. Series: Collective Biographies. 128 p. Juvenile Literature. Index, and Discography. ISBN: 0-766-01027-9. LCCN: ML3929 .M68 1998. A collection of biographies that include a profile of Miles Davis.

542.

Murphy, Chris. 2002. Miles to Go: Remembering Miles Davis. New York: Thunder’s Mouth Press. xviii, 250 p. Illustrations. ISBN: 1-560-25361-4. LCCN: ML419. D39 M87 2002. A biographical tribute to Miles Davis. The author was employed with Davis from 1973 to 1983, with a four-year hiatus from 1976 to 1980 as a technician, road manager, and personal assistant. In this book the author covers many Davis artistic, emotional, and physical struggles from an insider perspective. The author also discusses image and celebrity, music, and racism.

543.

Naitho, Tadauki. 1981. Miles: Photographs. Holsworthy, North Devon: Hidden Drive. Illustrations, [31] p. of plates, and Photographs. OCLC Number: 18111929. LCCN: ML419 .D39 N34 1981. A book that presents several images taken of Miles Davis.

110

544.

Annotations of Books

Nakayama, Yasuki. 2011. Mairusu Deivisu ‘Agaruta’ and ‘Pangea’ no Shinjitsu (Miles Davis: The Truth About Agharta and Pangaea). Tokyo: Kawade Shobō Shinsha. 212 p. Japanese text. Bibliography and Index. ISBN: 9-784-30927-241-2. OCLC Number: 752006840. Presents a biographical profile of Miles Davis and examines the recorded works Agharta and Pangaea.

545.

Nakayama, Yasuki. 2010. Mairusu no Natsu, 1969 (The Summer of Miles, 1969). Tokyo: Fusōsha. Series: Fusōsha Shinsho, No. 69. 193 p. Japanese text. Bibliography and Discography. ISBN: 9-784-59406-139-5. OCLC Number: 674435560. Examines the makings of Miles Davis’ Bitches Brew album.

546.

Nakayama, Yasuki. 2010. Mairusu buiesu Korutorēn (Miles Davis vs. Coltrane). Tokyo: Bungei Shunjū. Series: Bunshun Shinsho, No. 740. 255 p. Japanese text. ISBN: 9-784-16660-740-2. OCLC Number: 534436991. Discusses the life and works of jazz musicians Miles Davis and John Coltrane.

547.

Nakayama, Yasuki. 2000. Miles Davis Complete Discography. Tokyo: Futabasha. 113 p. Index and Illustrations. ISBN: 9-784-57529-161-2. LC Number: ML156 .7 .D4 M55 2000. A discography of recordings by Miles Davis that includes some color images of album covers.

548.

Nam, Mu-Sŏng. 2004. “Seven Steps to Heaven/Miles Davis.” In Jazz It Up! Sŏul-si: Koryŏwŏn Puksu. 3 vols. Korean: Ch‘op‘an text. Illustrations and CDs. ISBN: 9-788-99126-427-4. LCCN: PN6790 .K64 J39 2004. A jazz history book that is structured in a comic book format.

549.

Nanry, Charles, with Edgar Berger. 1979. The Jazz Text. New York: Van Nostrand. x, 276 p. Bibliography, Index, Illustrations [1] p. of plates, and Discography. ISBN: 0-442-25904-2. LCCN: ML3477 .N36. A book that covers the history of jazz and jazz musicians.

550.

Nauck, Gisela. 1999. “Helmut Oehring.” In Komponisten der Gegenwart: Loseblatt-Lexikon-Nachlieferung. Hanns-Werner Heister and Walter-Wolfgang Sparrer, eds. München: Edition text + Kritik. No ISBN. OCLC Number: 254769918. A dictionary article about German composer Helmut Oehring who was born to deaf parents. As a teenager he played jazz and rock guitar and was influenced by musicians such as Miles Davis, Jimi Hendrix, and Chet Baker. The article also explores how Oehring’s works draw uniquely on the physicality and physiognomy of sign language which was his first language. Bordering on social criticism, his music explores communication between individuals and obstacles to human discourse.

Annotations of Books111

551.

Needs, Kris. 2015. Dream Baby Dream Suicide: A  New York City Story. New York: Omnibus. Electronic Resource. ISBN: 9-781-78323-535-3. OCLC Number: 946509343. A fiction about a jazz band formed by Alan Vega and Martin Rev. The book tells the story of suicide with New York City as a backdrop as Martin Rev studies with jazz greats such as Lennie Tristano and his hero Miles Davis and drummer Tony Williams.

552.

Nelson, Don. 1995. “Bill Evans,” In Down Beat: 60 Years of Jazz. Frank Alkyer, ed. Milwaukee, WI: Hal Leonard. 270 p. Illustrations and Photographs. ISBN: 0-79353491-7. LCCN: ML3506 .D68 1995. An article that was originally published in Down Beat magazine, September 1, 1960, that presents an interview with the white jazz pianist Bill Evans who was part of Miles Davis’ ensemble and who collaborated with Davis on the Kind of Blue album. In the interview Evans discusses his work and friendship with Miles Davis. Evans commented on his experience of living in the North as opposed to the South. He states that there was a kind of freedom. The dialogue between African Americans and whites was friendly and even intimate, and he mentioned this to Miles Davis when they worked together.

553.

New Visions Disk Jockey Show. 2009. “Excerpts From VH1’s Video Hits 1: New Visions Disk Jockey Show, Guest DJs: Miles Davis, David Sanborn, and Joe “Foley” McCreary.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. Interviews with Miles Davis that appeared on New Visions Disk Jockey Show airing on MTV’s sister channel VH1 which had occasionally shown one of Davis’ videos and was a two-hour program that Davis co-hosted. Topics include: “Miles on the Video for ‘Tutu’ ”; “Miles on Herbie Hancock”; “Miles on Prince”; “The Video for Decoy”; “Miles on Drawing the Female Form”; and “Miles on His Band.”

554.

Nicholson, Stuart. 2002. “Fusions and Crossovers.” In The Cambridge Companion to Jazz. Cambridge: Cambridge University Press. Series: Cambridge Companions to Music. xxii, 403 p. Bibliography, Index, and Illustrations. ISBN: 9-780-52166-388-5. LCCN: ML3506 .C29 2002. Argues that fusion and genres crossovers have been part of the history of jazz from its beginning. One of the most crucial periods for this type of crossover occurred during the 1960s when social and musical crises were marked by the emergence of appropriation of rock. Also argues that some arenas of jazz-rock that have been considered marginal are worthy of more attention including the influence of Jimi Hendrix on Miles Davis, the innovation of Weather Report, and the work of Herbie Hancock. The impact of fusion extends to contemporary “post-modern” figures such as John Zorn and “global music fusion.”

112

555.

Annotations of Books

Nicholson, Stuart. 1998. Jazz Rock: A History. New York: Schrimer Books. xviii, 454 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0028646797. LCCN: ML3506 .N52 1998. Examines three decades of musical innovation and the marriage between jazz and rock music. Begins with many influences such as the Beatles and the British Invasion on American popular culture and how the unexpected rise of jazz-rock in the 1960s such as Larry Coryell and Blood, Sweat, and Tears. Argues the catalyst for change came in 1969 when Miles Davis leaped into the fray with the seminal album Bitches Brew. Concludes that Davis’ bands were a breeding ground for players who moved the music forward.

556.

Nielsen, Steen.1967. Om Jazz: Baggrund og Udvikling (On Jazz: Background and Development). København, Denmark: Wilhelm Hansen. Series: Wilhelm Hansen Musik-og Studie-Bibliotek. 88 p., [4] p. of plates. OCLC Number: 27474845. LCCN: ML3561 .J3N497. Focuses on African American history, music, and folk forms such as work songs, blues, ring shout, gospel songs, spirituals, ragtime, boogie woogie, and brass band music. Includes a discussion of approximately eighty musicians that include Fletcher Henderson, Sidney Bechet, Earl Hines, Fats Waller, Coleman Hawkins, Count Basie, Benny Goodman, Miles Davis, Stan Kenton, Art Blakey, and Lennie Tristano.

557.

Nisenson, Eric. 2000. Open Sky: Sonny Rollins and His World of Improvisation. New York: St. Martin’s Press. xvi, 216 p. Bibliography. ISBN: 0-312-25330-3. LCCN: ML419 .R64 N57 2000. Tenor saxophonist Sonny Rollins performed and recorded with Miles Davis on several albums. Rollins reveals aspects of his career, work with Miles Davis and other musicians, and other experiences.

558.

Nisenson, Eric. 2000. The Making of Kind of Blue: Miles Davis and His Masterpiece. New York: St. Martin’s Press. xv, 236 p. Bibliography and Index. ISBN: 0-312-26617-0. LCCN: ML419.D39 N58 2000. Delves into many major facets of Miles Davis’ recording and compositional makeup of Kind of Blue, one of the most significant works in jazz and popular music history. Examines how Davis’ recording originated. Through extensive interviews and access to rare recordings, this work pieces together the entire story of the Kind of Blue recording session. Also covers Davis’ musical evolution and contribution to jazz.

559.

Nisenson, Eric. 1996. “Miles Down the Road.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419. D39 75 1996. The author provides an account of Miles Davis’ 1975–1981 period of seclusion. Davis’ poor health in the 1970s made concertizing increasingly difficult. After his

Annotations of Books113

June 1975 New York concert at Lincoln Center, Davis again had to withstand hip surgery for which he was hospitalized for a long period of time. After release and lengthy convalescence, Davis himself was uninterested in playing the trumpet or leading a band which he had done virtually nonstop for approximately thirty years. Instead Davis turned his attention to playing the piano and other pursuits. During this period Davis’ favorite music was that of James Brown, Karlheinz Stockhausen, and Giacomo Puccini’s opera, Tosca. These three composers, the author maintains, are indicative the rhythmic and complex lyrical sides of Davis’ musicianship. Although Davis had hoped to record selected arias from Tosca with orchestrations by Gil Evans, as of 1982 the collaborations had not been recorded. 560.

Nisenson, Eric. 1996. ’Round About Midnight: A  Portrait of Miles Davis. New York: Da Capo Press. xxxiii, 302 p. Index and Discography. ISBN: 0-306-80684-3. LCCN: ML419.D39 N6 1996. An updated edition biographical portrait and tribute to Miles Davis. This edition includes a new preface, new material on Davis in the 1980s, and a recommended listening section. The author also describes events of 1975–1981 when Davis was temporarily retired from music.

561.

Nisenson, Eric. 1983. ’Round About Midnight: Un Portrait de Miles Davis (’Round About Midnight: A  Portrait of Miles Davis). Translated by Mimi Perrin. Paris: Denoël. 189 p. French text. ISBN: 9-782-20722-872-2. OCLC Number 31599686: A French translation of the author’s biographical portrait and tribute to Miles Davis.

562.

Nisenson, Eric. 1985. ’Round About Midnight: Ein Portrait von Miles Davis (’Round About Midnight: A Portrait of Miles Davis). Translated by Walter Richard Langer. Wein: Hannibal. 189 p. German text. [16] p. of plates. ISBN: 9-78385445-021-4. OCLC Number 35807844. A German translation of the author’s biographical portrait and tribute to Miles Davis.

563.

Nisenson, Eric. 1982. ’Round About Midnight: A  Portrait of Miles Davis. New York: Dial. xi, 244 p. Index, Illustrations, and Discography. ISBN: 0-385-27232-4. LCCN: ML419 .D39 N6 1982. A biography that focuses on the Miles Davis’ career from his East St. Louis influences to associations with Charlie Parker, Gil Evans, and numerous other artists. Also includes details about Davis’ role as a bandleader and proponent of change, and contributions to jazz.

564.

Nissola, Gianfranco. 2010. Miles Davis: Principe delle Tenebre. Pisa: ETS. 250 p. Italian text. Bibliography, Index, and Illustrations. ISBN: 9-788-84672-733-9. LCCN: ML419.D39 N57 2010. A biography and chronological retrospective of the life and career of Miles Davis. Sections of the book include “Alton, Illinois,” “East St. Louis,” “New York, the Empire State,” “Boplicity,” “Springsville,” “Maids of . . . My Life,” “The Duke-My

114

Annotations of Books

Ship,” “Miles Ahead,” “Blues for Pablo,” “Porgy and Bess,” “Orgone, Gone, Gone, Gone, Summertime,” “Kind of Blue,” “African Trilogy,” “In a Silent Way,” “Da ‘Big Fun’ a Pangaea. . . E poi?,” “On the Corner,” “We Want Miles: Tutu,” “Amandla e Doo Bop,” and “The Pan Piper vs. Solea.” 565.

Noriyoshi, Koyama, and Makoto Hata. 1983. Mariusu Deibisu=Miles Davis: Dare mo Shiranakatta Teiō no Sugao (Miles Davis: The Man Behind the Legend). Tokyo: Henshu Nakko Kabushiki Kaisha Sukora. One Volume. Japanese text. Illustrations, and Portraits. ISBN: 9-784-06101-701-6. OCLC Number: 44765930. A biographical portrait of Miles Davis.

566.

Nurmi, Mikko. 2010. “Blues by Five,” “Blue in Green,” “So What,” and Freddie Freeloader.” In The Music of Paul Chambers. North Charleston, NC: Create Space Independent Publishing Platform. 120 p. Bibliography, and Music Examples. ISBN: 9-781-45388-724-0. LCCN: ML418 .C445 .N974 2010. A comprehensive analysis of the style of jazz bassist Paul Chambers who was a member of Miles Davis’ ensembles and recorded with Miles Davis on the Kind of Blue album. Includes full-length transcriptions of Davis’ compositions as well as theory exercises and insights into Paul Chambers’ style.

567.

O’ Brien, Glenn. 2013. The Cool School: Writing From America’s Hip Underground. New York: Library of America. xix, 471 p. Bibliography. ISBN: 9-78159853-256-2. LCCN: PS688 .C66 2013g. A collection of essays, memoirs, poems, letters, and other writings. The author provides an insight into sciences and tribes that gave birth to cool—the world of jazz, of disaffected postwar youths, racially and sexually excluded. Includes excerpts from the book Miles: The Autobiography.

568.

O’ Brien, Timothy J., and David Ensminger. 2013. Mojo Hand: The Life and Music of Lightnin’ Hopkins. Austin, TX: University of Texas Press. xii, 272 p. Bibliography, Index, Illustrations, and Portraits. ISBN: 9-780-29274-515-5. LCCN: ML420 .H6357 O27 2013. A biography of blues guitarist Lightnin’ Hopkins, renowned for his songs whose topics ranged from African American roots to space exploration, the Vietnam War, and love. Explores how Hopkins’ music directly and indirectly influenced a range of artists including Jimi Hendrix, Stevie Ray Vaughan, Miles Davis, John Coltrane, Bob Dylan, and many others.

569.

Okyay, Sevin. 2011. Altin Jazz Klasikleri 2. Istanbul: Doğan Burda Dergi. 48 p. Turkish text. Illustrations, Photographs, and CD-ROM. OCLC Number: 761381960. LCCN: ML3506 .A47 2001 EK1. A jazz music appreciation source that includes biographical profiles on Duke Ellington, Ella Fitzgerald, Miles Davis, Dizzy Gillespie, Count Basie, Sarah Vaughan, Louis Armstrong, Ray Charles, and Shirley Bassey.

Annotations of Books115

570.

Olatunji, Babatunde, with Robert Atkinson. 2005. The Beat of My Drum: An Autobiography. Philadelphia, PA: Temple University Press. vii, 247 p. Index and Photographs. ISBN: 9781592133543. LCCN: ML419 .O385 A3 2005. A book that primarily focuses on African drummer Babatunde Olatunji’s experiences in the United States promoting the healing powers of the drum and the importance of African cultures. Discusses Olatunji’s experiences with many noted figures such as Martin Luther King, Jr., the Beatles, Bob Dylan, Miles Davis, Max Roach, Pete Seeger, Alvin Ailey, and others.

571.

Oliver, Steger, and Peter Friedl. 2008. Jazz für Kinder: Carla Lernt Instrumente, Interpreten un Musikstile Kennen. Wein: Betz. 29 p. Illustrations and CD. ISBN: 9-783-21911-357-0. OCLC Number: 61161193. A book that defines the jazz idiom in many different aspects: harmony, style, improvisation, big band, bop, ragtime, and free jazz. Provides profiles of several musicians including Miles Davis, Ella Fitzgerald, and Duke Ellington.

572.

Olmstead, Andrea. 1999. Juilliard: A History. Urbana, IL: University of Illinois Press. Series: Music in American Life. 368 p. Bibliography and Index. ISBN: 0-252-02487-7. LCCN: MT4 .N5 J846 1999. A comprehensive history of the Juilliard School. Influential alumni such as Rosina Lhevinne, Richard Rodgers, Van Cliburn, Miles Davis, Leontyne Price, and many others are discussed.

573.

O’ Reilly, Daragh. 2010. “Musings From Miles: What Miles Davis Can Tell Us About Music and Marketing.” In Marketing the Arts: A Fresh Approach. Daragh O’ Reilly and Finola Kerrigan eds. New York and London: Routledge. xvii, 305 p. Bibliography, Index, and Illustrations. ISBN: 9-780-41549-685-8. LCCN: NX634 .M38 2010. Presents a paradigm of Miles Davis and marketing techniques. This book provides ways to study and practice arts marketing, moving away from traditional managerial marketing to embrace other areas of marketing theory, including branding and consumer culture theory.

574.

Orr, Tamra. 2013. Miles Davis. Hockessin, DE: Mitchell Lane Publishers. Series: American Jazz. 47 p. Juvenile Literature. Illustrations. ISBN: 9-781-61228-265-7. OCLC Number: 779607265. A biography of the life, music, and career of Miles Davis appropriate for young readers.

575.

Overton, Ron. 1994. “Miles Ahead (Miles Apart).” In Hotel Me: Poems for Gil Evans and Others. Brooklyn, NY: Hanging Noose Press. 78 p. ISBN: 9-78188241-308-9. LCCN: PS3565 V.436 H67 1994. A collection of poetry that includes a tribute to Miles Davis.

116

576.

Annotations of Books

Owen, Frank, and Simon Reynolds. 1996. “Why Hendrix Still Matters.” In The Jimi Hendrix Companion: Three Decades of Commentary. Chris Potash, ed. New York: Schrimer Books. xix, 239 p. Bibliography, Index, and Discography. ISBN: 9-780-02864-609-1. LCCN: ML410 .H479 J57 1996. An article originally published in Spin magazine, April 1991, on the profound impact Jimi Hendrix had on Miles Davis’ late 1960s and early 1970 works.

577.

Owens, Thomas. 1995. Bebop: The Music and Its Players. New York: Oxford University Press. xvi, 323 p. Bibliography and Index. ISBN: 0-195-05287-0. LCCN: ML3506 .O95 1995. Combines portraits and analysis of bebop’s personalities that include Charlie Parker, Dizzy Gillespie, and Miles Davis. This book offers insight into the key bebop players and their innovations.

578.

Owsley, Dennis. 2006. “The War Years: Jimmy Blanton, Miles Davis’ St. Louis Years and the Inception of Jazz Radio in St. Louis (1939–1949).” In City of Gabriels: The History of Jazz in St. Louis, (1895–1973). Foreword by Clark Terry. St. Louis, MO: Reedy Press. vii, 200 p. Illustrations. ISBN: 9-781-93370-04-0. LCCN: ML3508.8 .S7 097. A compilation published in conjunction with an art exhibit on jazz in St. Louis, in the History of Jazz Gallery, September 2006–June 2007, organized by the Sheldon Art Galleries, St. Louis, Missouri.

579.

Palmer, Colin A., ed. 2006. Encyclopedia of African American Culture and History: The Black Experience in the Americas. Detroit: Macmillan Reference USA. Series: Gale Virtual Reference Library. 6 vols. lxxxvi, 2746 p. Appendices, Bibliography, Index, Illustrations, and Maps. ISBN: 9-780-02865-816-2. LCCN: E185 .E54 2006. A profile of Miles Davis is included in this reference source that incorporates historical essays and thematic pieces to define the cultural roots and participation of distinguished individuals in African American.

580.

Palmer, Rob. 2012. Mr. P. C.: The Life and Music of Paul Chambers. Sheffield and Bristol, CT: Equinox. Series: Popular Music History. x, 430 p. Illustrations. ISBN: 9-781-84553-636-7. LCCN: ML418 .C56 P35 2012. Double bassist Paul Chambers performed with Miles Davis’ ensembles and on several seminal recordings including Kind of Blue. This is a biography of Chambers’ life, career, and musical experience working with musicians such as Miles Davis.

581.

Palmer, Robert. 2009. “Liner Notes for Kind of Blue.” In Blues  & Chaos: The Music Writing of Robert Palmer. Anthony DeCurtis, ed. New York: Schribner. xxiv, 452 p. Index. ISBN: 9-781-41659-974-6. LCCN: ML60 .P1455 2009. Previously published set of articles and writings by music critic Robert Palmer. Included are Palmer’s liner notes for Miles Davis’ Columbia/Legacy re-release of the album Kind of Blue in 1997.

Annotations of Books117

582.

Palmer, Robert. 2009. “The Dominion of the Black Musician.” In Blues & Chaos: The Music Writing of Robert Palmer. Anthony DeCurtis, ed. New York: Schribner. xxiv, 452 p. Index. ISBN: 9-781-41659-974-6. LCCN: ML60 .P1455 2009. A previously published article that appeared in Rolling Stone, July 26, 1979. Argues that jazz has always been an experimental music and the most important players who have moved the music forward have been black. There have also been great white jazz musicians such as Bix Beiderbecke in the 1920s and Charlie Haden in the 1970s, but no white player or composer has moved the music forward as radically or effectively as Louis Armstrong, Duke Ellington, Lester Young, Charlie Parker, Miles Davis, John Coltrane, and Ornette Coleman.

583.

Palmer, Robert. 1980. “Jazz Rock.” In The Rolling Stone Illustrated History of Rock & Roll. Jim Miller, ed. New York: Rolling Press. 474 p. Index, Discography, and Illustrations. ISBN: 9-780-39473-938-0. LCCN: ML3534 .R754 1980. An informative essay about jazz-rock fusion in which the author provides historical details that the style began with a number of rock bands who incorporated brass sections including the Electric Flag; Blood, Sweat, and Tears; and Chicago. Other musicians who were listening to rock during the 1960s were influenced by Jimi Hendrix’s innovative mix of electronics and Sly Stone’s elaborate rhythmic structures. Successful jazz-rock crossovers, the genre became known as “fusion” launched by Miles Davis, Tony Williams, John McLaughlin and the Mahavishnu Orchestra, Weather Report with Wayne Shorter and Joe Zawinul, Chick Corea’s Return to Forever, and Herbie Hancock.

584.

Papademetriou, Sakis. 1979. Temate kai Prosopa tes Sychronis Taz: 1950–1970 (Themes and Persons of Contemporary Jazz: 1950–1970). Thessaloniki, Greece: Daigonios. Series: Aeira Autoschediasmos. 125 p. Greek text. Portraits. No ISBN. OCLC Number: 221710753. Biographical profiles describe leading figures in jazz, emphasizing the work of Miles Davis and Charles Mingus. Discusses soul music, improvisation, and the Modern Jazz Quartet.

585.

Parent, Emmanuel. 2014. Great Black Music. Paris: Actes Sud: Cité de la Musique. 235 p. Bibliography, Maps, and Illustrations. ISBN: 9-782-33002-842-8. LCCN: ML3470 .G73 2014g. Published as a supplementary document as part of an exhibit on African American musicians held on March 11 to August 24, 2014, at the Musée de la Musique, Paris, France.

586.

Paringaux, Philippe. 2012. “Miles Davis: Bitches Brew.” In It’s Only Rock ‘n’ Roll et Autres Bricoles (It’s Only Rock ‘n’ Roll and Other Things). Marseille: Mot et le Reste. Series: Attitudes (Marseille, France). 505 p. French text. ISBN: 9-78236054-041-9. LCCN: ML3534 .P3676 2012. An essay that discusses Miles Davis’ recording of Bitches Brew.

118

587.

Annotations of Books

Paringaux, Philippe. 2012. “Miles et les Autres (Miles and the Others).” In It’s Only Rock ‘n’ Roll et Autres Bricoles. Marseille: Mot et le Reste. Series: Attitudes (Marseille, France). 505 p. French text. ISBN: 9-782-36054-041-9. LCCN: ML3534 .P3676 2012. A reprint of an article that provides recollections of Miles Davis in Paris, France, 1969.

588.

Park, Jeff. 2011. The Cellophane Sky: Jazz Poems. Regina, SK: Hagíos Press. 79 p. Portraits. ISBN: 9-781-92671-009-9. LCCN: P235 J44c 2011. A collection of poems that delves into the remarkable world of jazz. This volume allows the reader into the vitality of music greats as Duke Ellington, Charlie Parker, Miles Davis, Count Basie, and many more.

589.

Pauer, Fritz. 2003. “Die Zigeunermusik und ihr Einfluss auf die Jazz Musik (Gypsy Music and Its Influence on Jazz).” In Musik de Romain Burgenland Referate des Internationalen Workshop-Symposions Einsenstadt, 5–6 Oktober 2001. Gerhard J. Winkler, ed. Series: Wisseschaftliche Arbeiten aud dem Burgenland, No. 108. Eisenstadt, Austria: Burgenländisches Landesmuseum. 112 p. Bibliography and Music Examples. ISBN: 9-783-85405-147-3. LCCN: ML3586 .7 .B8 M86 2003g. An essay that examines the Gypsy music, musicians, and specific characteristics of intonation and color. Argues that the Gypsy style of intonation is possible on instruments such as the violin and guitar, both preferred instruments of Gypsy musicians. The influence of Gypsy scales on jazz is documented using examples from three musicians: Django Reinhardt, Miles Davis, and Karl Ratzer.

590.

Pavlić, Edward M. 2001. Paraph of Bone & Other Kinds of Blue: Poems. Philadelphia, PA: African Poetry Review. xiv, 75 p. ISBN: 0-966-33957-6. LCCN: PS3616 .A85 P37 2001g. A collection of poetry in which the author intimately ties lyrical verses to the Miles Davis Quintet and other prominent figures in black music.

591.

Pepperell, David. 1986. B Flat, Bebop, Scat: Jazz Short Stories and Poems. Chris Parker, ed. London: Quartet. 185 p. Illustrations. ISBN: 9-780-70432-568-5. LCCN: PR1111 .J382 1986. A jazz-inspired literary collection that includes a poetic tribute to Miles Davis.

592.

Perchard, Tom. “Cool Going Cold: Miles Davis and Ascenseur pour l’ Échafaud.” In After Django: Making Jazz in Postwar France. Ann Arbor, MI: University of Michigan Press, 2015. Series: Jazz Perspectives (Ann Arbor, MI). 297 p. Bibliography and Index. ISBN: 9-780-47205-242-4. LCCN: ML3509 .F7 P47 2015. A retrospective of jazz, postwar France. The book explores the ways French musicians and critics received and remade American music according to their own cultural concerns. Also addresses questions about how French musicians and

Annotations of Books119

critics interpreted jazz. Includes discussions about André Hodeir, Barney Wilen, Thelonious Monk, and Miles Davis and his work on the score of the French film Ascenseur pour l’ Échafaud. 593.

Perjrolo, Andrea. 2008. “Miles Davis a European Jazz Artist From Illinois: A Historical and Musical Analysis of Davis’ European Collaborations and Interplays That Shaped Jazz Style From 1940 to 1991.” In Traveling Sounds: Music, Migration, and Identity in the U.S. and Beyond. Wilfried Raussert and John Miller Jones, eds. Berlin, Münster: LIT; New Brunswick, NJ: Transaction. Series: Transnational and Transatlantic Studies, No. 8. 356 p. Illustrations and Music Examples. ISBN: 9-783-82581-328-4. LCCN: ML200 .T73 2008. An ethnomusicological collection of essays on different ways music is transmitted through sound in local and global spaces. The essay focuses on Miles Davis’ influences of sound transmission in local and global spaces through jazz recordings and performances.

594.

Perlman, Alan M., and Daniel Greenblatt. 1981. “Miles Davis Meets Noam Chomsky: Some Observations on Jazz Improvisation and Language Structure.” In The Sign in Music and Literature. Wendy Steiner, ed. Austin, TX: University of Texas Press. Series: The Dan Danciger Publication. 237 p. Bibliography and Illustrations. ISBN: 0-292-77563-6. LCCN: NX180 .S46 S53. A scholarly collection of essays on semiotics and the arts. The essay that focuses on Miles Davis relates to theoretical concepts that harmonic and melodic constraints under an improvised jazz solo are in many ways analogous to the stylistic constraints of natural language. Argues that command of the principle of syntax (deep structure and harmony, lexicon, surface structure, and melodic line), sustainability, style, and semantics is equivalent to linguistic competence, executing ideas according to these principle corresponds to linguistic performance.

595.

Perry, David. 1996. Jazz Greats. London: Phaidon. Series: 20th Century Composers. 240 p. Index, Discography, and Illustrations. ISBN: 0-714-83204-9. LCCN: ML385 .P47 1996. Biographical profiles of prominent jazz musicians. The profiles of jazz musicians deemed as “great” and comments about choices are presented. These include Buddy Bolden, Louis Armstrong, Sidney Bechet, Duke Ellington, Lester Young, Charlie Parker, Miles Davis, Charles Mingus, John Coltrane, Ornette Coleman, Wynton Marsalis, and Keith Jarrett.

596.

Pettinger, Peter. 1998. Bill Evans: How My Heart Sings. New Haven, CT: Yale University Press. xiii, 346 p. Bibliography, Index, Discography, and Portraits. ISBN: 0-300-07193-0. LCCN: ML417 .E9 P53 1998. Examines jazz pianist Bill Evans’ recordings sessions, compositional processes, concerts, club dates, and collaborators including Miles Davis, bassist Scott LaFaro, drummer Paul Motian, and guitarist Jim Hall. Also includes details on Evans’ life and writings in jazz.

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597.

Annotations of Books

Piazza, Tom. 2005. Understanding Jazz: Ways to Listen. New York: Random House. xvii, 201 p. Illustrations and CD. ISBN: 1-400-06369-8. LCCN: MT416 .P53 2005. A teaching and informational source on the musical contributions of Miles Davis and other musicians.

598.

Piras, Marcello. 2015. Dentro le Note: Il Jazz al Microscopio. Roma: Arcana. Series: Arcana Jazz. 240 p. Italian text. ISBN: 9-788-86231-809-9. LCCN: ML3509 .P57 2015g. A collection of articles written by Marcello Piras from 1983 to 1995 for the publication Musica Jazz. In the articles Piras guides the readers and listeners toward discovering and understanding of compositions such as “Moon Indigo” (Duke Ellington), “Fables of Faubus” (Charles Mingus), “Peace” (Ornette Coleman), “Country Song” (Miles Davis), “Africa” (Coltrane), “Cubana Be-Cubano Bop” (Dizzy Gillespie), and others.

599.

Piumini, Roberto, Fabio Magnasciutti, and Claudio Comini. 2011. Miles Davis: “I Giochi di Miles”. Milano: Curci. Series: Curi young; Lefiabre del Jazz. 31 p. Italian text. Juvenile Literature. Illustrations and CD. ISBN: 9-788-86395-0953. OCLC Number: 898506632. A biographical profile of Miles Davis prepared for younger readers.

600.

Poledňák, Ivan. 1964. Kapitolky Ø Jazzu. Praha: Statni Hudenbi Vydavatelstvi. 186 p. Czech text. Illustrations and [10] p. of plates. OCLC Number: 42105218. LCCN: ML3506 .P6 1964. Includes a glossary of terms and concepts, followed by discussion of blues, modern jazz, improvisation elements (form, rhythm, melody, harmony, and instrumentation). Presents biographical profiles that include Jelly Roll Morton, Louis Armstrong, Duke Ellington, Count Basie, Benny Goodman, Lester Young, Charlie Parker, Stan Kenton, Miles Davis, John Lewis, and Art Blakey.

601.

Polillo, Arrigo. 1975. Jazz La Vicenda e i Protagonisti della Musica Afro-Americana. Milano: Mondadori. 782 p. Bibliography, [24] p. of plates, Index, and Photos. OCLC Number: 955443451. LCCN: ML3561 .J3 P539. An extensive compilation that covers the history and biographical portraits of individuals. The history focuses on evolution, styles, and significant artists. The portraits cover musicians Louis Armstrong, Bix Beiderbecke, Charlie Christian, Ornette Coleman, John Coltrane, Miles Davis, Roy Eldridge, Duke Ellington, Ella Fitzgerald, Benny Goodman, Fletcher Henderson, Billie Holiday, Stan Kenton, John Lewis, Charles Mingus, Thelonious Monk, Jelly Roll Morton, Joe King Oliver, Bud Powell, Django Reinhardt, Sonny Rollins, Art Tatum, and Fats Waller.

602.

Porter, Eric. 2001. “It’s About That Time:” The Response to Miles Davis’ Electric Run.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis,

Annotations of Books121

MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. Presents an overview of Miles Davis’ innovations in fusion, electric jazz, and avant-garde jazz. Examines Davis’ uses of blues with elements from rock, funk, and soul as well as Afro-Brazilian rhythms, and South Asian instrumentation and ideas from composers such as Paul Buckmaster and Karlheinz Stockhausen. 603.

Porter, Lewis. 2000. “John Coltrane.” In Oxford Companion to Jazz. Bill Kirchner, ed. Oxford and New York: Oxford University Press. xi, 852 p. Bibliography and Index. ISBN: 9-780-19518-359-7. LCCN: ML3507 .O94 2000. An essays that presents an overview of the life of John Coltrane including his work with Miles Davis and Thelonious Monk, the performances and recordings of his own groups such as A Love Supreme (1965), and his interest in mysticism and the music of cultures of India and Africa.

604.

Porter, Lewis. 1998. “Turning Point: Monk and Miles,” “Back With Miles,” and “Giant Steps and Kind of Blue.” In John Coltrane: His Life and Music. Ann Arbor, MI: University of Michigan Press. Series: Michigan American Music. xvii, 409 p. Bibliography, Index, Appendix, and Illustrations. ISBN: 0-472-10161-7. LCCN: ML419 .C645 P65 1998. A detailed biography of John Coltrane constructed from materials including interviews, photos, genealogical documents, and innovative analysis. Include several discussions of the collaborations between Coltrane, Miles Davis, Thelonious Monk, and other jazz musicians.

605.

Porter, Lewis, Michael Ullman, and Ed Hazell, eds. 1993. “Miles Davis, Gil Evans, and the Birth of the Cool.” In Jazz: From Its Origin to the Present. Englewood Cliffs, NJ: Prentice Hall. ix, 495 p. Illustrations. ISBN: 9-780-13512-195-5. LCCN: ML3506 .P66 1993. A resourceful book that provides details about history, musicians, style, compositions, and trends in jazz. A section of this book includes discussions about the collaborations of Miles Davis and Gil Evans, and the emergence of cool jazz and other topics.

606.

Postif, François. 2010. “John Coltrane: An Interview.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. John Coltrane gave several interviews on November 18, 1961, in Paris, France. He shares details about his life, music, struggles, collaborations with Miles Davis, and other topics.

607.

Prahlad, Anand, ed. 2006. The Greenwood Encyclopedia of African American Folklore. Westport, CT: Greenwood Press. 3 vols. xl, 1557 p. Bibliography, Index, and Illustrations, ISBN: 0-313-33035-2. LCCN: GR111 .A47 2006.

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A biographical profile of Miles Davis is included in this multi-volume reference source that provides informational entries on African American history, cultural traditions, and significant figures that have contributed to African, African American, and Diaspora heritages. 608.

Prendergast, Mark J. 2003. The Ambient Century: From Mahler to Trance: The Evolution of Sound in the Electronic Age, New ed. New York: Bloomsburg. xii, 510 p. Bibliography, Discography, Index, [16] p. of plates, and Illustrations. ISBN: 1-582-34134-6. LCCN: ML 197. P76 2003. A collection of biographical essays that reveal a drift in twentieth-century music. The collection expands classical music ideologies to revolutions inaugurated by musicians such as Karlheinz Stockhausen, John Cage, and Miles Davis.

609.

Priestley, Brian. 1987. John Coltrane. London: Apollo. Series: Jazz Masters. 96 p. Index and Illustrations. ISBN: 0-948-82002-0. LCCN: ML419 .C645 P7 1987. A biographical profile of John Coltrane’s earliest years in North Carolina through his association with Miles Davis and Thelonious Monk, and his progression to fame.

610.

Priestley, Brian. 1984. Charlie Parker. Turnbridge Wells: Spellmount; New York: Hippocrene Books. Series: Jazz Masters (Turnbridge Wells, England). 96 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-882-54906-5. LCCN: ML419 .P4 P7 1984. Covers the life of Charlie Parker in his musical transformation from Kansas City to his associations with musicians as Earl Hines, Dizzy Gillespie, and Miles Davis. Parker’s drug addiction is chronicled. Also contains photographs of telegrams that Parker sent to Chan Parker and analysis of his style.

611.

Putschögl, Gerhard. 1991. Ory’s Creole Trombone, Erste “Schwarze” Jazzschallplatten-Aufnahme, Improvisations of Wes Montgomery, Typologie vbon Ragtime-Rhythmen, Literatur zu Miles Davis. Graz Akad: Druck-u-Verlagsanst. Series: Jazzforschung, 23. 213 p. German text. ISBN: 9-783-20101-565-6. OCLC Number: 608681846. A critical study of the works and improvisations of Kid Ory, Wes Montgomery, and Miles Davis.

612.

Quellette, Dan. 2014. “The Miles Years.” In Ron Carter: Finding the Right Notes. Foreword by Nat Hentoff. New York: Retrac Productions. Previously published by ArtistShare, 2008. viii, 435 p. Index, Illustrations, and Discography. ISBN: 9-780-61526-526-1. LCCN: ML418 .C35 O842 2014. Presents the story of jazz bassist Ron Carter’s early experience in the 1950s when as an aspiring classical cellist/bassist his dreams were crushed when renowned conductor Leopold Stokowski told him that symphony audiences were not ready for African American players. Rather than dwell in defeat Carter chose to focus

Annotations of Books123

on jazz bass and went on to become the innovator who Miles Davis dubbed as the “anchor” of his classic 1960s quintet. 613.

Quersin, Benoît. 2010. “Interview With John Coltrane.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An interview that was conducted during the summer of 1961. John Coltrane discusses how Miles Davis influenced his concepts of melodic freedom, modal, and scalar work.

614.

Raab, Lawrence. 2003. “Miles Davis on Art.” In Visible Signs: New and Selected Poems. New York: Penguin Books. Series: Penguin Poets. xvi, 188 p. ISBN: 9-87014200-269-8. LCCN: PS3568 .A2 V57 2003. A collection of poetry that includes a tribute to Miles Davis.

615.

Radano, Ronald. 1998. “Jazz Since 1960.” In The Cambridge History of American Music. David Nicholls, ed. Cambridge: Cambridge University Press. xv, 637 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 0-521-45429-8. LCCN: ML200 .C36 1998. Essay that examines postwar jazz including modernist innovations, free improvisations, and fusions. Leading innovators include Cecil Taylor, Ornette Coleman, and John Coltrane as well as artists associated with the Chicago-based Association for the Advancement of Creative Musicians (AACM). Fusion artists including Miles Davis and Weather Report flourished in the 1960s and 1970s after which time jazz was perceived to enter a period of crisis (1975–1980). Argues that the elusive definition of jazz during this period is reflected in the rise of Anthony Braxton’s career. The 1980s brought efforts to reverse the decentering process of the post-fusion of the period of neoclassicism in the 1980s epitomized by the work of Wynton Marsalis.

616.

Ramsey, Douglas. 1989. Jazz Matters: Reflections on the Music and Some of Its Makers. Foreword by Gene Lees. Fayetteville, AK: University of Arkansas Press. Series: Irwin K. Carson Collection. xxi, 314 p. Biography, Discography, and Index. ISBN: 9-781-55728-060-2. LCCN: ML 3507. R29 1989. A collection of essays, articles, profiles, and reviews about jazz, some of which were published in Texas Monthly, Radio Free Jazz, Jazz Times, Smithsonian, and Down Beat, or as liner notes. The essays are concerned with social-musical issues and profiles cover backgrounds, careers, accomplishments, attitudes, and issues ranging from the state of jazz to jazz styles. Among the musicians covered are Miles Davis, John Coltrane, Dave Brubeck, Oscar Peterson, Budd Johnson, and others.

617.

Randel, Don Michael, ed. 1996. The Harvard Biographical Dictionary of Music. Cambridge, MA: Belknap Press of Harvard University Press. Series: Harvard

124

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University Press Reference Library. x, 1013 p. Illustrations. ISBN: 9-780-67437299-3. LC Number: ML105 .H38 1996. A reference source that includes a biographical entry on Miles Davis. 618.

Rangasamy, Jacques. 2002. “Utamaro to the Sound of Miles Davis.” In Re: Trace Dialogues: Essays on Contemporary Art and Culture. Jaqjit Chuhan, Angela Dimitrakaki, and Emma Thomas, eds. Liverpool: Liverpool School of Art and Design (Center for International Research). 86 p. Bibliography and Illustrations. ISBN: 0-952-31614-5. LCCN: N6485 .R4 2002. An interdisciplinary focus on the music of Miles Davis. This edited volume consists of scholarly papers from a conference on art and culture held in 1999, sponsored by the Center for Art International Research in Liverpool, England.

619.

Ratliff, Ben. 2002. “Miles Davis: Miles Ahead (1957), “Miles Davis: Kind of Blue (1959),” “Miles Davis With John Coltrane and Sonny Stitt: In Stockholm (1960),” “Complete Live at the Plugged Nickel (1965)-Highlights From the Plugged Nickel (1965),” and “Get Up With It (1970–1974).” In Jazz: A Critics Guide to the 100 Most Important Recordings. New York: Time Books. Series: New York Times Essential Library. xx, 250 p. Illustrations. ISBN: 9-780-80507-068-2. LCCN: ML156.4J3 R37 2002. A significant reference source that offers an informed collector’s guide to 100 top recorded works in jazz, profiling each piece in context of its importance to the development of the form. Included is recognition of Miles Davis for his recordings of Miles Davis: Miles Ahead (1957), Kind of Blue (1959), Miles Davis with John Coltrane and Sonny Stitt: In Stockholm (1960), Complete Live at the Plugged Nickel (1965)/Highlights from the Plugged Nickel (1965), and Get Up With It (1970–1974).

620.

Redmond, Eugene. 2001. “ ‘So What’ . . . It’s “All Blues”: An Anecdotal/Jazzological Tour of Milesville.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. A poetic tribute to Miles Davis with some chronology of his life in St. Louis.

621.

Reed, Ishmael. 2008. “Miles Davis.” Mixing It Up: Taking on the Media Bullies and Other Reflections. Philadelphia, PA: Da Capo Press. x, 305 p. Bibliography. ISBN: 9-781-56858-339-6. LCCN: E184.A1 R4265 2008. A collection of essays previously published in The New York Times and Playboy. Includes subjects of race relations, Miles Davis, and others.

622.

Reed, Ishmael. 2007. “Miles Davis at the Casablanca, Buffalo, New York, September  21, 1955.” In The Show I’ll Never Forget: 50 Writers Relive Their Most Memorable Concertgoing Experience. Sean Manning, ed. Cambridge, MA: Da Capo Press. x, 305 p. ISBN: 9-780-30681-508-9. LCCN: ML3916 .S52 2007. A collection of concert memories from poets, songwriters, biographers, novelists, and cultural critics describing their experiences of seeing artists such as Miles Davis, Jimi Hendrix, and Led Zeppelin.

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623.

Reeves, Scott D. 2007. “Miles Davis Improvised Solo on ‘So What’, Miles Davis’ Improvised Solo on ‘Solea’ and Miles Davis’ Improvised Solo on Petis Machins.” In Creative Jazz Improvisation. Saddle River, NJ: Pearson Prentice Hall. xvii, 362 p. Music Examples. ISBN: 9-780-13177-639-5. LCCN: MT68 .R37 2007. An instructional and study resource that focuses on the concept of improvisation. Several of Miles Davis’ improvisational recorded solos are discussed.

624.

Reich, Howard. 2010. “Sounding the Trumpet: Miles Davis.” In Let Freedom Sing Collected Writings on Jazz, Blues, and Gospel. Evanston, IL: Northwestern University Press. xix, 390 p. ISBN: 9-780-81012-705-0. LCCN: ML3506 R45 2010. A collection of previously published articles on jazz that capture the music’s spirit of spontaneity and soulful lyricism. Each section focuses on people, a place/ locality, and scene. Notable figures included are Miles Davis, Duke Ellington, Frank Sinatra, and others.

625.

Reisner, Robert George. 1962. Bird the Legend of Charlie Parker. New York: Citadel Press. 256 p. Illustrations and Discography. ISBN: 0-306-80069-1. LCCN: ML419 .P4. A compilation of anecdotes and recollections of Charlie Parker from approximately eighty people including Miles Davis, Dizzy Gillespie, Charles Mingus, and more.

626.

Reisner, Robert George. 1960. The Jazz Titans. New York: Doubleday. 168 p. Illustrations. OCLC Number: 191085. LCCN: ML3561 .J3 R4. A presentation of biographical profiles of jazz musicians that include Miles Davis.

627.

Richards, Tim. 2005. “The Theme (Miles Davis).” In Exploring Jazz Piano: Harmony, Techniques, Improvisation. London: Schott. 262 p. Illustrations, Music Examples, and CD. ISBN: 9-781-90245-524-2. LCCN: MT68 .R545 E8 2005. A work that offers jazz pianists insight into harmony, techniques, and improvisation by discussing types of chords used in jazz. Includes explanations and suggestions for performance.

628.

Richter, Stephan. 1995. Zueiner Ästhetik des Jazz. Frankfurt: Peter Lang. Series: Europäische Hchschulschriften, Reihe 36, Musikwissenschaft, Bd. 149. 339 p. German text. Originally presented as the author’s doctoral thesis. Bibliography, Illustrations, Filmography, and Music Examples. ISBN: 3-631-49047-X. LCCN: ML3506 .R53 1995. Features profiles of Thelonious Monk, Duke Ellington, John Coltrane, Miles Davis, Wynton Marsalis, Louis Armstrong, Art Blakey, Ornette Coleman, Billie Holiday, and Benny Goodman.

629.

Roberts, John Storm. 1999. Latin Jazz: The First of the Fusions, 1880s to Today. New York: Schrimer Books. xiv, 306 p. Bibliography, Index, Discography, Glossary, Illustrations, and Photographs. ISBN: 0-028-64681-9. LCCN: ML3506 .R63 1999.

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Chronicles the history of Latin jazz, influences, and musicians. Provides historical perspective of Latin jazz from 1910 through the 1990s of many styles from tango, Afro-Cuban jazz, bossa nova, and fusion styles. This book also offers some insights on Miles Davis’ involvement with Latin jazz beginning with his recording with Charlie Parker, Duke Jordan, Tommy Potter, and Max Roach in 1947 on “Bongo Bop.” The book also discusses Miles Davis’ Latin jazz/Brazilian influences with the recording of album Quiet Nights and the song “Corcovado,” with Gil Evans and Davis’ awareness of the Brazilian sound (e.g. bossa nova) and instrumentation when Brazilian musician Airto Moreira was a member of his band. 630.

Roby, Steve. 2002. Black Gold: The Lost Archives of Jimi Hendrix. New York: Billboard. x, 278 p. Bibliography, Index, Illustrations, and Discography. ISBN: 0-82307854-X. LCCN: ML410 .H476 R63 2002. A comprehensive biography that intended to authenticate the lost sessions and rare film/video documents of Jimi Hendrix. Hendrix’s life is celebrated through exclusive interviews with people who knew him including his father Al Hendrix and musicians Carlos Santana and John McLaughlin. The book also explores Hendrix’s journeys into jazz with Miles Davis, John McLaughlin, and Rahsaan Kirk, and his experience with blues musicians B. B. King, Johnny Winter, and Buddy Guy, and rap with early pioneer The Lost Poets.

631.

Rocco, John, and Brian Rocco, eds. 1999. “From Miles: The Autobiography/ Miles and Quincy Troupe.” In Dead Reckonings: The Life and Times of the Grateful Dead. New York: Schrimer. xiv, 349 p. Bibliography, Index, and Discography. ISBN: 0-028-64896-X. LCCN: ML421 .G72 D42 1999. Excerpts from Miles Davis’ autobiography with implications of his influences in jazz/rock/fusion are included in this biographical publication that is comprised of articles, reviews, interviews, and photographs to document the Grateful Dead from the beginnings in the 1960s Haight-Ashbury scene.

632.

Rollins, Sonny. 2012. “Miles in the 1940s and Early 1950s.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. Tenor saxophonist Sonny Rollins shares memories of Miles Davis from the 1940s and 1950s.

633.

Rosenthal, David H. 1992. “Hard Bop Heterodoxy: Monk, Mingus, Miles, and Trane.” In Hard Bop: Jazz and Black Music, 1955–1965. New York: Oxford University Press. 208 p. Index and Discography. ISBN: 0-195-05869-0. LCCN: ML3508 .R68 1992. The musical contributions of Thelonious Monk, Charles Mingus, Miles Davis, and John Coltrane were significant during the mid-1950s through the mid1960s. This volume examines the roots, traditions, and recordings of this period and reveals how the years 1955 through 1965 are unrivaled in jazz history for a number of recordings such as Miles Davis’ Kind of Blue album.

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634.

Rowland, Mark. 1994. “Miles Davis Is a Living Legend and You’re Not.” In The Jazz Musician. Mark Rowland and Tony Scherman, eds. New York: St. Martin’s Press. ix, 261 p. Portraits. ISBN: 0-312-09500-7. LCCN: ML385 .J2 1994. A collection of interviews and profiles originally published in Musician magazine that summarize and critically access the careers of selected jazz musicians. Profiles include Lester Bowie, John Coltrane, Chet Baker, Ornette Coleman, Miles Davis, Dizzy Gillespie, Charlie Haden, Jaco Pastorius, Wayne Shorter, Sonny Rollins, and Tony Williams.

635.

Ruf, Wolfgang, ed. 2012. Reimann Musik Lexicon, Volume 1. Mainz: Schott Musik Gmbh  & Co. 5 vols. German text. Illustrations and Music Examples. ISBN: 9-783-79570-006-5. LCCN: ML100 .R52 2012. A music reference that includes a concise biographical profile of the life, music, and career of Miles Davis.

636.

Ruff, Willie. 1991. A Call to Assembly: The Autobiography of a Musical Storyteller. New York: Viking. xvi, 432 p. Index and Illustrations. ISBN: 0-670-838004. LCCN: ML419 .R84 A3 1991. A biography of Willie Ruff who carved a life in music and education. Ruff recalls his performances with Lionel Hampton, Miles Davis, and other jazz legends. Ruff also recalls his years of teaching music at Yale University.

637.

Ruppli, Michel, with Bob Porter, compilers. 1980. The Prestige Label: A Discography. Westport, CT: Greenwood Press. Series: Discographies; no. 3. xiii, 377 p. Index. ISBN: 0-313-22019-0. LCCN: ML156 .2 R786. A comprehensive discography of recordings of jazz musicians. Includes discography information for Miles Davis’ Prestige recordings. Includes listings of titles, catalogue numbers, personnel, record labels, matrix numbers, and album numbers.

638.

Saal, Hubert. 2009. “Miles of Music.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. An interview that was originally published in Newsweek magazine, March  23, 1970. The interview was conducted during the time when Miles Davis had taken a new direction and decisively turned to experimenting with electronic music. The interview reflects Davis’ albums In a Silent Way and Bitches Brew, and Davis’ random exploration of complex polyrhythms and soloing, as well as Wayne Shorter’s use of the soprano saxophone, influences of Jimi Hendrix, the Grateful Dead, and the Steve Miller Band.

639.

Sadettin, Davran. 1998. Jazz Koleksiyonu: Miles Davis. Istanbul: Boyut. Series: Jazz Kolesiyonu, 4-Miles Davis. 32 p. Turkish text. CD-ROM. OCLC Number: 591053447. LCCN: ML156 .4 .J3 J39 1998. A brief biography of the life, music, and career of Miles Davis.

128

640.

Annotations of Books

Sadie, Stanley, and John Tyrrell, eds. 2001. The New Grove Dictionary of Music and Musicians, 2nd ed. London: Macmillan; New York: Grove. 29 vols. Bibliography and Illustrations. ISBN: 0-333-60800-3. LCCN: ML100 .N48 2001. A biographical entry on the life, music, and career of Miles Davis is included in this reference source.

641.

Salvatore, Gianfranco. 2007. Miles Davis: lo Sciamano Elettrico: 1969–1980. Viterbo: Stampa Alternativa/Nouvi Equilbri. 256 p. Originally published in 1995. Series: New Jazz People. Italian text. Bibliography and Illustrations. ISBN: 9-78887226-971-8. LCCN: ML419.D39 S34 2007g. A thorough focus on Miles Davis’ electric period of jazz fusion when he recorded the albums In a Silent Way and Bitches Brew.

642.

Sandke, Randall. 2010. “Copyrights: Accounting Without Accountability.” In Where the Dark and Light Folks: Meet Race and the Mythology, Politics and Business of Jazz. Lanham: Scarecrow Press. Series: Studies in Jazz, No. 60. x, 277 p. ISBN: 9-780-81086-652-2. LCCN: ML3508 .S27 2010. Examines the origins of jazz and argues that African American musicians were influenced by a variety of traditions in American culture in creating jazz as an art form. Also focuses on copyright protection and argues that many of the copyright offenders have been musicians themselves. Provides example of Miles Davis whose name is listed for authorship of many tunes. For example, the author argues that for Davis’ album the composer of “Tune Up” and “Four” was Eddie “Cleanhead” Vinson, “Solar” was written by Chuck Wayne not Davis, Bill Evans conceived a large portion of the music on the Kind of Blue album, and Gil Evans not Davis conceived much of the music on the Filles de Kilimanjaro album.

643.

Sandke, Randy. 2000. “The Trumpet in Jazz.” In Oxford Companion to Jazz. Bill Kirchner, ed. Oxford and New York: Oxford University Press. xi, 852 p. Bibliography and Index. ISBN: 9-780-19518-359-7. LCCN: ML3507 .O94 2000. Discusses the styles of major trumpeters and cornetists including Buddy Bolden, Joe King Oliver, Louis Armstrong, Bix Beiderbecke, Henry “Red” Allen, Roy Eldridge, Dizzy Gillespie, Clifford Brown, Miles Davis, Don Cherry, and Wynton Marsalis.

644.

Sandner, Wolfgang. 2010. Miles Davis: Eine Biographie. Berlin: Rowohlt Berlin. 297 p. German text. Discography and Illustrations. ISBN: 978-3871346-774. LCCN: ML419 .D39 S36 2010. A detailed and well-documented biography of the life and career of Miles Davis. The book examines how Miles Davis’ musical instinct was unique, and his music was considered the epitome of hip, cool, and minimalism.

645.

Santana, Carlos, with Ashley Kahn. 2014. The Universal Tone: Bringing My Story to Light. New York: Little, Brown and Co. viii, 535 p. Index, [16] p. of plates, and Illustrations. ISBN: 9-780-31624-492-3. LCCN: ML420 .S22 A3 2014.

Annotations of Books129

A biography that traces music legend Carlos Santana from his early days playing in Tijuana to his indebtedness to the musical and spiritual influences of John Coltrane, John Lee Hooker, Miles Davis, and Harry Belafonte. 646.

Santoro, Gene. 2007. “Miles Davis: The Enabler, Part II.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, November  1988, that reveals Miles Davis’ assumptions underlying all of his musical moves. For Davis his music and his vehemence toward music critics stems from partly his constant awareness of what he describes as a “universe of sound.” As a bandleader, Davis does not teach; his function is more similar to an agent provocateur within the context of his musicians.

647.

Santoro, Gene. 2007. “Miles Davis: The Enabler, Part I.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, October 1988, in which the author focuses on what he describes as an archetypal story told by most of the musicians that have worked with Miles Davis. The musicians relayed that as they were in the studio jamming and recording, Davis would just stand with his back to the performers and all of a sudden he would spin around and give the directive, “Fill in the blank.” Davis explained his reasons for the directive, that “I don’t lead musicians; they lead me. I listen to them and learn what they can do best. Listening to what they do and feeding it back to them is how any good bandleader should lead his musicians.”

648.

Santoro, Gene. 2004. Highway 61 Revisited: The Tangled Roots of American Jazz, Blues, Rock, and Country. Oxford: Oxford University Press. 312 p. Index and Internet Resources. ISBN: 0-195-15481-9. LCCN: ML3477 .S21 2004. Traces how jazz’s existential art has infused musicians in nearly every wing of American popular music including blues, folk, gospel, psychedelic rock, country, bluegrass, soul, funk, and hip-hop. Examines the musical and cultural links among musicians that include Louis Armstrong, Woody Guthrie, Mary Lou Williams, Max Roach, Sonny Rollins, Chet Baker, Miles Davis, Herbie Hancock, Chess Records, Willie Nelson, Bob Dylan, Buffalo Springfield, Gram Parsons, Emmy Lou Harris, Bruce Springsteen, and others.

649.

Santoro, Gene. 1994. “Prince of Darkness.” In Dancing in Your Head: Jazz, Blues, Rock, and Beyond. New York: Oxford University Press. xi, 308 p. Bibliography and Index. ISBN: 9-780-19507-887-9. LCCN: ML3477 .1 .S25 1994. A biographical essay focusing on Miles Davis that was authored by Gene Santoro, a music columnist of Nation magazine.

130

650.

Annotations of Books

Sapen, Daniel. 2012. Freud’s Last Chord: Discovering Jazz in the Resonant Psyche. London: Harris Meltzer Trust. 257 p. Bibliography and Index. ISBN: 9-78178241-029-4. LCCN: ML3920 .S27 2012. Using psychoanalytic theorists such as Wilfred Bion, Donald Winnicott, Hans Loewald, Donald Meltzer, and Charles Rycroft, the author maps a concept of unconscious as creative process which is applied to the concept of jazz with a special attention given to the works of Miles Davis and John Coltrane.

651.

Sargeant, Winthrop. 1975. “Jazz as a Fine Art.” In Jazz, Hot, and Hybrid. New York: Da Capo Press. 302 p. Bibliography, Index, and Music Examples. ISBN: 0-306-70656-3. LCCN: ML3561 .J3S3 1975. Examines jazz as a hybrid art form differing in many aspects from what the author describes as native music of Africa and having strong roots in rural and urban America. Argues that there is a definite relationship between jazz and certain varieties of European music and influences from the Caribbean and South America. In the chapter “Jazz as a Fine Art,” the author makes relationships of bebop, cool jazz, classical music, and Impressionism with Miles Davis and classical music. The author regards Davis as a sort of Claude Debussy of jazz. Also argues that if Davis were an established classical composer his work would rank high among that of his contemporary colleagues.

652.

Sasao, Toshikazu. 2008. E de Wakaru Marirusu Deivisu no Shōgai: Mairusu no oto wa āto Datta. Tokyo: Rokomōshon Paburisshingu. Series: Scene of Jazz, 1. One Volume. ISBN: 9-784-86212-065-6. OCLC Number: 676679401. A biographical profile of Miles Davis.

653.

Saul, Scott. 2003. Freedom Is, Freedom Ain’t: Jazz and the Making of the Sixties. Cambridge, MA: Harvard University Press. xiv, 394 p. Bibliography, Index, and Illustrations. ISBN: 0-674-01148-1. LCCN: ML3508 .S28 2003. Presents a history of one strand of jazz in the decade between the mid-1950s and mid-1960s and the social backdrop that helped give the music its meaning, charge, and relevance. Aesthetic choices made by jazz artists such as Charles Mingus, John Coltrane, and Miles Davis, and the social and musical meaning of their choices, are examined.

654.

Schiedt, Duncan P. 2004. Jazz in Black and White the Photographs of Duncan Schiedt. Bloomington, IN: Indiana University Press. viii, 132 p. Biography and Photographs. ISBN: 0-253-34400-X. LCCN: ML87 .S35 2004. A collection of black-and-white photographs of some of the world’s most famous jazz musicians. Each photograph is introduced by a brief biographical summary of the jazz musician along with a biographical memoir about the photographer’s creation. Included are Louis Armstrong, Charlie Parker, Miles Davis, Dizzy Gillespie, Mary Lou Williams, Lester Young, and Thelonious Monk.

655.

Schuller, Gunther. 2011. Gunther Schuller: A Life in Pursuit of Music and Beauty. Rochester, NY: University of Rochester Press. xvi, 664 p. Series: Eastman Studies

Annotations of Books131

in Music. Bibliography, Index, [12] p. of plates, and Illustrations. ISBN: 1-58046342-8. LCCN: ML410 .S385 A3 2011. In this autobiography, Gunther Schuller, composer, conductor, innovator of third stream jazz, and member of the Miles Davis Nonet/Birth of the Cool ensemble, recounts the American musical scene through the twentieth and twenty-first centuries. Schuller includes his accounts of his interaction and professional collaborations with Miles Davis, John Lewis, Gil Evans, and other major jazz figures. 656.

Scoppio, Frederico. 2004. Miles Davis. Roma: Riuiti. Series: Legends; Jazz. 129 p. Italian text. ISBN: 9-788-83595-482-8. OCLC Number: 636452384. A biography focusing on Miles Davis.

657.

Scott, William B., and Peter M. Rutkoff. 1999. New York Modern: The Arts and the City. Baltimore, MD: Johns Hopkins University Press. xx, 448 p. Bibliography, Index, and Illustrations. ISBN: 0-801-85998-0. LCCN: NX511.N4 S38 1999. Examination of New York City and the artistic contribution of Miles Davis, Isadore Duncan, John Coltrane, Allen Ginsberg, and others.

658.

Sean, Olivier. 2011. “ ‘  .  .  . Mieux Citron que Jamais’: Thelonious Monk Plays ‘Body and Soul’. ” In Five Perspectives on “Body and Soul” and Other Contributions to Music Performance Studies. Olivier Senn and Claudia Emmeneger, eds. Zurich, Switzerland: Chronos. 197 p. Bibliography, Illustrations, and Music Examples. ISBN: 9-783-03401-048-1. LCCN: ML457 .F58 2011. This essay is part of a collection for the conference proceedings of the International Conference on Music Performance Analysis (Lucerne, Switzerland, 2009). The essay reflects an article that was published titled Le Dossier Coltrane in Jazz Magazine, a French jazz periodical, on March 21, 1960, when the Miles Davis Quintet had performed at l’Olympia which was the first performance at the JATP European tour and John Coltrane’s first performance in the continent of Europe. The author compares Coltrane’s music with that of Thelonious Monk’s piano solo performance of “Body and Soul” that was recorded on October 31, 1962, at Columbia Studios in New York City.

659.

Shadwick, Keith. 2002. “Meeting Miles (1958).” In Bill Evans: Everything Happens to Me: A Musical Biography. San Francisco, CA: Backbeat Books; London: Hi Marketing. Previously published by Hull, United Kingdom: University of Hull, 1998. 208 p. Bibliography, Index, and Illustrations. ISBN: 0-879-30708-0. LCCN: ML417 .E9S424 2002. A biography of Bill Evans, the pianist on Miles Davis Kind of Blue album and key figure in the development of modal fusion jazz. Evans’ career is traced from freelance work in the 1950s through his ground-breaking trios and solo releases to his relationships with various record labels to his final phase before his death in 1980.

660.

Shadwick, Keith. 2001. Encyclopedia of Jazz and Blues. London: Quintet. 704 p. Index and Portraits. ISBN: 9-781-86155-385-0. LCCN: ML102.J3 S43 2001.

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A biographical entry on the life, music, and career of Miles Davis is included in this jazz and blues reference source. 661.

Sharp, David E., Randall Snyder, and John L. Hischke. 1998. “Miles Davis and John Coltrane.” In An Outline History of American Jazz. Dubuque, IA: Kendall/ Hunt. vi, 155 p. Illustrations, Portraits, Music Examples, and CD. ISBN: 9-78078722-790-6. LCCN: ML3508 .S5 1998. Documents the musical collaboration of Miles Davis and John Coltrane.

662.

Shepard, Lucius. 2003. “Miles Davis.” In American Rebel. Jack Newfield, ed. New York: Nations Books; Berkeley, CA: Publishers Group West. xv, 368 p. ISBN: 1-560-25543-9. LCCN: CT214 .A475 2003. A tribute to Miles Davis is included in this collection of biographical essays compiled by leading American writers on individuals who reconciled authentic patriotism with original artistic creation, in popular opinion and real moral principles.

663.

Sheridan, Chris, compiler. 2000. “Milestones: The Miles Davis Years 1958– 1959.” In Dis Here: A Bio-Discography of Julian “Cannonball” Adderley. Westport, CT: Greenwood Press. Series: Discographies, no. 83. xxxv, 516 p. Bibliography, Discography, and Index. ISBN: 0-313-30240-5. LCCN: ML516.7. A33 S5 2000. Alto saxophonist Julian “Cannonball” Adderley was an integral member of Miles Davis’ ensembles and on the recording of the Kind of Blue album. In this writing Adderley shares some of his experiences working and collaborating with Miles Davis.

664.

Shipton, Alyn. 2007. “Early Miles Davis.” In A New History of Jazz (Revised and Updated). New York: Continuum. xi, 804 p. Bibliography, [16] p. of plates, Index, and Illustrations. ISBN: 9-780-82641-789-3. LCCN: ML3506 .S47 2007. Presents a historical survey of jazz in American culture and abroad. A primary focus is on personalities such as Miles Davis who continued behind the scenes innovating jazz.

665.

Shipton, Alyn. 2002. Jazz Makers: Vanguards of Sound. Oxford and New York: Oxford University Press. Series: Oxford Profiles. 263 p. Bibliography, Index, Discography, and Illustrations. ISBN: 9-780-19512-689-1. LCCN: ML394 .S46 2002. A biographical profile of Miles Davis is included in this collection of autobiographies divided into several sections featuring historical overviews and covering the backgrounds of approximately fifty performers.

666.

Shipton, Alyn. 1999. Groovin’ High: The Life of Dizzy Gillespie. New York: Oxford University Press. x, 422 p. Bibliography and Index. ISBN: 0-195-09132-9. LCCN: ML419 .G54 S55 1999. Traces the life and music of jazz trumpeter Dizzy Gillespie from his early years in Cheraw, South Carolina, to his death in 1993. Provides details into Gillespie’s

Annotations of Books133

personal background with his father, his relocation to New York, association with numerous musicians, and role in developing bebop. Includes coverage of his years with Cab Calloway, Earl Hines, Billy Eckstine, and role as director of big band. Also provides important insights into his relationships with Louis Armstrong, Miles Davis, Thelonious Monk, and Charlie Parker, and his love of Afro-Cuban music. 667.

Sidran, Ben. 1996. “Talking Jazz.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. The author compares Miles Davis to Duke Ellington and mentions Davis’ “pretty notes” and unique sounds. In this interview conducted on January 30, 1986, Miles Davis speaks about his fondness for drawing. This interview offers a unique aspect of Davis as he discusses the artistic aspects of his creative work.

668.

Sidran, Ben. 1995. “Miles Davis.” In Talking Jazz: An Oral History. Cambridge, MA: Da Capo Press. 508 p. Photographs by Lee Tanner. ISBN: 0-306-80613-4. LCCN: ML394 .S53 1995. Miles Davis, Gil Evans, Dizzy Gillespie, Jon Hendricks, Max Roach, and Herbie Hancock are just a few of the jazz musicians whose conversations with the author are recorded in this volume.

669.

Sidran, Ben. 1992. Talking Jazz: An Illustrated Oral History. San Francisco, CA: Pomegranate Artbooks. v, 210 p. Illustrations and Photographs. ISBN: 9-78156640-074-9. LCCN: ML3506 .S5645 1992. A collection of oral interviews from the author’s conversations in association with National Public Radio program “Sidran on Record.” The interviews were recorded between the summer of 1985 and the spring of 1990. The conversations/interviews cover a variety of topics such as jazz as a business, and issues dealing with improvisation and style. Among the many musicians interviewed are Miles Davis, Herbie Hancock, Jon Hendricks, Dizzy Gillespie, Max Roach, Willie Ruff, Betty Carter, Sonny Rollins, Horace Silver, McCoy Tyner, and others.

670.

Sílos, Ángel Pérez. 1997. Miles Davis: Del Jazz al Rock (Miles Davis: From Jazz to Rock). Madrid: VOSA. Series: Colección Pop-VOSA. 173 p. Spanish text. Discography. ISBN: 9-788-48218-990-1. OCLC Number: 431633026. A critical and interpretative study of Miles Davis and his influence in jazz-rock fusion.

671.

Simons, David. 2004. Studio Stories: How the Great New York Records Were Made From Miles to Madonna, Sinatra to the Ramones. San Francisco, CA: Backbeat. 191 p. ISBN: 0-879-30817-6. LCCN: ML3790 .S555 2004g. Provides accounts of some of the most memorable events in New York’s recording history between the years 1960 and 1980 as experienced through the work of producers, engineers, songwriters, and recording artists.

134

672.

Annotations of Books

Simmons, Herbert. 1997. Man Walking on Eggshells. New York: W. W. Norton. Series: Old School Books. 221 p. ISBN: 0-393-31618-1. LCCN: PS3569 .I47327 M36 1997. A fictional work based on the life of Miles Davis. The story centers on a main character, Raymond Douglas, who overcomes obstacles of family and race to become a jazz trumpeter whose music touches greatness.

673.

Smith, Bruce. 2005. “Song of the Soul as Miles Davis.” In Songs for Two Voices. Chicago: University of Chicago Press. Series: Phoenix Poets. xii, 78 p. ISBN: 0-226-76455-9. LCCN: PS3569 .M512 S66 2005. A showcase of jazz-like variations on sonnets and couplets offering twenty-five duets: poems of call and response, song, and counter-song. Included is a Miles Davis–like riff of poetic verse.

674.

Smith, Chris. 1998. “A Sense of the Possible: Miles Davis and the Semiotics of Improvised Performance.” In In the Course of Performance: Studies in the World of Musical Improvisation. Bruno Nettl and Melinda Russell, eds. Chicago: University of Chicago Press. Series: Chicago Studies in Ethnomusicology. viii, 413 p. Bibliography, Index, Music Examples, and Illustrations. ISBN: 9-780-22657-4103. LCCN: ML430 .7 .I47 1998. The topic of Miles Davis and improvised performance is included as an essay in this volume. The essay is part of a volume that explains the history of research, cognitive studies, musical analysis, and the practices and process of musical improvisation. The essay argues that Miles Davis established a “ritual space” in which he directed ambiguous but creative musical signs to his co-performers.

675.

Smith, Gerry. 2008. Music for Grown-Ups: Celebrating Great Musicians; Back to Björk, Dylan to the Doors, Mozart to Miles Davis. Holywell Hill: Summertime Books. 291 p. ISBN: 9-780-95595-610-2. OCLC Number: 651067548. A collection of biographical profiles of notable musicians.

676.

Snizter, Herb, and Dan Morgenstern. 2011. Glorious Days and Nights: A Jazz Memoir. Jackson, MS: University Press of Mississippi. 144 p. Illustrations, Portraits, and Glossary. ISBN: 9-781-60473-844-5. LCCN: ML3506 .S65 2011. A personal account of the fifty-year career of jazz photographer Herb Snitzer with a focus on his years in New York City from 1957 to 1964. Includes some of Snitzer’s iconic photos such as those of Louis Armstrong, John Coltrane, Miles Davis (at the Newport Jazz Festival), Thelonious Monk, and others.

677.

Solis, Gabriel. 2008. Monk’s Music: Thelonious Monk and Jazz History in the Making. Berkeley, CA: University of California Press. xi, 239 p. Bibliography, Index, and Music Examples. ISBN: 9-780-52025-200-4. LCCN: ML417 .M846 S55 2008. The jazz innovations of Thelonious Monk are critically examined. Also includes some discussion about Monk as an accompanist with Miles Davis and “ ’Round Midnight.”

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678.

Southern, Eileen. 1982. Biographical Dictionary of Afro-American and African Musicians. Westport, CT: Greenwood. Series: The Greenwood Encyclopedia of Black Music. xviii, 478 p. Bibliography. ISBN: 0-313-21339-9. LCCN: ML105 .S67. A reference source that includes a biographical entry on Miles Davis.

679.

Spencer, Frederick. 2002. Jazz and Death: Medical Profiles of Jazz Greats. Jackson, MS: University of Mississippi Press. xx, 311 p. Bibliography, Index, and Illustrations. ISBN: 1-578-06453-8. LCCN: 385 .S63 2002. The author conducts inquests on how many of the jazz greats lived and died pursuing their art. The book delves into forensics, medical histories, death certificates, and biographies that present information on how many of the jazz musical virtuosos actually died.

680.

Stein Crease, Stephanie. 2002. Gil Evans: Out of the Cool: His Life and Music. Chicago: A Cappella Books. xv, 384 p. Bibliography, Index, Discography, [8] p. of plates, and Illustrations. ISBN: 1-556-52425-0. LCCN: ML419 .E95 S84 2002. A biography of composer, arranger, and bandleader Gil Evans who collaborated with Miles Davis on many recordings including the albums Milestones, Porgy and Bess, and Sketches of Spain. The book chronicles Evans’ life, associations, and achievements. Portrays Evans as more than Miles Davis’ arranger and friend and focuses on Evans’ artistic philosophy, problems with record companies and promoters, and refusal of many to acknowledge and appreciate his newer musical creations. Also covers Evans personal life; his enduring friendships with artists such as Miles Davis, Steve Lacy, and Gerry Mulligan; and his determination to remain true to his creative ideas.

681.

Stein, Kevin. 1996. “Past Midnight, My Daughter Awakened by Miles Davis’ Kind of Blue.” In Bruised Paradise: Poems. Urbana, IL: University of Illinois Press. Series: Illinois Poetry Series. 72 p. ISBN: 0-252-06537-9. LCCN: PS3569 .T37139 B75 1996. A collection of poetry that includes a tribute to Miles Davis.

682.

Stevenson, Richard. 2006. Bye Bye Blackbird: An Elegiac Suite for Miles Davis. Victoria, BC: Ekstasis Editions. 114 p. ISBN: 9-781-89480-091-4. LCCN: PR9199 .3 .S78728 B94 2006. A poetic homage to Miles Davis.

683.

Stevenson, Richard. 2005. Tempus Fugit: Improvisations for Miles Davis, Includes Serial Tone Poem Sequence, a Palimpsest for Palle. Mount Pleasant, ON: L. Reed Books. 17 p. OCLC Number: 64501970. LCCN: PS8587 T479 T46 2005. A poetic homage to Miles Davis. A sequel and outtakes of Stevenson’s previous work, Live Evil: A Homage to Miles Davis (2000).

684.

Stevenson, Richard. 2000. Live Evil: A Homage to Miles Davis. Saskatoon: Thistledown. 174 p. ISBN: 1-894-34508-8. LCCN: PR9199 .3 S78728 L58 2000. A poetic homage to Miles Davis.

136

685.

Annotations of Books

Stokes, W. Royal. 1991. The Jazz Scene: An Informal History From New Orleans to 1990. New York: Oxford University Press. viii, 261 p. Index, Illustrations, and Portraits. ISBN: 9-780-19508-270-8. LCCN: ML3506 .S87 1991. Presents through stories and interviews a century of jazz, its people, places, periods, and styles as seen by artists who created jazz.

686.

Stovall, Tyler Edward. 1996. Paris Noir: African Americans in the City of Light. Boston, MA: Houghton Mifflin. xvi, 366 p. Bibliography and Index. ISBN: 0-39568399-8. LCCN: DC718 .A36 S76 1996. A chronicle of African American expatriates such as Langston Hughes, James Baldwin, and others who chose to live in Paris, France, in the twentieth century. Includes discussion of jazz musicians who also lived and performed in Paris such as Miles Davis, Charlie Parker, and Sidney Bechet.

687.

Straka, Manfred. 2012. “Cool Jazz in Europe.” In Eurojazzland: Jazz and European Sources, Dynamics, and Context. Luca Cerchiari, Laurent Cugny, and Franz Kerschbaumer, eds. Boston, MA: Northeastern University Press. xviii, 484 p. ISBN: 9-781-58465-864-1. LCCN: ML3509 .E9 E97 2012. Examines how cool jazz was a major influence on European musicians from 1950 to 1957. Examines the influences of Miles Davis, Chet Baker, Buddy De Franco, Lee Konitz, Lennie Tristano, Billy Bauer, and Shelly Manne; also examines cool jazz that was centered mainly in England, Belgium, and Austria, but also in Sweden and Germany.

688.

Strickland, Edward. 1993. Minimalism: Origins. Bloomington, IN: Indiana University Press. 312 p. Bibliography and Index. ISBN: 0-253-35499-4. LCCN: NX504 .S77 1993. Attempts to put minimalism in a historical perspective across various artistic expressions. Traces the influence of minimalism from the 1950s of LaMonte Young to Terry Riley, Steven Reich, and Philip Glass. Points out a number of common influences and makes a strong case for the profound impact of the modal jazz of Miles Davis and John Coltrane upon minimalism.

689.

Stump, Peter. 2000. Go Ahead John: The Music of John McLaughlin. London: SAF. 192 p. Bibliography, Index, [8] p. of plates, and Illustrations. ISBN: 0-946-719241. LCCN: ML419 .M161 S9 2000. Discusses music-related topics from the drug scene of the 1960s, fusion of the 1960s and 1970s, and John McLaughlin’s accomplishments of the 1990s. Provides details about McLaughlin’s involvement in the mid-1960s British blues boom, his work with Miles Davis, and collaborations with artists such as Larry Coryell, Al Dimeola, Paco DeLucia, and Carlos Santana. Also the role that McLaughlin’s Mahavishnu Orchestra played in linking jazz and rock is discussed.

690.

Sudo, Philip Toshio. 1998. Zen Guitar. New York: Simon & Schuster. 201 p. Bibliography and Illustrations. ISBN: 0-684-83877-X. LCCN: ML3877 .S8 1997.

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Offers a comprehensive approach to playing the guitar. Covers all levels of experience from professional levels to amateur guitar players to novice music lovers. Personal experiences are given as to how to rediscover harmony and become open to Zen awareness. Includes fifty-eight lessons that provide a focus and guide for readers led through to Zen awareness. Quotations from sources ranging from Eric Clapton to Jimi Hendrix to Miles Davis are used to enhance the lessons. 691.

Sutro, Dirk. 2006. “Miles Davis and the Best of Both Worlds,” and “Miles Davis.” In Jazz for Dummies. Hoboken, NJ: Wiley. Series: For Dummies. xvi, 366 p. Illustrations and CD. ISBN: 9-780-47176-844-9. LCCN: ML3506 .S94 2006. An introduction to jazz music based on a collection of tales from the jazz musicians themselves. Provides profiles of the all-time greats and includes a review of the many different types of jazz played.

692.

Svorinich, Victor. 2015. Listen to This Music: Miles Davis and Bitches Brew. Jackson, MS: University Press of Mississippi. xiv, 202 p. Bibliography, Index, Illustrations, and Music Examples. ISBN: 9-781-62846-194-7. LCCN: ML419 .D39 S86 2015. Exclusively dedicated to Miles Davis’ album Bitches Brew. This work traces its incarnations and inspirations for ten-plus years before the album’s release. The work also reveals much about the legend of Miles Davis, his attitude, will, bands, and relationships. Sections of the book include “Climate,” “Development,” “Preparation,” “Music,” “Post-Production,” “Aftermath,” “Beyond Brew,” and “Miles in 3-D: Images of Bitches Brew.” This book also includes a substantial amount of sophisticated transcriptions, musical examples, and excerpts: “Bitches Brew (Introduction),” “Bitches Brew (Bass Line),” “Bitches Brew (1st Solo),” “John McLaughlin (Theme),” “John McLaughlin (Solo Excerpt),” “John McLaughlin (Miles Davis Solo),” “Sanctuary,” “Sanctuary (Miles Davis Solo),” “Miles Runs the Voodoo Down (Alt. Introduction),” “Miles Runs the Voodoo Down (Miles Davis 2nd Solo),” “Spanish Key (Miles Davis 1st Solo),” “Spanish Key (Melody),” “Pharaoh’s Dance (Parts I & II),” “Pharaoh’s Dance (Miles Davis 1st Solo),” “Pharaoh’s Dance (Miles Davis 3rd Solo),” and “Pharaoh’s Dance (Miles Davis 4th Solo).”

693.

Swiboda, Marcel. 2004. “Cosmic Strategies: The Electric Experiments of Miles Davis.” In Deleuze and Music. Ian Buchannan and Marcel Swiboda, eds. Edinburgh: Edinburgh University Press. vi, 223 p. ISBN: 0-748-61891-0. LCCN: ML3800 .D413 2004. Explores what French philosopher Gilles Deleuze said and thought about music and how music informed his thinking. The essay on Miles Davis focuses on his experiences with electronic music instruments and fusion jazz. The essay examines the period 1967 and 1967 when Miles Davis constantly shifted and expanded his band lineup together with the crucial post-production input of the producer Teo Macero and created an extensive and diverse catalogue of sonic development. Argues that this sonic development was partially conditioned by the advent of new technologies. These developments are analyzed on the basis of theoretical writings by Gilles Deleuze and Felix Gauttari.

138

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Annotations of Books

Szwed, John F. 2005. So What: Miles Davis Élete. Translated by Szász Csaba. Budapest: Cartaphilus. 550 p. Hungarian text. ISBN: 9-639-30397-6. OCLC Number: 909433248. A translation of So What: The Life of Miles Davis (2002), the author’s account of Miles Davis’ life, influences, and collaborations.

695.

Szwed, John F. 2004. “The Man.” In Uptown Conversations: The New Jazz Studies. Robert O’ Meally, Brent Hayes, and Farrah Jasmine Griffin, eds. New York: Columbia University Press. vii, 427 p. Bibliography, Index, and Illustrations. ISBN: 0-231-12351-5. LCCN: ML3507 .U68 2004. Presents a biographical portrait of Miles Davis, addressing aspects of his person, his performances, and his repertoire.

696.

Szwed, John F. 2002. So What: The Life of Miles Davis. New York: Simon & Schuster. 488 p. Bibliography, Index, [8] p. of plates, Illustrations, and Discography. ISBN: 0-684-85982-3. LCCN: ML419.D39 S98 2002. This account based on interviews with family and friends, and archival research reveals the influence on Davis’ life on his works as well as on the musicians he collaborated with and Davis’ persistent desire to reinvent himself.

697.

Tackley, Catherine. 2010. “Jazz Recordings as Social Contexts.” In Performance, Culture and Technology. Amanda Bayley, ed. Cambridge and New York: Cambridge University Press. xvii, 374 p. Bibliography, Index, Illustrations, Discography, and Music Examples. ISBN: 9-780-52186-309-4. LCCN: ML3916 .R43 2010. Appraises the ambivalence of jazz scholars toward recordings as recordings simultaneously come to represent everything (the masterworks of the jazz canon) and nothing (poor simulations of live performance). Reviews the attitudes of historians and focuses on seminal moments in jazz history including the first Original Dixieland Jazz Band and Miles Davis’ album Kind of Blue (Columbia CS 8163 1959), the best-selling jazz album of all time.

698.

Tamby, Jean-Luc. 2012. “The Sorcerer and the Quimboiseur: Poetic Intention in the Works of Miles Davis and Edouard Glissant.” In American Creoles: The Francophone Caribbean and the American South. Martin Munro and Celia Britton, eds. Liverpool: Liverpool University Press. Series: Francophone Postcolonial Studies, v. 3. viii, 256 p. Bibliography, Index, and Illustrations. ISBN: 9-78184631-753-8. LCCN: F2191 .F74 A447 2012. Examines the cultural, social, and historical affinities between the Francophone Caribbean and the American South. The essays focus on issues of history, language, politics, and culture in various forms and consider figures as diverse as Barack Obama, Miles Davis, Édouard Glissant, and James Brown.

699.

Tanner, Lee E. 2006. The Jazz Image: Masters of Jazz Photography. New York: Abrams. 175 p. Bibliography, Illustrations, and Photographs. ISBN: 0-810-957493. LCCN: NH436 .T15 2006.

Annotations of Books139

Covers in photographs six decades of performers such as Louis Armstrong, Duke Ellington, Miles Davis, John Coltrane, and others. 700.

Tanner, Lee E.1991. Jazz Address Book: Photography of Lee Tanner. Studio City, CA: Pomegranate Art Books. 121 p. Bibliography and Photographs. ISBN: 0-87654578-9. LCCN: ML3508 .T36j39. Contains photographs of great jazz artists such as Chet Baker, Art Blakey, John Coltrane, Larry Coryell, Miles Davis, Roy Eldridge, Dexter Gordon, Coleman Hawkins, Gerry Mulligan, Nina Simone, and Sonny Stitt. Each photograph contains a quote by or about the artist.

701.

Tanner, Paul. 2001.“Chapter 10-Miles Davis.” In Jazz, 9th ed. Paul Tanner, David W. Megill, and Maurice Gerow, eds. Boston, MA: McGraw Hill. xii, 388 p. Bibliography, Index, and CD. ISBN: 0-072-32028-1. LCCN: ML3506 .T22 2001. An instructional and study resource on jazz history and jazz musicians.

702.

Tate, Greg. 2016. “Miles Davis.” In Flyboy 2: The Greg Tate Reader. Durham, NC: Duke University Press. 356 p. ISBN: 9-780-82236-180-0. LCCN: ML3479 .T35 2016. An essay that focuses on Miles Davis is included in this collection that covers various topics and personalities.

703.

Tate, Greg. 2012. “Miles in the 1980s.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. Despite the title of this essay the author examines Miles Davis’ work in the 1970s, a time when Davis was met with some critical befuddlement. Argues that few jazz critics were conversant in soul, funk, Blaxploitation cinema, or Pan-Africanism. But in 1972 Miles Davis was highly influenced by those types of popular music and social movements that received attention from jazz critics. Examines Davis’ work in the 1970s and influences in funk and soul as well as other types of popular music that were an impetus for musicians such as Herbie Hancock, Wayne Shorter, and Joe Zawinul.

704.

Tate, Greg. 2010. Bitches Brew. New York: Columbia. 48 p. Illustrations. No ISBN. OCLC Number: 708068371. LCCN: 788.92165 DAV. A work published as part of Bitches Brew fortieth anniversary compilation set. Includes an essay by journalist Greg Tate, producers’ notes by Michael Cuscuna and Richard Seidel, and a Lenny White interview by Ashley Kahn. Also features Mati Klarwein’s painting “Zonked” (a psychedelic) portrait of Miles Davis’ wife Betty Davis which also includes a profile of Miles on its cover, plus a number of rare, unpublished photographs and record label memos.

705.

Tate, Greg. 2007. “Miles Davis’ Bitches Brew.” In Marooned: The Next Generation of Desert Island Discs. Philip Freeman, ed. Philadelphia, PA: Da Capo Press. xx, 331 p. ISBN: 9-780-30681-485-3. LCCN: ML3470 .M345 2007.

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An analysis and discussion of Miles Davis, Bitches Brew, and fusion jazz innovation. 706.

Tate, Greg. 1995. “Silence, Exile, and Cunning: Miles in Memoriam.” In Brotherman: The Odyssey of Black Men in America. Herb Boyd, Robert L. Allen, and Tom Feelings, eds. New York: One World. xxxiv, 909 p. Bibliography and Illustrations. ISBN: 9-780-34537-670-1. LCCN: PS508 .N3 B745 1995. A literary tribute/obituary to Miles Davis as an icon of African American culture.

707.

Tate, Greg. 1992. “The Electric Miles.” In Flyboy in The Buttermilk: Essays on Contemporary America. New York: Simon & Schuster. 285 p. ISBN: 0-671-729659. LCCN: ML3479 .T35 1992. A focus on Miles Davis’ work in jazz fusion and electronic musical instruments.

708.

Tate, Greg. 1992. “Preface to One-Hundred-and-Eighty Volume Patricide Note: Yet Another Few Thousand Words on the Death of Miles Davis and the Problem of Black Male Genius.” In Black Popular Culture: A Project. Michele Wallace, ed. Seattle: Bay Press. Series: Discussions in Contemporary Culture, no. 8. ix, 373 p. Bibliography and Illustrations. ISBN: 0-941-92024-0. LC LCCN: N72 .S6 D57. Selected essays on different aspects of African American popular culture such as Miles Davis, Afro-Art, and Multiculturalism.

709.

Taylor, Arthur. 2009. “I Don’t Have to Hold the Audience’s Hand, Interviewer: Arthur Taylor, January 22, 1968.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. Miles Davis openly discusses boxing and other hobbies, Gil Evans, Dr. Doolittle, his influences on Philly Joe Jones and Tony Williams, white movies and the absence of realistic roles for African American actors in Hollywood, and his strained relationship with George Wein.

710.

Taylor, Arthur. 1993. “Miles Davis.” In Notes and Tones: Musician-to-Musician Interviews. New York: Da Capo Press. 300 p. Illustrations, [16] p. of plates, and Portraits. ISBN: 9-780-30680-526-4. LCCN: ML394 .T4 1993. A significant collection of essays by jazz drummer Arthur Taylor conducted between 1968 and 1972 that offer an insider’s view of jazz and jazz musicianship. Topics include critics, drugs, the word “jazz,” music, racism, religion, and travel. The musicians interviewed include Art Blakey, Don Byas, Betty Carter, Ron Carter, Don Cherry, Kenny Clarke, Ornette Coleman, Eddie “Lockjaw” Davis, Miles Davis, Richard Davis, Kenny Dorham, Erroll Garner, Dizzy Gillespie, Dexter Gordon, Johnny Griffin, Hampton Hawes, Freddie Hubbard, Elvin Jones, Philly Joe Jones, Carmen McRae, Thelonious Monk, Max Roach, Sonny Rollins, Hazel Scott, Nina Simone, Leon Thomas, Charles Toliver, Randy Weston, and Tony Williams.

Annotations of Books141

711.

Teachout, Terry. 2015. Satchmo at the Waldorf. New York: Dramatists Play Service. 38 p. ISBN: 9-780-82223-157-8. LCCN: PS3620 .E334 S38 2015. A one-man play in which the same actor portrays jazz trumpeter Louis Armstrong; Joe Glasser, his manager; and jazz trumpeter Miles Davis who admired but disliked Armstrong’ s onstage manner. The play takes place in 1971 in a dressing room backstage at the Empire Room of New York City’s Waldorf-Astoria where Armstrong performed four months before his death. The play premiered off Broadway at the Westside Theater Upstairs, New York City, on March 4, 2014.

712.

Ténot, Frank. 1993. Boris Vian: Le Jazz et Saint-Germain. Paris, France: Du May. 94 p. French text. Illustrations. ISBN: 2906450987. LCCN: ML419 .V53 T46 1993. A biography of the Boris Vian’s life in the Parisian area, Saint-Germain-des-Prés at the Tabou, and at the club Saint-Germain. Also documents the jazz musicians whom Vian entertained in Paris between 1945 and 1959 including Duke Ellington, Charlie Parker, Erroll Garner, and Miles Davis.

713.

Terry, Clark. 2012. “There Was a Time . . .” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. Describes how jazz trumpeter Clark Terry, who was mentioned by Louis Armstrong regarding learning the trumpet and in turn became Miles Davis’ early mentor, shares his memories of Davis.

714.

Thibault, Matthieu. 2012. Bitches Brew ou, le Jazz Psychédélique. Marseille: Motet le Reste. 189 p. Series: Formes (Marseille). French text. ISBN: 9-782-36054-045-7. LCCN: ML419 .D39 T45 2012. A critical and interpretative study of Miles Davis’ iconic work Bitches Brew and jazz fusion analysis. The study examines how Bitches Brew marked a new era in the history of jazz and of rock and the advent of a new genre, jazz-rock or fusion. Discusses how Miles Davis throughout his career knew how to break the mold, to find new fields of experimentation. The rock and psychedelic of Bitches Brew is foreshadowed in Davis’ earlier album In a Silent Way. Argues that in Bitches Brew, Davis achieved a genuine hybrid of textures and influences.

715.

Thomas, James C. 1975. Chasin’ the Trane: The Music and Mystique of John Coltrane. Garden City, New York: Doubleday. 252 p. Illustrations, [8] p. of plates, and Discography. ISBN: 0-385-09604-6. LCCN: ML419 .C645 T5. A biographical profile of the life, music, and career of John Coltrane and his work with Miles Davis, Thelonious Monk, and other notable jazz musicians. Also draws on the recollection of people who knew Coltrane best: boyhood friends, band members like Elvin Jones, spiritual mentors such as Ravi Shankar, and others. In addition, a major focus of the book is on Coltrane’s classic quartet that played to steadily increasing audiences throughout America, Europe, and Japan;

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his struggles with drug addition; studies of African and Eastern music philosophy; and other topics. 716.

Thomas, Roger. 2001. Brass. Chicago: Heinemann Library. Series: Soundbites. 32 p. Bibliography, Index, and Illustrations. ISBN: 1-588-10262-9. LCCN: ML933 .T46 2002. Provides coverage on a range of instruments from the trumpet to the shofar. Examines the use of brass instruments in different styles of music and also discusses the work of Miles Davis.

717.

Tick, Judith. 2008. “Miles Davis: Excerpts From the Autobiography.” In Music in the USA: A Documentary Companion. Oxford and New York: Oxford University Press. xxxvii, 881 p. Music Examples and Illustrations. ISBN: 9-780-19513-9884. LCCN: ML200 .M89 2008. An anthology of primary sources which charts a map of American music and musical life through the words of composers, performers, and writers. Experts of Miles Davis’ autobiography are included in this anthology.

718.

Tingen, Paul. 2001. Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991. New York: Billboard. 352 p. Discography and Sessionography. ISBN: 0-823-08346-2. LCCN: ML419 .D39 T56 2001. Examines Miles Davis’ music produced in his “electric period.” Draws on recollections of musicians, partners, and producers to examine the controversial period of Miles Davis’ career and the violent split of sentiment it produced within the jazz community. The book is intended to delineate the different emphasis, interpretation, language, and misinterpretation that are used in Davis’ recordings. Also provides insight into the role and function of personnel for the years 1963–1991, and a 1967–1991 discography and sessionography by Enrico Merlin.

719.

Tirro, Frank. 1993. “Miles Davis—Cool Jazz, Kind of Blue, Social Cause and Musical Effect.” In Jazz: A History. New York: W. W. Norton. xxi, 210 p. Bibliography, Index, Music Examples, Facsimiles, and Illustrations. ISBN: 0-393-96187-7. LCCN: ML3506 .T57 1993. A historical source that examines the interaction that has taken place among jazz musicians, the music, and American society.

720.

Tirro, Frank. 2009. The Birth of the Cool of Miles Davis & His Associates. Hillsdale, NY: Pendragon Press. Series: CMS Sourcebooks in American Music, no. 5. xxv, 196 p. Illustrations, Music Examples, CD, and Discography. ISBN: 9-78157647-128-9. LCCN: ML3506 .T577 2009. Traces the history of cool jazz to its roots in French Impressionism and European Neo-Classicism. Also describes the key roles of musicians such as Bix Beiderbecke, Claude Thornhill, Miles Davis, and others.

721.

Tomlinson, Gary. 1997. “Miles Davis, Musical Dialogician.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix,

Annotations of Books143

272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419.D39 M55 1997. An essay originally published in Black Music Research Journal (Fall 1991) that provides an examination of Miles Davis’ controversial fusion in the works of In a Silent Way, Filles de Kilimanjaro, and Bitches Brew. Argues the dialogical dimensions of Davis’ fusions are numerous. This music opened lines of communication between traditional jazz with its blues background and improvisational impetus. The dialogics of Davis’ fusion involved an extraordinary freedom of colloquy within the ensemble, a freedom of exchange wherein the complex bottom and any of its constituents could function as top and vice versa. 722.

Tompkins, Les. 2009. “Talking to Les Tompkins., 1969.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. An interview with jazz musicians and critic Les Tompkins that was published in Crescendo magazine (1969). In this interview Davis discusses his humble beginnings as a fledgling trumpeter, his technique, Charlie Parker, Dizzy Gillespie, Billy Eckstine, improvisation, albums with Gil Evans, performances in Britain, influences in classical, Maurice Ravel, and other topics.

723.

Tooks, Lance. 2005. “Volume 4, Between the Devil and Miles Davis.” In Lucifer’s Garden of Verses. New York: NBM ComicsLit. 74 p. Illustrations. ISBN: 9-78156163-469-9. LCCN: PN6727 .T58 B4 2005. A novel in which the image of Miles Davis is characterized as a main character.

724.

Toop, David. 1995. Ocean of Sound: Aether Talk, Ambient Sounds and Imaginary Worlds. London: Serpent’s Tail. 306 p. Bibliography, Index, and Discography. ISBN: 9-781-85242-382-1. LCCN: ML197 .T66 1995. A musical and cultural history of ambient music, broadly beginning in 1889 at the Paris Exposition when Impressionist composer Claude Debussy first heard Javanese music performed. A culture absorbed in perfume, light, and ambient sound developed in response to the intangibility of twentieth-century communications. The author argues that the evolution of this culture can be traced through classical French composer Eric Satie to the Velvet Underground and from Miles Davis to Jimi Hendrix.

725.

Tosches, Nick. 2000. “Miles Davis: The Hat That Makes The Man.” In The Nick Tosches Reader. New York: Da Capo Press. xvii, 593 p. Bibliography. ISBN: 0-30680969-9. LCCN: PS3570 .O74 A6 2000. A collection of poetry with a tribute to Miles Davis.

726.

Townsend, Peter. 2000. Jazz in American Culture. Jackson, MS: University of Mississippi Press. x, 193 p. Bibliography, Index, and Illustrations. ISBN: 1-57806323-X. LCCN: ML3918 .J39 T69 2000.

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Examines jazz as both music and as a culture within overall American culture. Discusses the social and institutional structures that have impacted the music from the 1930s to approximately 2000. In addition to discussing Louis Armstrong, Miles Davis, Duke Ellington, Billie Holiday, and Lester Young, the book covers representations of jazz in other forms, including film and the literary texts of Ralph Ellison, Jack Kerouac, and Toni Morrison. 727.

Trethewey, Kenneth R. 2011. Miles Davis: Dark Prince. Torpoint: Jazz-Fusion Books. 353 p. Bibliography and Index. ISBN: 9-780-95600-835-0. OCLC Number: 812213483. A biography and critical interpretation of Miles Davis.

728.

Troupe, Quincy. 2009. Miles et Moi (Miles and Me). Translated by Emílíen Bernard, Alex Allais, and Yves Buin. Bordeaux: Le’ Castor Astral. Series: Castor Music. French text. Illustrations. ISBN: 9-782-85920-776-2. OCLC Number: 690148660. A French translation of the author’s intimate portrait of Miles Davis.

729.

Troupe, Quincy. 2001. “From Kind of Blue to Bitches Brew.” In Miles Davis and American Culture. Gerald Early, ed. St. Louis, MO: Missouri Historical Society Press. ix, 228 p. ISBN: 1-883-98337-5. LCCN: ML419.D39 M53 2001. An essay the reflects on Miles Davis of contemporary times as a portal, a doorway, or entry point to the wide range of African American music. Also reflects on how Davis always searched for new ways to better express what he was feeling at the moment and always headed forward in innovation.

730.

Troupe, Quincy. 2000. “Listening to Miles” and From Miles/The Autobiography.” In Seeking St. Louis Voices From a River City, 1670–2000. Robert Boyd and Lee Ann Sandweiss, eds. St. Louis, MO: Missouri Historical Society. xxxiii, 1048 p. ISBN Number: 1-883-98211-1. LCCN: F474 .S2 S38 2000. Literary writings that serve as a tribute and a retrospective on Miles Davis.

731.

Troupe, Quincy. 2000. Miles and Me. Berkeley, CA: University of California Press. 189 p. Index and Illustrations. ISBN: 0-520-216224-5. LCCN: ML419.D39 T76 2000. Presents the author’s candid account of his friendship with Miles Daves and reveals an intimate portrait that shows both the human and artistic side of Davis. Discusses how Davis influenced both musicians and nonmusicians, and his singular resistance to being an “unreconstructed black man.” The work also chronicles the author’s own development of both artistic and personal growth.

732.

Tymoczko, Dmitir. 2001. A Geometry of Music: Harmony and Counterpoint in the Extended Common Practice. New York: Oxford University Press. Series: Oxford Studies in Music Theory. xviii, 450 p. Bibliography, Index, Music Examples, and Illustration. ISBN: 9-780-19533-667-2. LCCN: MT50 .T98 2001.

Annotations of Books145

Describes a new framework for thinking about music that emphasizes the commonalities among styles from medieval polyphony to contemporary rock. Argues that traditional histories focus too narrowly on the common practice period from 1680–1850. But proposes instead that Western music comprises an extended common practice stretching from the late middle ages to the present. Provides discussions of many familiar pieces by a wide range of composers from Johann Sebastian Bach to the Beatles, and from Wolfgang Amadeus Mozart to Miles Davis. 733.

Ullman, Michael. 1997. “Miles Davis in Retrospect.” In A Miles Davis Reader. Bill Kirchner, ed. Washington, DC: Smithsonian Institution Press. ix, 272 p. Bibliography, Index, and Music Examples. ISBN: 1-560-98774-X. LCCN: ML419. D39 M55 1997. Provides a perspective of Miles Davis’ career through 1975, when Davis went into seclusion. During this time there was a strong interest in Davis beyond jazz circles about when—or if—Davis would resume his career. This essay reflects all the curiosity that was generated regarding Davis’ return to public performance.

734.

Vail, Ken. 1996. Miles’ Diary the Life of Miles Davis 1947–1961. London: Sanctuary Publishing Ltd. 173 p. Illustrations. ISBN: 1-860-74159-2. LCCN: ML419 .D263 V34 1996. A well-documented work of a month-by-month chronology of Miles Davis’ life from joining Charlie Parker’s quintet in 1947 to the legendary Carnegie Hall concert in 1961. Providing insight into Davis’ life, the work is illustrated with contemporary photographs, newspaper extracts, record and phonograph reviews, ads, and posters.

735.

Valerio, John. 2015. “Miles Davis in the Fifties” and “Miles Davis in the Sixties.” In Jazz Journey: A Guide to Listening. United States of America: Cognella. 366 p. Bibliography, Illustrations, Music Examples, and Portraits. ISBN: 9-781-63189056-7. LCCN: ML3508 .V35 J3 2015. Covers jazz from its nineteenth-century forerunners through the twentieth century. Included are audio and video examples of jazz performances of the last 100 years.

736.

Veal, Michael. 2014. “Warps, Ribbons, Crumpled, Surfaces, and Superimposed Shapes: Surfing the Contours of Miles Davis’ ‘Lost Quintet.” In Music in Architecture: Architecture in Music. Michael Benedikt, ed. Series: Center (Austin, TX); 18. Austin, TX: Center for American Architecture and Design. 237 p. Illustrations and Music Examples. ISBN: 9-780-93495-119-7. LCCN: ML3849 .C46 2014. Examines the Lost Quintet which was the last of the stable jazz quintets assembled by Miles Davis during the 1960s. This band existed from late 1968 to early 1970 and included Miles Davis, trumpet; Wayne Shorter, tenor saxophone and soprano saxophone; Chick Corea, electric piano; Dave Holland, acoustic and electric basses; and Jack DeJohnette, drums. The ensemble was dubbed “lost” by

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Peter Keepnews in an article publication because it never recorded a formal studio album as a quintet, but it made a strong impression on audiences. This essay examines the evolution of Davis’ music in the late 1960s with a goal of charting and analyzing the path from the most imaginative expansions of the progressive mainstream in his so-called “Second Great Quintet” to radically interwoven terrains of free jazz and electric jazz in the Lost Quintet using the discourse of architecture as a source of terminology to discuss new forms the quintet developed. 737.

Vincent, Rickey. 1996. Funk: The Music, the People, and the Rhythm of the One. New York: St. Martin’s Griffin. xxii, 375 p. Bibliography, Index, [16] p. of plates, Portraits, Illustrations, and Discography. ISBN: 0-312-13499-1. LCCN: ML3527 .8 .V56 1996. Celebrates the songs, musicians, philosophy, and the meaning of funk. The book includes songs from the early work of James Brown through contemporary funky soul, jazz fusion of Miles Davis and Herbie Hancock, to funk-sampling rap, and more.

738.

Violette, Banks. 2009. Elevator to the Gallows: Banks Violette  & Gerald Matt Presents Banks Violette, Miles Davis, Dashiell, John Huston, and Weegee. Vienna: Kunsthalle Wein; Nüremberg: Verlag für Modern Kunst. 171 p. Bibliography, Illustrations, and Music Examples. ISBN: 9-783-94118-535-7. LCCN: NX456.5 .N65 V56 2009. An exhibition publication for a museum exhibit held on March  19, 2009, to May 3, 2009, Domus Aritum, and January–April 2010, Salamanca.

739.

Viti, Luciano, and Pablo Fresu. 2014. Chet and Miles. Rome: Postcart. 78 p. Photographs and Illustrations. ISBN: 9-788-88679-583-8. LCCN: ML88 .B26 V5813 2014. Biographical profiles and photographs of jazz trumpeters Chet Baker and Miles Davis.

740.

Vuust, Peter. 2000. Polyrytmik og-metrik i Modern Jazz: en Studie af Miles Davis’ Kvintet fra 1960erne (Polyrhythmics and Polymetrics in Modern Jazz: A Study of the Miles Davis Quintet From the 1960s). Aarhus: Det Jyske Musikkonservatorium. 195 p. Danish text. Bibliography and Discography. ISBN: 8-798-65784-4. LCCN: ML421 .M54 V88 2000. A biographical, historical, and critical work that focuses on Miles Davis’ performances and ensembles of the 1960s. In particular, the book focuses on how the Miles Davis Quintet, with rhythm section of Herbie Hancock, Ron Carter, and Tony Williams, seriously explored polyrhythmic possibilities beginning in the mid-1960s. Through semiotics, analysis of recordings, and interviews with two band members, the rhythmic grammar employed by the Quintet is revealed and practice of polyrhythmics is placed in an analytical perspective within jazz.

741.

Wald, Lasowski Aliocha. 2012. “De Purcell à Miles Davis et Musique Avant Toute Chose.” In Philippe Sollers: L’ art du Sublime. Paris: Pocket. Series: Agora

Annotations of Books147

(Paris, France), 356. 189 p. Bibliography. ISBN: 9-782-26622-029-3. LCCN: PQ2679 .O4 Z93 2012. A collection of critiques and essays on music and the sublime with an essay that focuses on Miles Davis. 742.

Walker, Rebecca. 2012. Black Cool: One Thousand Streams of Blackness. Berkeley, CA: Soft Skull Press. xvi, 164 p. Illustrations. ISBN: 9-781-59376-417-3. LCCN: E185 .625 .B53 2012. Explores the aesthetic of black cool from the effortless reserve of Miles Davis to the shock of resistance in African American women, and other topics. The author attempts to name elements of the phenomenon that have emerged to shape the global expectations of cool itself.

743.

Wallin, Nils Lennart, Björn Merker, and Steve Brown, eds. 2000. The Origins of Music. Cambridge, MA: MIT Press. xiii, 498 p. Indexes and Illustrations. ISBN: 9-780-26223-206-7. OCLC Number: 426039915. LCCN: ML3800 .O74 2000. Conference proceedings on a workshop held in Fiesole, Italy, May 1997. The proceedings emphasize the evolutionary aspects of music and suggest that further volumes on the other branches of bio-musicology, neuro-musicology, and comparative musicology are to be expected in the near future. One of the positions is that music is psychologically a human phenomenon. Also music and language are inextricably linked. Those who have communicated with composers such as Miles Davis and Bela Bartok will know that fact to be true.

744.

Walser, Robert. 1997. “Out of Notes, Significations, Interpretations, and the Problem of Miles Davis.” In Keeping Score: Music, Disciplinarity, Culture. David Schwarz, Anahid Kassabian, and Lawrence Siegel, eds. Charlottesville, VA: University Press of Virginia. ix, 307 p. Music Examples. ISBN: 0-813-91699-2. LCCN: MT1 .K32 1997. A diverse group of essays that includes a reprint of the author’s essay on Miles Davis as a focal topic; argues for and demonstrates the effort to redefine the methods, goals, and scope of musical scholarship. Influenced by ongoing debates about disciplinarity, the group of essays explore the emerging and receding paradigms in the field.

745.

Walser, Robert. 1995. “Out of Notes, Significations, Interpretations, and the Problem of Miles Davis.” In Jazz Among the Discourses. Krin Gabbard, ed. Durham, NC: Duke University Press. vii, 288 p. Bibliography and Index. ISBN: 0-822-31581-5. LCCN: ML3507 .J36 1995. Miles Davis as a scholarly topic of research is included in this group of essays that employ modes of criticism and theory in study of the humanities. The essays address questions such as what the implications are of building jazz history around the medium of the phonograph record. Also another focal point of inquiry includes determining when jazz writers first claimed jazz as an art.

148

746.

Annotations of Books

Ward, Geoffrey, and Ken Burns. 2000. Jazz: A History of America’s Music. New York: A. Knopf. x, 489 p. Bibliography, Index, and Illustrations. ISBN: 9-78067976-539-4. LCCN: ML3506 .W37 2000. This book traces the history of jazz from its origins in New Orleans through the twentieth century. It examines the lives and contributions of many of the genre’s greatest composers and performers. This book is a companion volume to Ken Burns’ ten-part Jazz, the PBS documentary series on history/story of jazz.

747.

Waters, Keith. 2011. The Studio Recordings of the Miles Davis Quintet, 1965–68. New York: Oxford University Press. Series: Oxford Studies in Recording Jazz. xvi, 302p. ISBN: 9-780-19539-383-5. LCCN: ML419.D39 W38 2011. Treating six different studio recordings in depth—E.S.P., Miles Smiles, Sorcerer, Nefertiti, Miles in the Sky, and Filles de Kilimanjaro—recorded by the Miles Davis Second Quintet featuring tenor saxophonist Wayne Shorter, pianist and keyboardist Herbie Hancock, bass player Ron Carter, and drummer Tony Williams. The author explores a number of references to and explication of Davis’ works and creative output. The author examines contemporary reviews of recordings and interviews with several musicians that include Wayne Shorter (saxophone), Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums).

748.

Watrous, Peter. 2009. “Miles Davis: Rebel Without a Pause.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. An interview with Miles Davis that greatly serves as a tribute. Davis’ greatest influence has been his unmistakable sound. For Davis sound is the most important thing a musician can have. Davis emphasizes the unique sounds of John Coltrane, Charlie Parker, Dizzy Gillespie, Sid Catlett, Earl Bostic, Art Tatum, and Charles Mingus.

749.

Weight, Richard. 2015. Mod! From Bop to Britpop, Britain’s Biggest Youth Movement. London: Vintage Books. xiv, 478 p. [16] p. pf plates, Illustrations, and Portraits. ISBN: 9-780-09959-788-9. OCLC Number: 902998261. Examines the origins of Mod in the Soho jazz scene of the 1950s set to the cool sounds of Charlie Parker and Miles Davis. Also explores aspects of “swinging” London in the mid-1960s to the late 1970s and pop groups that were revered in British youth culture.

750.

Wein, George. 2012. “Miles, Newport, and the Business of Jazz.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-782-84102-152-9. LCCN: ML419 .D39 M54 2012. George Wein, the founder of the Newport Jazz Festival, recalls the late addition of Miles Davis to the 1955 festival. Having suffered a musical slump and serious

Annotations of Books149

drug dependence, Davis had cleaned himself up and gave a performance that energized his entire career. Davis’ Newport appearance led to the beginning of what would be a longstanding relationship with Columbia Records and at the same time it helped to validate the festival among the jazz elite. 751.

Wein, George, and Nate Chinen. 2003. “Interlude With Miles Davis.” In 31st Annual New York Brass Conference, April 11 and 12, 2003, the Park Central Hotel, New York City. New York: Conference for Brass Scholarship. 64 p. Illustrations. OCLC Number: 54679883. LCCN: ML933 N49 2003. A paper on Miles Davis presented in conjunction with a New York Brass Conference.

752.

Wein, George, and Nate Chinen. 2003. “Miles Davis.” In Myself Among Others. Cambridge, MA: Da Capo Press. 448 p. ISBN: 0-306-81114-6. LCCN: ML429 .W45 2003. Miles Davis was an active participant and performer at the Newport Jazz Festival and other similar festivals for many years. This book explores the struggles and triumphs of the Newport and other festivals over the world.

753.

Weissmüller, Peter. 1984. Miles Davis: Sein Leben Sein Musik, Seine Schallplatten. Gautig-Bauchendorf: Oreos. Series: Collection of Jazz Series. 194 p. German text. Bibliography and Illustrations. ISBN: 3-923-65704-8. LCCN: ML419.D39 W5 1984. A biographical study of the life, music, career, accomplishments, associations, and contributions of Miles Davis. Provides discussions of recordings and style.

754.

Werner, Craig. 2005. “The Jazz Impulse: James Brown, Miles Davis, and Jimi Hendrix.” In Music and Culture. Anna Tomasino, ed. New York: Pearson Longman. Series: A Longman Topics Reader. x, 245 p. ISBN: 9-780-32119-483-1. LCCN: ML3916 .M85 2005. An edited volume of essays on social and cultural issues through perspectives on music personalities, business agents, diversity, and the sounds themselves. The purpose of the essays is intended to promote critical thinking and writing.

755.

Weston, Randy, and Willard Jenkins. 2010. African Rhythms: The Autobiography of Randy Weston. Durham, NC: Duke University Press. Series: Refiguring American Music. xx, 326 p. Index, Illustrations, and Discography. ISBN: 9-78082234-784-2. LCCN: ML417 .W36 A3 2010. An autobiography of the pianist, composer, and bandleader Randy Weston who is one of the world’s most influential musicians and storytellers and whose career spanned five continents and more than six decades. Weston describes his partnership and collaborations with many artists that include Langston Hughes, Melba Liston, Marshall Stearns, Duke Ellington, Dizzy Gillespie, Coleman Hawkins, Thelonious Monk, Billy Strayhorn, Max Roach, Charlie Parker, Miles Davis, and others.

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Whitaker, Matthew C., ed. 2011. “Miles Davis.” In Icons of Black America: Breaking Barriers and Crossing Boundaries. Santa Barbara, CA: Greenwood. Series: Greenwood Icons. 3 vols. xxxiii, 1122 p. Illustrations. ISBN: 9-780-31337-642-9. LCCN: E185 .96 .J26 2011. Illuminates the lives and legacies of the most prominent and powerful individuals, groups, and institutions in African American history.

757.

White, Lenny. 2012. “Miles, Tony Williams, and the Road to Bitches Brew.” In Miles Davis: The Complete Illustrated History. Ashley Kahn, ed. Minneapolis, MN: Voyageur Press. 223 p. Index, Illustrations, and Photographs. ISBN: 9-78284102-152-9. LCCN: ML419 .D39 M54 2012. Lenny White, the co-drummer on Miles Davis’ Bitches Brew album, recalls the making of the album and its inspiration. Notes that the recording began the day after Jimi Hendrix performed at Woodstock. Argues that the album is an aural cross-pollination of Jimi Hendrix, Igor Stravinsky, and James Brown as well as many other sounds at that time with interwoven rhythms and textures built by the double rhythms section.

758.

Whyton, Tony. 2013. Jazz Icons: Heroes, Myths, and the Jazz Tradition. New York: Cambridge University Press. xi, 219 p. Bibliography, Index, and Illustrations. ISBN: 9-781-10761-082-8. LCCN: ML3508 .W49 2013. Examines why and how the greatest jazz musicians are regarded as icons. The author equates their music in ways similar to religious devotion. Proposes the idea that jazz fans constitute members of a cult. Provides examples of Louis Armstrong, Kenny G., Miles Davis, and others.

759.

Whyton, Tony. 2011. Jazz. Farnham, Surrey, England: Ashgate. Series: Library Essays on Popular Music. xxiii, 538 p. ISBN: 9-780-75462-951-1. LCCN: ML3506 .J355 2001. Features articles that provide jazz studies from the 1990s to the present day and engage with issues that are central to the discourse in popular culture. Includes the essay “Out of Notes, Significations, Interpretations, and the Problem of Miles Davis” by Robert Walser.

760.

Wiedemann, Erik. 2001. Jazzen i Blodet: Udvalgte Artikler 1951–2000 (The Jazz in the Blood: Selected Articles 1951–2000). Christian Braad Thomsen, ed. København, Denmark: Gyldendal. 411 p. Danish text. Index, Illustrations, Portraits, and Discography. ISBN: 8-702-00437-2. OCLC Number: 463000812. A collection of jazz reviews by the Danish scholar Erik Wiedemann (1930–2001) from the newspaper Information. The central figures of the articles are Thelonious Monk, Miles Davis, John Coltrane, and Keith Jarrett.

761.

Wilentz, Sean. 2012. 360 Sound: The Columbia Records Story. San Francisco, CA: Chronicle Books. 336 p. Index and Illustrations. ISBN: 9-781-45210-756-1. LCCN: ML792 .C65 W55 2012.

Annotations of Books151

Explores the history of Columbia Records and the many musicians associated with the label—Bessie Smith, Miles Davis, Frank Sinatra, and others. 762.

Willener, Alfred. 2008. Le Désir d’ Improvisation Musicale: Essai de Sociologie. Paris: L’ Harmattan. Series: Loquiques Sociales. 213 p. French text. Bibliography and Illustrations. ISBN: 9-782-29606-805-6. LCCN: ML430 .5 .W55 2008. Presents essays on the history and social aspects of improvisation in music. Includes discussion of Claudio Rodete, Art Farmer, John Coltrane, Miles Davis, Wynton Marsalis, Michel Portal, and Markus Stockhausen. Topics include approaches to improvisation, improvisation and cultures, and more.

763.

Williams, Martin T. 1993. “Miles Davis: A Man Walking.” In The Jazz Tradition. New York: Oxford University Press. xviii, 301 p. Bibliography, Index, Discography, and Illustrations. ISBN: 0-915-07815-2. LCCN: ML3506 .W545 1993. A study of jazz history traced through the contributions of selected jazz figures, innovative improvisers, and composers that include Louis Armstrong, Charlie Parker, Ornette Coleman, Jelly Roll Morton, Duke Ellington, Thelonious Monk, Bix Beiderbecke, Horace Silver, Coleman Hawkins, Billie Holiday, Count Basie, Lester Young, Miles Davis, the Modern Jazz Quartet, Sonny Rollins, and John Coltrane. Jazz is seen as having evolved through primarily organic rhythmic changes and innovative players to the synthesis of important composers.

764.

Williams, Martin. 1989. “Miles Davis Live,” and “Miles Davis Odyssey!” In Jazz in Its Time. New York: Oxford University Press. xii, 272 p. Discography and Index. ISBN: 0-195-05459-8. LCCN: ML3507 .W535 1989. A collection of previously published essays, portraits, and book and record reviews on the past, present, and future of the jazz idiom. Examines the pressures placed on jazz musicians and their music by commercialism. Among the musicians featured are Red Allen, Louis Armstrong, Count Basie, Sidney Bechet, Jaki Byard, Harry Carney, Ornette Coleman, John Coltrane, Miles Davis, Art Farmer, Budd Freeman, Dizzy Gillespie, Jimmy Giuffre, Bobby Hackett, Jim Hall, Lionel Hampton, Thelonious Monk, Sonny Stitt, Teddy Wilson, and Lester Young.

765.

Williams, Richard. 2011. The Blue Moment: Come Kind of Blue ha cambiato La Musica. Translated by Saba Pezzani. Milano: II Saggiatore. Series: La Cultura, 751. 252 p. Italian text. ISBN: 9-788-84281-726-0. OCLC Number: 779680052. An Italian translation of the author’s book about Miles Davis’ seminal recording of the Kind of Blue album.

766.

Williams, Richard. 2010. The Blue Moment Miles Davis’ Kind of Blue and the Remaking of Modern Music. New York: W. W. Norton. First published by in Great Britain by Faber and Faber, 2009. 309 p. ISBN: 9-780-39307-663-9. LCCN: ML419.D39 W52 2010. Discusses the impact of Miles Davis’ seminal recording of the Kind of Blue album and the ways the album changed both music and culture since its release in 1959,

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and explains how it influenced diverse artists such as Steven Reich and the Velvet Underground. 767.

Williams, Richard. 2000. “Miles Davis-Gone, Gone, Gone.” In Long-Distance Call: Writings on Music. London: Aurum. 248 p. Illustrations. ISBN: 9-78185410-681-0. LCCN: ML200 .W455 2000. A set of critical writings on several noted musicians including Miles Davis, Gladys Knight, and others.

768.

Williams, Richard. 1996. “The Conception of the Cool.” In The Miles Davis Companion: Four Decades of Commentary. Gary Carner, ed. New York: Schrimer. xiv, 274 p. Bibliography, Discography, and Index. ISBN: 0-028-64612-6. LCCN: ML419.D39 75 1996. Focuses on the beginnings of the cool jazz movement and the making of the Miles Davis Nonet. In 1948 Gil Evans lived at West 55th Street in mid-town Manhattan. Evans’ apartment was nestled behind a Chinese laundry where many jazz musicians such as Miles Davis, George Russell, John Lewis, and Gerry Mulligan congregated at all hours for jam sessions. One outgrowth of these social and musical gatherings was Miles Davis’ first band as a leader, a nonet that featured arrangements by Gil Evans and others.

769.

Williams, Richard. 1993. Miles Davis: The Man in the Green Shirt. New York: H. Holt; London: Bloomsbury. 192 p. Selected Bibliography and Discography, Index, Illustrations, and Photographs. ISBN: 0-805-02704-1. LCCN: ML419.D39 W54 1993g. A biography of Miles Davis. The title is a reference to the shirt that Davis wore on his 1958 Milestones album. The book is filled with provocative photographs covering Davis’ entire career.

770.

Williams, Richard. 1993. L’ Homme à la Chemise Verte Miles Davis (Miles Davis: The Man in the Green Shirt). Translated by Rémy Lambrechts and Allain Gnaedig. Paris: Editions Plume. 192 p. French text. ISBN: 9-782-90803-486-8. LCCN: ML419 .D395 W5514. French translation of the author’s biographical portrait and tribute to Miles Davis.

771.

Wilmer, Valerie. 2010. “Conversations With Coltrane.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. An interview that was conducted with John Coltrane while he was on a United Kingdom tour. Coltrane discusses perceived difference in sound between his recordings and his live band, the soprano saxophone, the harp, the use of two bassists, and Miles Davis’ and Ornette Coleman’s influences on his music. Coltrane emphasized that Davis influenced him to be a better musician. Davis gave

Annotations of Books153

Coltrane some of the most listenable moments he had in music and also gave Coltrane an appreciation for simplicity. 772.

Wilson, John S. 2012. “Three Movie Scores Issued on LP Disks (1959).” In The Routledge Film Music Sourcebook. James Wierzbicki, Nathan Platte, and Colin Roust, eds. New York: Routledge. ISBN: 9-780-41588-873-8. LCCN: ML2075 .R68 2012. An essay originally published in The New York Times, December 20, 1959, that discusses three film scores: Anatomy of a Murder (by Duke Ellington), Odds Against Tomorrow (by John Lewis), and Elevator to the Scaffold (Ascenseur pour l’ Échafaud) (by Miles Davis).

773.

Wilson, Peter Niklas. 2001. Miles Davis: Seine Leben, Seine Musik, Seine Schallplatten. Waakirchen: Oreos. Series: Collection Jazz, Bd. 27. 231 p. German text. Illustrations. ISBN: 3-923-65762-5. LCCN: ML419 .D263 W58 2001. A biography of the life, music, and career of Miles Davis.

774.

Wolff, Francis. 2014. Blue Note: Photos, rev. ed. Paris: YellowKorner Éditions: Flammarion. 287 p. Biography essay in English and French. Index, Illustrations, and Portraits. ISBN: 9-782-08020-220-8. LCCN: ML87 .W677 2014. A collection of jazz photographs by Francis Wolff, co-founder of Blue Note Records, to document the recording sessions of jazz musicians such as Miles Davis, Herbie Hancock, and others.

775.

Wolff, Francis. 1995. Blue Note Years: The Jazz Photography of Francis Wolff. Foreword by Herbie Hancock. New York: Rizzoli. 203 p. Index, Illustrations, and Photographs. ISBN: 0-847-81912-4. LC Number: ML87 .W67 1995. A collection of jazz photographs taken by Francis Wolff, co-founder of Blue Note Records, to document the recording sessions that made Blue Note a famous jazz label. The collection also conveys history of Blue Note and jazz musicians such as Miles Davis, Herbie Hancock, and others.

776.

Womack, Craig S. 2009. Art as Performance: Story as Criticism: Reflections on Native Literary Aesthetics. Norman, OK: University of Oklahoma Press. 406 p. Bibliography and Index. ISBN: 9-780-80614-065-0. LCCN: PS153 .I52 W65 2009. A critical work that is divided into fifteen musings which often break with form of much scholarly work on literature. The author also includes a discussion of the evolution of jazz under a master such as Miles Davis who, fearing the stagnation of a less accessible and unfashionable bebop jazz, experimented with fusion. The result of this controlled fusion was more accessible through complex musical experiences of listeners.

777.

Wright, Charles. 1995. “Miles Davis and Elizabeth Bishop Fake the Break.” In Chickamauga. New York: Farrar, Straus and Giroux. 96 p. ISBN: 0-374-12108-7. LCCN: PS3573 .R52 C45 1995.

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A collection of poetry with writing focusing on Miles Davis. 778.

Wulff, Ingo, ed. 1996. Diary of Jazz: A Perpetual Calendar. Kiel: Nieswand. One Volume. ISBN: 9-783-92604-838-7. LCCN: ML394 .D53 1996. A collection of interviews with jazz musicians such as Miles Davis, Bill Frisell, Lee Konitz, Gary Peacock, Bill Portal, and others. Interview topics include careers, music, and place in the jazz world.

779.

Yaffe, David. 2006. Fascinating Rhythm: Reading Jazz in American Writing. Princeton, NJ: Princeton University Press. ix, 230 p. Bibliography, Index, and Illustrations. ISBN: 0-691-12357-8. LCCN: PS228 .J39 Y34 2006. Explores how American writers have written about jazz and how jazz has influenced American literature. Also explores the relationship and interplays between jazz in literature, examining jazz musicians and the themes literature has garnered. Part of the book examines poets such as Wallace Stevens, Langston Hughes, Hart Crane, and Frank O’ Hara who were variously inspired by the music. In addition, an exploration of memoirs by Billie Holiday, Charles Mingus, and Miles Davis both reinforced and redeemed the origins of jazz.

780.

Yanow, Scott. 2003. Jazz on the Record: The First Sixty Years. San Francisco, CA: Backbeat Books. 858 p. Bibliography, Index, and Timelines. ISBN: 0-879-30755-2. LCCN: ML156.4 J3 Y36 2003. Chronological and encyclopedic in scope, this volume presents a thorough examination of jazz and jazz musicians. The volume has a substantial amount of information on Miles Davis, his recordings, collaborations, styles, and history. The sections of this volume include “1895–1920: The Lost Beginnings”; “1921–1925: Jazz Sweeps the Nation”; “1926–1932: From Boom to Bust”; “1933–1938: Swing the Thing”; “1939–1944: The War Years”; “1945–1949: Bebop Spoken Here” (includes section “Three Major Trumpeters: Howard McGhee, Fats Navarro, and Miles Davis”); “1950–1955: West Coast  & East Coast” (includes the section “Miles Davis and His First Classic Quintet”); “1956–1960: A  Time of Jazz Greats” (includes extensive coverage on Miles Davis, John Coltrane, Sonny Rollins, Thelonious Monk, Charles Mingus, Art Blakey and Jazz Messengers, the Horace Silver Quintet, the Ornette Coleman Quartet, and Cecil Taylor); “1961–1967: The Race to Freedom” (includes the section “Miles Davis’ Second Great Quintet”); “1968–1976: Fusion & Beyond” (includes the sections “Miles Davis: 1968–1969,” “Fusion: The Sons of Miles,” and “Miles Davis: 1970–1975”).

781.

Yanow, Scott. 2001. The Trumpet Kings: The Players Who Shaped the Sound of Jazz Trumpet. San Francisco, CA: Backbeat Books. viii, 423 p. Bibliography, Index, and Illustrations. ISBN: 0879306408. LCCN: ML399 .Y36 2001. Presents biographical profiles that cover jazz legends of the trumpet—Miles Davis, Louis Armstrong, Wynton Marsalis, and many lesser-known noteworthy players.

Annotations of Books155

782.

Yudkin, Jeremy. 2008. Miles Davis, Miles Smiles and the Invention of Post Bop. Bloomington, IN: Indiana University Press. xvi, 161 p. Discography. ISBN: 9-780-25321-952-7. LCCN: ML419.D39 Y83 2008. Focusing on one of the legendary musicians in jazz, this book examines Miles Davis’ often overlooked music of the mid-1960’s with a close examination of the evolution of a new style: post-bop. Traces Davis’ life and work during a period when the trumpeter was struggling with personal conflicts.

783.

Yui, Shoichi, Kiyoshi Koyama, and Kazuaki Tsujimoto. 2010. “Interview With John Coltrane.” In Coltrane on Coltrane: The John Coltrane Interviews. Chris DeVito, ed. Chicago: Chicago Review Press, A Cappella Books. xix, 396 p. Bibliography, Index, Illustrations, and Appendix. ISBN: 9-781-56976-287-5. LCCN: ML419 .C645 A5 2010. Excerpts from transcripts of three separate interviews conducted with John Coltrane in Tokyo, Japan, on July 9, 1966. Coltrane discussed several topics including his opinions about classical music, Miles Davis as a teacher, and instrumental technique.

784.

Young, Rob. 2002. “Post-Everything Except the Future: Random Thoughts on Avant Rock.” In Look at the Music: Seesound. Thomas Millroth, ed. 120 p. Illustrations and CD. ISBN: 9-789-18725-839-8. OCLC Number: 769689687. Ystad, Sweden: Ystads Konstmuseum (Ystad Art Museum). ISBN: 9-789-18725-839-8. OCLC Number: 769689687. LLCN: ML102 .E4 L66 2002. Examines the history of rock music in terms of avant-garde moments, mostly as a result of mixing genres or artists such as Jimi Hendrix meets Miles Davis. Discusses the band Sonic Youth who since 1979 has incorporated avant-garde features in their music.

785.

Zwerin, Michael. 2009. “Miles the Movie Star-Dingo.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. Part of a trilogy of interviews on Miles Davis by the author. This particular article was originally published in International Herald Tribune, August 1998. The interview explores Davis’ role as a professional actor in the feature film Dingo.

786.

Zwerin, Michael. 2009. “Miles the Painter: Colorful Flowing Lines.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago: Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. This interview was originally published in International Herald Tribune, July 23, 1998. The interview explores the origins of Miles Davis’ passion for painting.

787.

Zwerin, Michael. 2009. “The Prince of Silence.” In Miles on Miles: Interviews and Encounters With Miles Davis. Paul Maher, Jr. and Michael K. Dorr, eds. Chicago:

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Lawrence Hill Books. 342 p. ISBN: 9-781-55652-706-7. LCCN: ML419 .D39 A5 2009. A special tribute to Miles Davis was originally published in the International Herald Tribune, April 9, 1998. In the tribute Davis was regarded as the last in line of kings, dukes, counts, and lords who forged the basic vocabulary of jazz. Davis did not like to be called a “legend.” When he turned sixty he indicated to the author that a legend is an old man known for what he used to do. Since Davis was still performing and recording he preferred to simply be called “Miles.” 788.

Zwerin, Michael. 2007. “Miles Davis: A Most Curious Friendship.” In The Miles Davis Reader: Interviews and Features From Down Beat Magazine. Frank Alkyer, ed. New York: Hal Leonard. Series: Down Beat Hall of Fame. xv, 354 p. Illustrations. ISBN: 9-781-42343-076-6. LCCN: ML419 .D39 M554 2007g. An article that was originally published in Down Beat, March 10, 1966, where the author presents a retrospective/article on his longstanding friendship with Miles Davis. The author discusses his interactions with Miles Davis and Charlie Parker, Paris jazz, and other anecdotal experiences with Davis.

789.

Zwerin, Michael. 2005. “Miles Davis: A Mouth Full of Words.” In The Parisian Jazz Chronicles: An Improvisational Memoir. New Haven, CT: Yale University Press. xiii, 214 p. ISBN: 9-780-30010-806-4. LCCN: ML3509 .F7 Z47 2005. Offers engaging personal account of the jazz scene in Paris in the 1980s and 1990s. The author writes not only about his personal life, allegiances to journalism and music, and his relationships with America and France, but also about figures he knew and interviewed such as Dexter Gordon, Freddy Heineken, Miles Davis, Bob Dylan, Chet Baker, Wayne Shorter, and Melvin Van Peebles.

790.

Zwerin, Michael, ed. and translator. 1988. Round About Close to Midnight: The Jazz Writings of Boris Vian. London: Quartet Books. 178 p. ISBN: 0-704-32619-1. LCCN: ML3507 .V513 1988. A collection of essays covering topics from artists, groups, criticism, and sociopolitical commentary issues such as racism and dislike in jazz. Also presents commentary on jazz musicians such as Dizzy Gillespie, Gene Krupa, Stan Kenton, Miles Davis, and Charlie Parker.

791.

Zwerin, Michael. 1983. Close Enough for Jazz. London: Quartet Books. vii, 246 p. Index, [12] p. of plates, and Illustrations. ISBN: 9-780-70432-400-8. LCCN: ML419 .Z93 A3 1983. Michael Zwerin, who played with Miles Davis in the original Birth of the Cool session, presents anecdotes from his life as a participant and observer of jazz, including the big bands of Maynard Ferguson and Claude Thornhill, and profiles on jazz musicians.

2 Annotations of Journals: Essays, Studies, and Other Selected Articles

792.

(anon.) 2011. “Der Picasso des Jazz: Miles Davis (The Picasso of Jazz: Miles Davis).” Jazz Podium 50(12) (December): 3–8, 10. ISSN: 0021-5686. Presents a biographical profile of Miles Davis on the tenth anniversary of his death. The author compares Davis’ stylistic development to that of Pablo Picasso. Argues that both Picasso’s and Davis’ principle of style consisted of a series of stylistic change. Picasso’s style ranged from his Blue Period and Rose Period to cubism, camera, and classicism, whereas Davis’ stylistic process was enmeshed in several subcategories that include bebop, cool, hard bop, modal jazz, Harmon mute, third stream, bop, funk, wah-wah pedal, and world music.

793.

(anon.) 2011. “Flamenco Sketches.” Jazzforschung 43: 138–142. ISSN: 0075-3572. A critical and analytical study of the jazz composition “Flamenco Sketches,” written by Miles Davis and performed by jazz guitarist John Scofield, bassist Dave Holland, and drummer Al Foster on the music release of the album Joe Henderson: So Near, So Far. Discussions focus on the harmonic progression, tonality, and improvisational material in the composition. Musical notation excerpts are included as examples of melodic motifs in the song.

794.

(anon.) 2005. “Jazz Has Got Copyright Law and That Ain’t Good.” Harvard Law Review 118(6) (April): 1940–1961. ISSN: 0017-811X. Discusses the effect of copyright laws on jazz music in the United States as of April 2005, conditional of the jazz industry, overview of the copyright law, and doctoral solutions to the problems being faced by the industry. Provides a discussion of Miles Davis’ instrumental rendition of Cole Porter’s lyric-version of the composition “Love for Sale” as an example arguing that jazz covers of standards 157

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generally have a transformative requirement. That is, jazz adds new meanings because of its instrumental quality, the absence of lyrics strips the original Tin Pan Alley or Broadway context, function, and charm. Examines Miles Davis’ transformation of Porter’s work to include brass, woodwinds, and rhythm section, altering the expression of the original Porter arrangement. 795.

(anon.) 2003. “Trans-America Construction of Black Masculinity: Dany Leferrière, Le Nègre, and the Capitalist American Record Racial Machine-Dèsirante.” Callaloo 26(3): 867–900. No ISSN. Explores Haitian-born writer Dany Leferrière’s literary writings on North American construction of black masculinity and how le Nègre was an explosive dynamic in the late capitalist American machine dèsirante (“desiring machine”). Focuses on the textual engagements of the construction of black masculinity with other black men—James Baldwin, Jean-Michael Basquiat, Miles Davis, Chester Himes, Spike Lee, Derek Walcott, and Franz Fanon.

796.

(anon.) 2008. “Using Jazz as Metaphor to Improve the Quality of Conversation.” Knowledge of Management Review 11(3) (July/August): 35. ISSN: 1369-7633. Provides a report on a forum of events held on management that explored the use of jazz as a metaphor in tackling challenges in the business world. Reports that on June 11, 2008, members of the Henley Knowledge Management Forum were treated to an extended performance by musical group Jazz in Business in a workshop that explored the use of jazz as a metaphor to improve the quality of organized conversations and knowledge sharing. The performance was kicked off with a rendition of Miles Davis’ composition “Freddie Freeloader” from the Kind of Blue album. In between the performances, the forum discussed and provided examples from the world of jazz that can assist knowledge management professionals in tackling challenges.

797.

(anon.) 2011. “You’re Under Arrest.” Jazzforschung 43: 292–313. German text. ISSN: 0075-3572. Presents an analysis of two versions of the jazz composition “You’re Under Arrest” written by jazz guitarist John Scofield and performed by Miles Davis on the music release of the album You’re Under Arrest, as well as by jazz multi-musician Gary Thomas on the music release of By All Means Necessary. The improvisational material unique to each recording is examined and musical notation excerpts are included as examples of melodic motifs in the composition and solos.

798.

Adåker, Ulf. 2009. “Stilstudier 3: Cool Jazz.” Orkester Journalen 77(3) (June): 34–41. ISSN: 0030-5642. Examines cool jazz as a reaction to swing. Outlines various theoretical aspects of cool jazz as raised fifths and ninths as well as a focus on more linear musical lines rather than vertical chords. Discusses cool jazz and borrowings from art music composers such as Igor Stravinsky and Claude Debussy. Also discusses

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the contributions of pioneers such as Miles Davis, Chester Young, Gil Evans, and Lennie Tristano. 799.

Albjerg, Erik. 2000. “From Mellow-Textured Mood Music Into Dissonance: Gil Evans’ 1948 of Moon Dreams.” Tijdschrift voor Muzic Theorie 5(1) (February): 1–15. ISSN: 1385-3066. A study of the studio recordings of the Miles Davis Nonet 1949–1950 that were released as singles. Late in 1957 eight of these recordings were collected on an album titled Birth of the Cool. The recordings were famous for their unique instrumentation (trumpet, alto saxophone, French horn, trombone, baritone saxophone, tuba, piano, double bass, and drums) style, and the arrangements made by Gerry Mulligan, Gil Evans, John Lewis, and John Carisi. These arrangements have become significant in jazz arranging and are still interesting objects for analysis and study. The original score to Evans’ arrangement of “Moon Dreams” (composed by Chummy McGregor and Johnny Mercer) seems to have been lost. In this study the author presents a reconstruction of the entire arrangement of the score of “Moon Dreams” and an analysis of the entire arrangement is reconstructed.

800.

Amussen, Gretchen. 2007. “Jazz at the Paris Conservatory.” Jazz Education Journal 39(4) (Fall): C5. ISSN: 1540-2886. Presents a retrospective of jazz study department and curriculum at the Paris Conservatory. Also provides a historical survey of jazz in France by many of the jazz musicians who performed in Paris. This includes the 1949 performance of Charlie Parker and Miles Davis at the Festival International de Paris, along with Sidney Bechet. Also discusses a Franco-American collaboration with Miles Davis and French jazz musicians on the soundtrack of a French film.

801.

Anderson, Paul A. 2013. “My Foolish Heart: Bill Evans and the Public Life of Feelings.” Jazz Perspectives 7(3) (December): 205–249. ISSN: 1749-4060. Analyzes the critical reputation of Bill Evans’ emotional signature in the 1960s with regard to the material most crucial to that part of his reputation: the romantic ballad. Special attention is given to the late 1950s especially during the time when Bill Evans was a member of Miles Davis’ ensemble and the Kind of Blue album was recorded. Topics addressed include music and emotions, circulated around the performances of Bill Evans and Miles Davis and others.

802.

Argenti, Tristan. 2010. “Chet and Miles: A Psychological Comparative.” IAJRC Journal 43(2) (June): 110. ISSN: 0098-9487. Comments on the discourteous behaviors of jazz trumpeters Miles Davis and Chet Baker. The author cites examples and speculates as to motivation on both Davis’ and Baker’s rudeness.

803.

Arndt, Jürgen. 2001. “Grenzgänge Zwischen Popmusik und Jazz Miles Davis and Ornette Coleman in den 1960er-Jahren (Walking the Border Between Pop Music

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and Jazz: Miles Davis and Ornette Coleman in the 1960s).” Musik und Unterricht Zeitschrift fär Musikpädagogik 12(64): 32–39. German text. ISSN: 1439-1384. Challenges research in art and popular culture. Examines the points of contact between popular music and jazz using Miles Davis and Ornette Coleman as examples. Also offers suggestions in researching the subject of popular music and jazz. 804.

Barrett, Samuel. 2011. “Classical Music, Modal Jazz and the Making of Kind of Blue.” Dutch Journal of Music Theory/Tijdschrift voor Muziektheorie 16(1) (February): 53–63. ISSN: 1385-3066. 4 Diagrams. Explores the influence of classical music on Miles Davis’ Kind of Blue album. The article presents an argument that a dynamic or cyclical notion of influence is needed to account for the ways in which orally transmitted traditions that become fixed when used as such are subsequently unfrozen by jazz musicians when being recycled as devices for improvisation.

805.

Barrett, Samuel. 2006. “Kind of Blue and the Economy of Modal Jazz.” Popular Music 25(2): 185–200. ISSN: 0261-1430. Examines how Miles Davis’ Kind of Blue album has been misrepresented by its promoters. The author examines how the roots of the blues in this album have repeatedly been obscured in favor of modal features whose association are less problematic for those coping with the realities of racial injustice and an underpinning of the modal language through a reconsideration of the claims made for compositional features of individual tracks of the album. Suggests that a critical reading of Davis’ album against the backdrop of integrationist ideals in the late 1950s leads to the suggestion that the continued commercial success of Kind of Blue can be attributed in part to a retention of those ideals.

806.

Batchelor, Chris. 2000. “Analysis: Jazz Classics.” Music Teacher 79(7) (July): 28–33. ISSN: 0027-4461. Offers an analysis of the prescribed jazz repertoire of the OCR AS/A-Level syllabus in the United Kingdom. States that the three pieces chosen from three different styles of jazz (New Orleans, swing, and modern) all have their structure and performance techniques from blues, a music which is at the heart of jazz. Discusses Louis Armstrong’s “West End Blues,” Duke Ellington’s “Ko-Ko,” and Miles Davis Sextet’s “All Blues.” Analyzes chord structures, rhythm, themes, scoring, texture, and arrangement of each and presents notation of portions of each piece.

807.

Bauer, Bernard. 1996. “Miles Davis: Mensechnruf zum 5. Todestag (Miles Davis: An Examination on the Fifth Anniversary of His Death).” Jazz Podium (September): 6–9. Examines the life and music and Miles Davis and his place within the African American music tradition. Considers Davis’ development of a new tone and playing style. Discusses Davis’ struggle against a variety of health problems and considers his legacy and influence on other jazz musicians.

Annotations of Journals161

808.

Berg, Chuck. 1997. “Screen Test: Miles Davis ‘Dingo’. ” Jazz Times 27(8) (October): 69. ISSN: 0272-572X. Reviews a video recording of a 1990 Australian film, Dingo, featuring Miles Davis in a dramatic role. Provides a summary of the storyline of a young Australian musician who dreams of playing with musical hero Billy (played by Milles Davis).

809.

Bergstein, Barry. 1992. “Miles Davis and Karl Stockhausen: A Reciprocal Relationship.” Music Quarterly 76(4) (December): 502–525. ISSN: 0027-4631. Examines what the author defines as the reciprocal relations between Miles Davis and Karl Stockhausen in terms of early influences and contemporaneous cross-cultural inspirations. The author examines other topics in relations to Miles Davis’ and Karl Stockhausen’s creativeness, and music innovations include electro-acoustic applications, process compositions, intuition and improvisation, and others.

810.

Bickl, Gerhard. 2000. “Chorus und Linie—Zur Harmonischen Flexibilität in der Bebop-Improvisation.” Jazzforschung 32: 5–217. German text. Abstract in English. ISSN: 0075-3572. A critical study that examines harmonic flexibility of bebop jazz and improvisation, including the theoretical structure of the music, harmony, rhythms, and various techniques. Includes an analysis of consonance and dissonance in bebop improvisation. Also includes musical notation and numerous pages of sheet music that provide examples of bebop music and improvisation. Concludes with a brief step-by-step process of these musical techniques.

811.

Biggs, Adam. 2014. “Jazz as Individual? An Analysis of ‘The Fabulous Baker Boys’ Soundtrack.” Soundtrack 6(1/2) (March): 21–32. ISSN: 1751-4193. Identifies compositions and using transcriptions and analyzes the score of the film The Fabulous Boys in detail, revealing the melodic, harmonic, structural, and improvisatory devices employed by composer Dave Grusin. This composer conveys the use of jazz in film by particularly drawing on the works of Bill Evans and Miles Davis, in order to demonstrate how Evans’ and Davis’ improvisational structures can enable and act as forms of expression in film.

812.

Boothroyd, Myles. 2010. “Modal Jazz and Miles Davis: George Russell’s Influence and the Melodic Inspiration Behind Modal Jazz.” Nota Bene: Canadian Undergraduate Journal of Musicology 3 (Fall): 47–63. ISSN: 1920-8979. Examines the influences of modal jazz and Miles Davis’ recording of Kind of Blue (1959). The study also investigates influences in modal jazz and his work The Lydian Chromatic Concept for Tonal Organization (1953) that the author argues laid the groundwork for Davis’ modal thinking and writing. George Russell is mentioned in passing in most accounts of Davis’ monumental transition in 1959. But in this study the author explores harmonic and rhythmic elements in modal jazz as well as its underlying goal of melodic freedom that is aimed

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to provide a clearer understanding of what makes this jazz style such a unique musical approach. 813.

Bratton, Elliott. 1998. “In the Interest of Freedom: Jazz in the Cold War.” The New Crisis 105(2) (April/May): 37–38. ISSN: 0011-1422. Examines how during the 1950s and 1960s, African American musicians used jazz to inspire and fortify the civil rights movement. The involvement of Miles Davis, Duke Ellington, and other musicians in the civil rights movement is discussed.

814.

Brislin, Tom. 2009. “Play It-Beginner: ‘So What’?-This Chord, That’s What.” Keyboard 35(3) (March): 46. ISSN: 0730-0158. Provides instructions for playing Bill Evans’ piano part on “So What” from Miles Davis’ Kind of Blue album. Emphasis is placed on chord voicing.

815.

Brofsky, Howard. 1983. “Miles Davis and ‘My Funny Valentine’: The Evolution of a Solo.” Black Music Research Journal 3 (January): 23–45. ISSN: 0276-3605. Focuses on 1952 when trumpeter Chet Baker replaced Miles Davis at the top of the readers’ poll as the top jazz musician on record based solely on Baker’s recording of “My Funny Valentine.” Details are provided behind Davis’ decision to also record “My Funny Valentine” after Baker’s success. Also addressed are the technical aspects of the recording sessions of the song. Musical notations are included.

816.

Brown, Jeremy. 2006. “Jazz Drummers’ Workshop: Style & Analysis-Tony Williams: Part 2-Metric Modulation.” Modern Drummer 30(12) (December): 118– 119. ISSN: 0194-4533. The second part of a series of articles focusing on jazz drummer Tony Williams who played with the Miles Davis Quintet from 1963 to 1969. Examines how Williams developed an entirely new approach to rhythm. Explains that Williams’ polymetric concepts sometimes took the band into new tempo, a phenomenon called metric modulation. Notational examples from three of the Miles Davis Quintet’s songs are presented and discussed.

817.

Brown, Jeremy. 2006. “Jazz Drummers’ Workshop: Style & Analysis-Tony Williams: Part 1-Riduments.” Modern Drummer 30(11) (November): 108–109. ISSN: 0194-4533. Presents details about the drumming style of jazz drummer Tony Williams. The author examines the period from 1963 to 1969 when Williams played with the Miles Davis Quintet, and it is on the recordings he made with Davis that Williams made a major impact on jazz and modern drumming. Examples of Williams’ playing are highlighted to illustrate his use of rudiments, metric modulation, and dynamics.

818.

Brown, Lee B. 2000. “Phonography, Rock Records, and the Ontology of Record Music.” Journal of Aesthetics & Art Criticism 58(4) (Fall): 361. ISSN: 0021-8529.

Annotations of Journals163

Focuses on phonography, rock records, the ontology of recorded music, the development of rock music, and criticism on Theodore Gracyk’s theory of rock music aesthetics. Includes a brief discussion of Miles Davis’ album Sketches of Spain. 819.

Brown, Lee B. 2000. “ ‘Feeling My Way’: Jazz Improvisation and Its Vicissitudes—A Plea for the Imperfection.” Journal of Aesthetics & Art Criticism 58(4) (Spring): 361. ISSN: 0021-8529. Focuses on the characteristics of jazz music. Includes a discussion of Miles Davis’ recording of “My Funny Valentine” (Columbia CS 9106), and comparisons of performances between jazz pianist Art Tatum and Thelonious Monk.

820.

Brown, Lee B. 1999. “Postmodernist Jazz Theory: Afrocentrism, Old and New.” Journal of Aesthetics & Art Criticism 57(2) (Spring): 361. ISSN: 0021-8529. Examines critical theory of jazz and its parallels with an Afrocentric perspective on jazz. Topics discussed include primitivism, criticism against the critical theory, and authentic participation. Also discusses critical theory of jazz’s treatment of double-voicing or “heteroglossia” and Robert Walser’s essay on Miles Davis (“ ‘Out of Notes’: Signification, Interpretation, and the Problem of Miles Davis”).

821.

Brownell, John. 1994. “Analytical Modes of Jazz Improvisation.” Jazzforschung 26: 9–29. ISSN: 0075-3572. A thorough study of modal philosophy and jazz improvisation employing a focus on techniques of jazz musicians such as Miles Davis.

822.

Buhles, Günter. 2010. “Was uns die Musik Verraten Kann-über Subtexte in Jazz (What Music Can Reveal to Us-On the Subtexts in Jazz).” Jazz Podium 59(7–8) (July): 3–7. ISSN: 0021-5686. An examination of subtext and deeper meaning is discussed. Discussion of the music of Duke Ellington, Thelonious Monk, Miles Davis, Bill Evans, John Coltrane, and Ornette Coleman is presented.

823.

Buhles, Günter. 1994. “Europa-Amerika: Die Verbindung Zwischen neuer Musik und Jazz (Europe-America: The Connection Between New Music and Jazz).” Das Orchester: Zeitschrift fur Orchesterkultur und Rundfunk-Chorwesen 42(6): n.p. German text. ISSN: 0030-4468. Traces the history of the elimination of the questionable stylistic and cultural schism between European art music and American jazz during the twentieth century. Examines how European composers such as Igor Stravinsky incorporated jazz elements in their work while musicians like Duke Ellington used European concepts in their composition. In the 1950s Gunther Schuller, the American composer, conductor, and horn player who had played with Miles Davis, coined the term “third stream” to denote works combining jazz and classical music. Discusses aspects of Schuller’s works that combine jazz and classical music.

164

824.

Annotations of Journals

Busch, Sigfried. 1994. “Jazz Workshop: Miles Davis’ ‘All Blues’ Gespielt von John Abercrombie, Analysiert von Bill Dobbins. Jazz Podium 43 (March): 18–19. German text. ISSN: 0021-5686. A study and analysis of Miles Davis’ composition “All Blues.”

825.

Butterfield, Matthew W. 2010. “Variant Timekeeping Patterns and Their Efforts in Jazz Drumming.” Music Theory Online 16(4):2. Electronic Resource. No ISSN. Demonstrates how one modern jazz drummer, Steve Davis, employs variants of common timekeeping patterns in a more “liquid” way to generate emotional energy through the strategic production of metric dissonance at key moments within intensifications but as integral to it. Steve Davis employs various timekeeping patterns on the ride cymbal to generate energy and intensity through nine choruses of accompaniment in a performance of Miles Davis’ composition “Tune Up” from a Jamey Aebersold “Play-A-Long” recording.

826.

Cabaniss, Thomas. 2003. “A Teaching Artist Prepares.” Teaching Artist Journal 1(1): 31. ISSN: 1541-1796. Examines a teaching process that goes into aesthetic education by describing a particular instance of preparation for meeting with teachers for a planning session focused on the jazz music “All Blues,” by Miles Davis.

827.

Caporaletti, Vincenzo. 2006. “Miniatures Audiotallili: I’ Breaks’ di Charlie Parker nelle 24 Incisioni di Night in Tunisia (Audio-Tactile Miniatures: Charlie Parker’s Breaks in the 24 Recordings of Night in Tunisia).” AAA-TAC: Acoustical Art and Artifacts, Technology, Aesthetics, Communication: An International Journal 3: 107–121. ISSN: 1824-6176. A study about Charlie Parker who was the saxophonist in twenty-four recordings of Dizzy Gillespie’s Night in Tunisia from 1945 and 1952. Parker’s variant versions of the brief alto break that follows the first chorus (most famously in the Dial Records recording with Miles Davis of March 28, 1946), are compared and their affiliation and dating are discussed.

828.

Carballeira, Andrew. 2006. “Convergence.” Journal of the Acoustical Society of America 119: 3313. ISSN: 0001-4966. Examines the concept of “convergence” and seeks to show the potential beauty of a world at peace through the manipulation of dissonance/consonance and spatial information. Theorizes convergence to continuation of the concept adopted by Columbia editors on Miles Davis’ later works, Bitches Brew and Live/Evil, which places the engineer/editor at the forefront of the creative process. Argues that this work draws on the multi-channel spatialization techniques developed by IRCAM and convolution with impulse responses, sampled and synthesized to create the environment in which sound sources interact and ultimately join together with one voice.

Annotations of Journals165

829.

Chafin, Sky, Michael Roy, William Gerin, and Nicholas Christenfeld. 2004. “Music Can Facilitate Blood Pressure Recovery Stress.” British Journal of Health Psychology 9(3): 393–403. ISSN: 1359-107X. Examines the effect of listening to music on cardiovascular theory. The research involved participants a three-minute mental arithmetic task, and they were assigned randomly to sit in silence or to listen to one of several styles of music: classical, jazz, or pop. The jazz selection included “Flamenco Sketches” from the album Kind of Blue by Miles Davis.

830.

Childress, Diana. 1994. “Jazz and Art: Musicians as Visual Artists.” Cobblestone 15(8) (October): 30. ISSN: 0199-5197. Examines how jazz musicians have been fascinated by the creative possibilities of paint and canvas as another means of expressing themselves. The artistic talents of Duke Ellington, Miles Davis, Jeremy Steig, and Milt Hinton are discussed.

831.

Chinen, Nate. 2008. “The Gig: Of Horns & Hard Drives.” Jazz Times 38(8) (October): 18. ISSN: 0272-572X. Examines technology and the trumpet. Describes that in 2004 Toyota unveiled an android trumpet. Argues that this development represents an intersection between music and technology. Two trumpet electricians, Nils Petter Molvaer and Arne Henriksen, work on manipulating the trumpet. Also, trumpet players have experimented with technology. These include Miles Davis, Don Ellis, Cuong Vu, and Rob Mazurek.

832.

Chinnery, Ann. 2003. “Aesthetics of Surrender: Levinas and the Disruption of Agency in Music Education.” Studies in Philosophy & Education 22(1) (January): 5–17. Uses jazz as a metaphor to focus on three interrelated aspects of ethical responsibility on Emmanuel Levinas’ account of passivity, heteronomy, and inescapability. Part of the paper examines what the author describes as “musical save” of jazz improvisation. When another player makes an error, a good improviser takes up the wrong note in such a way as to say “yes” to the other. Provides example that Herbie Hancock recalled when Miles Davis heard him play a wrong chord, Davis simply played his solo around the wrong notes making the sound correct, intentional, and sensible.

833.

Christensen, Erik, and Brite Mynborg. 1977. “Miles Davis: Bags’ Groove, Take 1.” Musik & Forskning 3: 141–177. Danish text with an English Summary. ISSN: 0903-188X. Examines Bags’ Groove which was recorded in two takes on December 24, 1954, by Miles Davis, trumpet; Thelonious Monk, piano; Milt Jackson, vibraphone; Percy Heath, bass; and Kenny Clarke, drums. The author presents an analysis of Miles Davis’ solos in take one, based on complete transcriptions, and shows that they are structured with amazing consequence apparent in the overall form as well as in musical detail.

166

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Christiansen, Lars Boie. 1975. “Avant-Garde Jazz.” Bogens Verden 2, 3: 133–139, 210–215. ISSN: 0006-5692. Describes the development of modern jazz from the Miles Davis Sextet in the late 1950s to the avant-garde of 1970. Contributions of John Coltrane, Pharaoh Sanders, Cecil Taylor, Ornette Coleman, Don Cherry, Albert Ayler, Archie Shepp, and Miles Davis are examined.

835.

Ciorba, Charles R., and Brian E. Russell. 2014. “A Proposed Model of Jazz Theory Knowledge Acquisition.” Journal of Research in Music Education 62(3) (October): 291–301. ISSN: 0022-4292. A study that tests a hypothesized model that proposes a causal relationship between motivation and academic achievement on the acquisition of jazz theory knowledge. Argues that Miles Davis stressed the importance of an education in jazz theory and held that a jazz musician with a solid knowledge of jazz theory could develop his or her improvisational abilities much further than a jazz musician who uses aural skills alone. The author refers to comments made by Davis in the biographical documentary I Remember Miles (1988), Tokyo, Japan: Totown Communications.

836.

Clarke, George Elliott. 1998. “Cool Politics: Styles of Honor in Malcolm X and Miles Davis.” Jouvert: A Journal of Postcolonial Studies 2(1): 28. ISSN: 1098-6944. Deals with relationships to chivalry and African American men; compares Malcolm X and Miles Davis in treatment of postcolonial literary theory and criticism.

837.

Clarkson, William R. 1985. “Critique: A Procedure for Teaching Jazz Improvisation Based on an Analysis of the Performance of Three Major Jazz Trumpet Players: Louis Armstrong, Dizzy Gillespie, and Miles Davis.” Bulletin of the Council for Research in Music Education 84 (Fall): 87–92. ISSN: 0010-9894. A pedagogical study based on a comparative analysis of improvisational practices of Louis Armstrong, Dizzy Gillespie, and Miles Davis.

838.

Coggiola, John C. 2004. “The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians’ Aesthetics Response.” Journal of Research in Music Education 52(1) (Spring): 29–42. ISSN: 022-4294. A study with research subjects of jazz musicians and non-jazz musicians that investigates what musicians consider to be their aesthetic experience with jazz music selections that vary in conceptual advancement (melodic complexity during improvised solos). Includes discussion of Miles Davis performing “Dr. Jekyll.”

839.

Cohen, Brigid. 2012. “Diasporic Dialogues in Mid-Century New York: Stefan Wolfe, George Russell, Hannah Arendt, and the Historiography of Displacement.” Journal of the Society of American Music 6(2) (May): 143–173. ISSN: 1752-1963. Examines mid-century intellectual scenes by avant-gardist composer Stefan Wolfe, jazz composer George Russell, and political philosopher Hannah Arendt.

Annotations of Journals167

The study provides a focus on Stefan Wolfe, in the 1940s and 1950s, who developed a close friendship and teaching relationship with Gil Evans, George Russell, John Carisi, Tony Scott, Bill Finegan, and Eddie Sauter. A  major argument of the study is that these musicians participated in the post-bop circles that clustered around jazz composer and arranger Gil Evans, a community dedicated to extending a radical musical innovation of bebop small combos to larger ensembles. This exchange took place during a time when radically integrated projects assumed special political significance in jazz, exemplified most famously by the Gil Evans and Miles Davis collaborations. 840.

Collier, Graham. 1996. “Tradition and the ‘New Thins’: Opening Up Traditional Thinking and Performance Practices of Small Groups and Big Bands.” Jazz Changes: The Magazine of the International Association of School of Jazz 3(1) (Spring): 19–22. ISSN: 1024-1736. Provides an excerpt from Interaction: Opening Up the Jazz Ensemble (Advance Music, 1995) that discusses Miles Davis, Ornette Coleman, and the era before bebop. Pedagogical approaches are suggested for Miles Davis’ compositions “Freddie Freeloader” and “So What,” and the author’s work titled, “Aberdeen Angus.”

841.

Collins, John. 2008. “Ghana and the World Music Boom.” Popular Music History 3(3): 275–294. ISSN: 1740-7133. Presents a historiography of popular music in Ghana and world music that grew in the 1990s. Also describes the growing interest and development of African music by jazz and rock musicians from the 1960s such as John Coltrane, Max Roach, and Randy Weston. The residency in the United States of Ghana’s Kofi Ghanaba (then known as Guy Warren) and Nigerian Babatunde Olatunji played an important role in the development as they interacted with jazz musicians. Guy Warren, as early as the 1950s, worked with several jazz musicians such as Thelonious Monk, Miles Davis, Max Roach, and Billy Strayhorn.

842.

Conrad, Thomas. 2009. “Stolen Moments: Are Private Recordings Undercover Classics, Audio Catastrophes or Both?” Jazz Times 39(3) (April): 19–20. ISSN: 0272-572X. Deals with private recordings. Explains that Sonny Rollins’ Road Shows, Vol. 1, has been lauded by critics and was named record of the year in the third annual Village Voice jazz critics poll. The recordings, however, were never intended to be released commercially. The author presents other examples of private recordings of artists such as Bill Evans, Miles Davis, and Keith Jarrett that have also become popular. Many of these private recordings were made up of air checks, sound broad tapes, and stealth recordings, made on portable devices by audience members in concerts. Argues that such recordings, which may not be of audiophile quality, have the advantage of capturing once-in-a-lifetime spontaneous moments in an improvisational art form.

168

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Contier, Arnaldo Daraya. 1998. “Edu Lobo e Carlos Lyra: O Nacional e o Popular na Canção de Protesto (Os Anos 60).” Revista Brasileira de História 18(5) (January): 13. Portuguese text. ISSN: 0102-0188. Examines the possible connections between protest songs (“Edu Lobo,” “Carlos Lyra”) and the social discourses in the 1960s. The artistic innovations are analyzed with a view to pointing out the relationships between national versus popular trends in Brazilian songs influenced by the Impressionism of Claude Debussy, cool jazz of Miles Davis, modernism of Richard Rogers and Lorenz Hart, Heitor Villa-Lobos, and Waldemar Henrique.

844.

Cotro, Vincent. 2000. “L’ Improvisation du Bebop au Free Jazz (1940–1960): Synthèse Historique, Voies pour L’ Analyse (Improvisation From Bebop to Free Jazz (1940–1960: Historical Synthesis, Paths for Analysis).” Analyse Musicale 37 (November): 62–79. ISSN: 0295-3722. Argues that by avoiding the too-inclusive category of modern jazz, the subject of improvisation can be approached from a historical and analytical standpoint bearing on the essential collective invention. The author begins with an analysis of bebop, a form of emancipation in jazz and an extension of the means of expression in various trends. Argues that questions bearing on language, the process of interaction, and the notion of harmonic scale can be found in the evolution of bebop from jazz musicians like Charlie Parker to the emerging free jazz of Ornette Coleman. Parker’s “Billie’s Bounce” (1945) and Miles Davis’ “Flamenco Sketches” (1959) from Kind of Blue are analyzed.

845.

Cowley, Julian. 1988. “The Art of Improvisation: Jazz and Fiction in Post-Bop.” New Comparison: A  Journal of Comparative and General Literary Criticism 6: 194–204. ISSN: 0950-5814. Examines how in the 1950s allegiance to bebop was a declaration of cultural radicalism. The poets Robert Creely and Charles Olson and writing by Jack Kerouac, Ronald Sukenick, Amiri Baraka (LeRoi Jones), and John Litweiler refer frequently to Ornette Coleman, Miles Davis, Charlie Parker, and other musicians. Their interest in the approach to the relation between language and phenomenal reality provides additional evidence of the links between literary writing and jazz.

846.

Crawford, Mark. 2002. “Reduce, Reuse, Recycle.” Canadian Music Educator 43(4) (Summer): 25–29. ISSN: 0008-4549. Argues that music teachers should learn to use the three Rs of music education—reduce, reuse, and recycle. In this way teachers, should reduce the level of difficulty so that students can learn complex theory, and reuse and recycle proven techniques. These concepts are applied to teaching children to improvise using Miles Davis’ composition “So What” for guitar. Musical notation is included.

847.

Cross, Brian, Eric Coleman, and Joy Yoon. 2009. “Percussive Passion: Airto Moreira Brought Brazilian Folkloric Rhythms to American Jazz.” Wax Poetics 36: 74–86. ISSN: 1537-8241.

Annotations of Journals169

A profile and interview with Brazilian jazz drummer and percussionist Airto Moreira who brought an immense knowledge of Brazilian folkloric rhythms into the world of jazz. His early association with the bossa nova movement led to many classic albums. By the time Moreira arrived in New York City in 1967, the jazz community was already primed for Brazilian imports. Four years later he had played on some of Miles Davis’ most important records including Bitches Brew. This interview is mainly concerned with Moreira’s work during his time with Miles Davis. 848.

Cugny, Laurent. 2014. “Flèche d’Or de Django Reinhardt: Porque não for Ouvida (Flèche d’Or de Django Reinhardt: Why Was It Not Heard?).” Translated by Fabiano Araújo. PER MUSI: Revista Acadêmica de Música 30 (July–December): 7–11. Portuguese text. Summary in Portuguese and English. ISSN: 1517-7599. Presents an inquiry into Miles Davis’ role as the originator of modal jazz. The major focus is on criticism and historical aspects of the environment around the session of “Flèche d’Or” by Belgian guitarist Django Reinhardt. The article focuses on how critics considered Reinhardt, who was recognized both in America and France, and “Flèche d’Or,” Reinhardt’s composition, as a true earlier example of what can be considered a precursor of Miles Davis’ modal jazz.

849.

Cugny, Laurent. 2014. “O Solo de Django Reinhardt em Flèche d’Or (Django Reinhardt’s Solo on Flèche d’Or).” Translated by Fabiano Araújo. PER MUSI: Revista Acadêmica de Música 30 (July–December): 12–23. Portuguese text. Summary in Portuguese and English. ISSN: 1517-7599. Presents a transcription and analysis of Django Reinhardt’s solo on his composition “Flèche d’Or.” A discussion of the structural and harmonic aspects of this work, recorded in 1952, is intended to exhibit similarities with “Milestones” (1958) by Miles Davis, a well-known work that is generally accepted as the first example of modal jazz.

850.

Davis, Clive. 1997. “Has Jazz Gone Classical?” Wilson Quarterly 21(2) (Spring): 56. ISSN: 0363-3276. Defends jazz as stronger than ever in the American scene despite the demise of musicians such as Miles Davis, Stan Getz, Dizzy Gillespie, and Sarah Vaughan. Believes that jazz will likely thrive only if a new generation of students, audiences, and musicians are introduced to the fruits of its past.

851.

Dean, Roger T., and Freya Bailes. 2014. “Influences of Structure and Agency on the Perception of Musical Change.” Psychomusicology 24(1): 103–108. A study of music and perception where research participants are asked to listen and respond to a selected list of works that include Australian Aboriginal music, Art of Noise, excerpts of Miles Davis’ album Tutu, Balinese Gamelan, “Unfamiliar Winds” by Brian Eno, and others.

170

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De Marinis, Paul. 1988. “Eddie Randle and the St. Louis Devils.” Black Music Research Bulletin 10(2) (Fall): 1–3. ISSN: 0898-8536. Presents a historiography of St. Louis bands in the 1930s and 1940s. Examines Eddie Randle’s St. Louis Blue Devils, one of the most respected bands. Among the important musicians who worked with Eddie Randle at the beginning of their careers are Miles Davis and Jimmy Blanton.

853.

Dennis, Noel. 2015. “The Ubiquitous Jazz Metaphor: Thoughts From a Jazz Musician and Management Educator.” Marketing Intelligence and Planning 33(7): 966–971. ISSN: 0263-4503. Examines jazz metaphor from the author’s perspective as jazz musician and management educator. Provides the reader with a brief overview into the intricate workings of a jazz group. The author’s commentary also investigates lessons learned from Miles Davis’ approach to leadership and innovation. Concludes by suggesting that a jazz group can provide a valuable model for modern organizations. The core competencies of a successful jazz group can be employed to bring about a culture of creativity within an organization.

854.

Deuck, Byron. 2013. “Jazz Endings, Aesthetic Discourse and Music Politics.” Black Music Research Journal 33(1) (Spring): 91–115. ISSN: 0276-3605. Examines jazz sociability as related to rehearsal by musicians still relatively new to the genre. Considers the practices of students, amateurs, and non- and semi-professionals. Explores the concept of “publicness” and attempts to shed light on rehearsals as complex sites of social reproduction, mutual coordination, and creative agency. Includes discussion of the rendition of “Bye Bye Blackbird” that appears on Miles Davis’ album ’Round About Midnight (1957).

855.

DeVeaux, Scott. 1991. “Constructing the Jazz Tradition: Jazz Historiography.” Black American Literature Forum 25(3) (Fall): 525. ISSN: 0148-6179. Examines several aspects of jazz history that include the influence of tradition and political dimension in the role of jazz educators. Discusses some of the characteristics of jazz in comparison with other approaches in music. Also discusses jazz musicians such as Louis Armstrong, Duke Ellington, Miles Davis, John Coltrane, and Wynton Marsalis.

856.

De Visscher, Eric. 2014. “Sight and Sound: From a Museum of Instruments to Museum of Music.” International Journal for Music Iconography 39(1–2): 237– 241. ISSN: 1522-7464. Provides information about the Musée de la Musique in Paris which opened its doors in 1997 has developed a number of practices for exhibiting music, both in a permanent collection and in temporary exhibitions. Examples of projects include the installment of the collections and the display of a recent exhibit, “We Want Miles,” devoted to Miles Davis. Also examines the strategies implemented to transform the museum from a display of instruments to a museum of music.

Annotations of Journals171

857.

Di Blasio, Denis. 1996. “Scat Singing: Imitating Instruments.” Jazz Educators Journal 28(5) (March): 33–35. ISSN: 0730-9791. Discusses the frustrations of attempting to teach scat singing and giving private lessons to a singer who learned successfully by scatting with Miles Davis’ music. Compares scat and recommends a list of vocalists for potential scatters to listen to as examples of great scat singing.

858.

Dodd, Julian. 2014. “Upholding Standards: A  Realist Ontology of Standard Form Jazz.” Journal of Aesthetics & Art Criticism 72(3) (Summer): 277–290. ISSN: 0021-8529. Considers the theoretical framework of Andrew Kania. In “All Play and No Work,” Andrew Kania claims that standard jazz involves no works, only performances. Responds to Kania by defending one of the alternative ontological proposals that he rejects, namely that jazz works are ontologically continuous with works of classical works. The author considers several compositions that have achieved the status of jazz standards that include Thelonious Monk’s “Straight No Chaser,” and Miles Davis’ performance at the Newport Jazz Festival, 1958.

859.

Early, Gerald. 2002. “On Miles Davis, Vince Lombardi and the Crisis of Masculinity in Mid-Century America.” Daedalus 131(1) (Winter): 154. ISSN: 0001-5266. Evaluates the careers of jazz musician Miles Davis and football coach Vince Lombardi of the 1950s and 1960s. Reveals two contrasting ideas of manhood in an era of the 1950s and 1960s when many competing images of masculinity were present in American popular culture.

860.

Endress, Gudrun. 1996. “Macht aus Pophits Jazz und mit Jazz Pophits: Herbie Hancock (Making Jazz from Pop Hits and Pop Hits from Jazz).” Jazz Podium 45(3) (March): 10–12. German text. ISSN: 0021-5686. Herbie Hancock discusses his ability to play contemporary pop hits in a jazz format and jazz tunes as pop hits, as well as the process of altering the musical format of these songs. Also includes Hancock’s comments on straight jazz and funky music, along with his comments on film music and his work with Miles Davis.

861.

Erdmann, Thomas. 2010. “Studio/Commercial Scene: ‘Kind of Blue,’ 50th Anniversary.” ITG (International Trumpet Guild Journal) 34(2) (January): 71–72. ISSN: 0363-2845. Argues that Miles Davis’ and his band members’ work on Kind of Blue established how future generations that would teach and advance improvised jazz in educational and tutorial circles. Davis’ strength was always how his band members interacted with each other without fear of ridicule or leader based on limits. Further argues that the Kind of Blue album is as a dramatic statement of intellectual exploration and musical interaction as has ever been recorded. Each musician transcends mere notes and captures an emotive statement so profound that even a unified Gestalt theory cannot explain from where each musician drew inspiration.

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Farrington, Holly E. 2006. “Narrative the Jazz Life: Three Approaches to Jazz Autobiography.” Popular Music and Society 29(3) (July): 375–386. ISSN: 0300-7766. Examines the approximately forty jazz autobiographies that were published between 1936 and 1996 as texts that approached their protagonist and his/her history from a variety of angles. The study explores the genre of jazz autobiography from the perspective of narrative suggesting three approaches: epic, mythic, and labyrinthine. Includes discussions of the autobiographies of Miles Davis, Duke Ellington, Cab Calloway, and many others.

863.

Fellezs, Kevin. 2008. “Emergency! Race and Genre in Tony Williams’s Lifetime.” Jazz Perspectives 2(1) (May): 1–27. ISSN: 1749-4060. Examines the ways in which Tony Williams, who performed with Miles Davis, challenged and complicated the meaning of jazz held as both a tradition of popular music and as art music.

864.

Folio, Cynthia. 1997–1998. “The Great Symphonic Theme: Multiple Takes on ‘Stella’s’ Scheme.” Annual Review of Jazz Studies 9:3–24. ISSN: 0731-0641. A focus and exploration of the idiosyncratic aspects of “Stella by Starlight” and its scheme, to show how they are manifested in various arrangements of and improvisations on the tune. Included is an analysis of excerpts from Charles Mingus, Bud Powell, Miles Davis, Stan Getz, and Rufus Reid which demonstrates how these artists develop motives and contours to create music that is “symphonic.” Notes that Getz’s version of “Stella” is almost symphonic in scope in that it last in duration twelve minutes and thirty-three seconds. Concludes with comments about jazz pedagogy and about the fine line that exists between improvisation and composition.

865.

Forte, Allen. 1997, 1998. “The Real ‘Stella’ and the ‘Real’ ‘Stella’: A Response to ‘Alternate Takes,’ Society for Music Theory, Annual Meeting, Phoenix 1997.” Annual Review of Jazz Studies 9: 93–102. ISSN: 0731-0641. A response paper given in a scholarly session in conjunction with a series of papers that also focus on the composition “Stella by Starlight,” performed and improvised by Miles Davis. The author compares the original version of “Stella” with the version that is used by the performers whose improvisations were discussed by the five contributors to this session. Notes that some of the positive features in all of the papers raises two questions for each author. Discusses what happened to the original version of “Stella” and notes that in some instances performers would do well to know something about the original setting of a song.

866.

Futterman, Steve. 1996. “Miles and Gil in Springsville.” Jazziz 13(12) (December): 72–76, 78. ISSN: 0741-5885. Discusses the release of the collected works of the collaborations of arranger Gil Evans and Miles Davis. Provides conflicting reactions of jazz arrangers Bob Belden and Maria Schneider, as well as critics Gary Giddins, Peter Watrous, and Stanley Crouch, to the recordings.

Annotations of Journals173

867.

Fyffe, Jamie. 2014. “Uniqueness, Signifyin(g) and Compositional Process in ‘Blue and Green.’ ” Jazz Perspectives 8(2) (May 4): 185–208. ISSN: 1749-4060. Presents an extended series of debates concerning the origin of “Blue in Green” as a composition, which often focus on who wrote the piece (Miles Davis or Bill Evans) rather than how it was written. Argues that such accounts rely on anecdotal evidence portraying “Blue in Green” as an object of dispute and Davis as an unreliable witness with a questionable track record. Includes transcription and musical analysis to focus on an alternative set of goals to establish a clear account of the compositional process by which “Blue in Green” was created and the respective contribution made by Davis and Evans. The role Davis and Evans play in the creative process are reassessed. Makes the argument that the musical analysis indicated that harmonic and melodic materials from “Blue in Green” derives from the Evans composition “Waltz for Debby.” But it is the “Davis-like” compositional process which contributes to “Blue in Green” by prominently featuring extended tons in its melody and constructing a circular form. Therefore, “signification” is fundamental to this process and this article relocates “Blue in Green” intertextually within a series of works.

868.

Gabbard, Krin. 2004. “Miles From Home: Miles Davis and the Movies.” The Source: Challenging Jazz Criticism 1: 27–41. ISSN: 1740-5777. Explores the wider cultural ramifications of appropriating black music in white American cinema through the changing use of Miles Davis’ music in film.

869.

Gatherer, Derek. 1997. “The Evolution of Music-A Comparison of Darwinian and Dialectical Methods.” Journal of Social  & Evolutionary Systems 20(1): 75. ISSN: 1061-7361. Examines the role music plays in cultural evolution, while focusing on the comparison between the Darwinian and dialectical method forms. Provides details of evolution of music and includes discussions and sections on African American music stylistic progression, jazz and Miles Davis, Jelly Roll Morton, Buddy Bolden, and John Coltrane.

870.

Givan, Ben. 2006. “Miles Davis’ Trumpet Solo in ‘Walkin’. ” Down Beat 73(2) (February): 90. ISSN: 0012-5768. Discusses Miles Davis’ solo in “Walkin’. ” Examines how the blues theme “Walkin’ ” has a central place in Miles Davis’ career. This song was the title track of a 1954 album and is often credited as a key influence on the emergence of hard bop. Examines how “Walkin’ ” remained in Davis’ active repertoire through the 1960s and he recorded it several more times both live and in the studio.

871.

Goldsby, John. 2009. “Paul Chambers on Miles Davis’ ‘So What’. ” Bass Player 20(2) (February): 66–68. ISSN: 1050-785X. Presents transcription with tablature for Paul Chambers’ bass line for Miles Davis’ composition “So What,” from the album Kind of Blue.

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Gracyk, Theodore. 1992. “Adorno Jazz, and the Aesthetics of Popular Music.” Music Quarterly 76(4): 526–542. ISSN: 0027-4631. Argues that the Western aesthetic view adopted by Theodore Adorno in his criticism of jazz considers performance as a token of some further work, with the work itself the locus of value. The author cites Miles Davis’ 1959 album, Kind of Blue, as an example of music that defies such a definition.

873.

Greene, Nikki. 2013. “The Feminist Funk Power of Betty Davis and Renée Stout.” American Studies 52(4): 57–75. ISSN: 0026-3079. Provides an analysis of the visual culture of black women’s self-presentation and the funk rock of Betty Davis with the artistic work of Renée Stout. Also discusses Betty Davis’ relationship with Miles Davis.

874.

Gridley, Mark C. 2009. “Trait Anger and Music Perception.” Creativity Research Journal 21(1): 134–137. ISSN: 1040-0419. A research study of the Spielberger Trait Anger test that was administered to 287 undergraduate college students enrolled in courses in jazz appreciation. The recording of jazz saxophone improvisation was played for the students and they were asked to rate its emotion. Included in the study was an example of John Coltrane’s solo, two minutes and forty-two seconds on “Two Bass Hit,” performed with the Miles Davis Sextet from the 1958 Newport Jazz Festival.

875.

Gridley, Mark C., and Robert Hoff. 2010. “Are Music Perceptions Biased by Printing Effects of Journalism?” Psychology Journal 7(2): 55–60. ISSN: 0931-5694. A study undertaken to determine whether journalists’ perceptions of emotion would bias the perception of listeners. A sample of 142 undergraduate psychology students from two different colleges listened to a recorded jazz saxophone improvisation and indicated the perception of emotion on a seven-point scale of friendly to angry. As part of the stimuli on a classroom system the participants heard a recording of John Coltrane’s two-minute-and-forty-two-second solo from the Miles Davis Sextet performance of “Two Bass Hit” at the Newport Jazz Festival (1958) which constituted the performance of “angry young tenor” according to a journalist who reviewed the concert (Gold, 1958, p. 16).

876.

Gridley, Mark C., and Robert Hoff. 2010. “Can Sadness Perceptions in Music Be Primed?” Psychology Journal 7(4) (December): 116–120. ISSN: 1931-5694. A research study of whether exposure to one individual’s perception of emotion can bias other individuals’ perception of music. Students from a Catholic college and a non-sectarian urban university listened to a recorded jazz piano improvisation, with half of the students preceding listening by reading that the pianist played sad music. The listening included two minutes and twenty-eight seconds of pianist Bill Evans’ solo on “Love for Sale” from the Miles Davis Sextet album ’58 Miles.

877.

Gridley, Mark C., Robert Maxham, and Robert Hoff. 1998. “Three Approaches to Defining Jazz.” Musical Quarterly 73(4) (January): 513–531. ISSN: 0027-4631.

Annotations of Journals175

Examines three approaches to the definition of jazz in performance: a strict definition requiring improvisation, emotions in music performance and listening, and the evocation of swing feeling; jazz defined as music which simply bears a resemblance to something previously perceived by the listener to have jazz characteristics. 878.

Griffin, Mark. 1996. “Artist on Track: Tony Williams—Part I, 1963–69.” Modern Drummer 20(2) (February): 140–143. ISSN: 0194-4533. Profiles the career of Tony Williams focusing on the period between 1963 and 1969. Notes the prolific numbers of recordings Williams made during this period and analyzes Williams’ playing with Miles Davis. Also discusses the many recordings Williams made at this time.

879.

Grigson, Lionel. 2014. “Harmony + Improvisation = Jazz.” British Journal of Music Education 2(2): 187–194. ISSN: 0265-0517. Presents an argument that in the past jazz musicians such as Miles Davis have had negative experiences of “straight” academies and conservatories that have been negative toward jazz that may represent a conflict between creativity and re-creativity. However, as a teacher at the Guildhall School of Music, the author finds that this conflict disappears when students from jazz and classical musical backgrounds learn to improvise by the same approach. A major argument is that such an approach works upward from the harmonic basis of jazz which is the same as that of classical music.

880.

Gualberto, Gianni M. 1999. “Lo Sguardo al Jazz del Mondo Classico: Dalla Musica Afroamericana a Quella Eurocolta (A Glance at Jazz From the Classical World: From Afro-American to Euro-Cultivated Music).” Musica/Realtà: Rivista Quadrimestrale 20(58) (March): 163–172. Italian text. No ISSN. Focuses on examples of the influence of jazz on musicians of different backgrounds and training from George Gershwin to Leonard Bernstein, Darius Milhaud to Igor Stravinsky, Stefan Wolpe to Vinko Globokar, through the reciprocal influences between Miles Davis and Karl Stockhausen.

881.

Gumplpwicz, Philippe. 1991. “Qu’est-ce qu’ ne Identite Musicale” L’ Example du Free Jazz.” Revue d’ Esthetique 19: 152–164. French text. ISSN: 0035-2292. Presents free jazz examples from the works of John Coltrane, Miles Davis, Archie Shepp, Eric Dolphy, Albert Ayler, Charles Mingus, Charlie Parker, and Ornette Coleman.

882.

Haidet, Paul. 2007. “Jazz and the ‘Art’ of Medicine: Improvisation in the Medical Encounter.” Annals of Family Medicine 5(1) (March/April): 164–169. ISSN: 1544-1709. Discusses the relationship of improvisation in the medical encounter with jazz music performance and the art of medicine. A medical expert demonstrates that improvisation is an important aspect of patient-physician communication and

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a defining feature of jazz music performance. Argues that jazz is an important aspect in illustrating the principles of improvisation, physician’s communication, and communication process of medical encounters. Provides examples from jazz musicians Bix Beiderbecke, Charlie Parker, Duke Ellington, Miles Davis, Bill Evans, and Wynton Marsalis. 883.

Hagberg, Garry L. 2010. “On Rhythm.” Journal of Aesthetics  & Art Criticism 68(3) (July 1): 281–284. ISSN: 0021-8529. A critical and analytical study of melody, rhythm, and “sonic space” and time in music. Drummer Max Roach and trumpeter Miles Davis are discussed, particularly how Davis’ performances were a “representation” of movement while Roach’s represented time.

884.

Harrison, M. 1960. “Gil Evans and Miles Davis.” Jazz Monthly 5 (February): 10–12. ISSN: 0021-5651. Examines the collaboration, friendship, and artistic creativity of composer and arranger Gil Evans and Miles Davis that produced albums such as Miles Ahead, Porgy and Bess, and Sketches of Spain.

885.

Hayes, Jesse. 2013. “The Beautiful Dichotomy of Betty Davis: A Rare Conversation With the Elusive Mistress of Funk.” Black Renaissance 13(2–3) (Fall): 32–37, 182. ISSN: 1089-3148. Examines the life, music, and career of Betty Davis who was married to jazz musician Miles Davis. Miles Davis immortalized Betty’s name in two of his recordings. The article focuses how Betty Davis helped to change the face of music in the late 1960s and early 1970s.

886.

Headlam, Dave. 2000. “Re-Drawing Boundaries: The Kronos Quartet.” Contemporary Music Review 19(1): 113. ISSN: 0749-4467. Explores the phenomenon of the Kronos Quartet through their recordings. Discusses how the quartet redefined conventional musical and cultural notions in adopting some features of popular music. Provides an overview of the quartet and discusses influences of modal jazz of Miles Davis and John Coltrane.

887.

Healy, Scott. 2009. “Play It-Intermediate: Modal Soloing.” Keyboard 35(3) (March): 48–49. ISSN: 0730-0158. Provides instructions for playing Bill Evans’ modal part on “Flamenco Sketches” from Miles Davis’ Kind of Blue album.

888.

Hellhund, Herbert. 2007. “Eine alte Kunst in neuem Licht-Miles Davis und die Paraphrasen-Improvisation, Dokumentiert durch die Quintettaufnahmen 1955/56 (An Old Art in New Light-Miles Davis and the Paraphrases-Improvisation, Documentation Through the Quintet Recordings 1955/56).” Jazzforschung 39: 67–75. German text (Summary in English). ISSN: 0075-3572. Discusses how after overcoming drug addiction, Miles Davis played an integral role in bringing modern jazz improvisation and older paraphrasing techniques back

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into the forefront of jazz as displayed in his varied repertoire of bebop, blues, and standards. Focuses on the Miles Davis Quintet methods of jazz improvisation. Considers special techniques performed by Davis and other members of the ensemble. 889.

Hellhund, Herbert. 1999. “Jazz Analyse: Ein Plädoyer für Mehr als das Blosse Zergliedern (Jazz Analysis: A Plea for More Than Simple Dissection).” Jazzforschung 31: 43–49. ISSN: 0075-3572. Presents a method for analyzing improvisational jazz which posits three hierarchically and organized structural levels that include building blocks, connections, and common expression of goals. The practical applications of this analytical method are demonstrated and represented in the study. A transcription of “So What” from Miles Davis’ Kind of Blue album (1959), performed by Davis on trumpet, is provided.

890.

Helzer, Richard A. 2004. “Cultivating the Art of Jazz Composition.” Jazz Education Journal 36(6) (May): 51–52, 54–57. ISSN: 1540-2886. Examines how great jazz composers create a variety of emotional landscapes and moods with their music. Argues that the level at which a composer has command of melodic, harmonic, and rhythmic concepts is directly related to the overall structural and creative success of his or her music. Provides musical examples for the works of Charles Mingus, Miles Davis, Duke Ellington, Billy Strayhorn, and Thelonious Monk.

891.

Hines, Candance G. 2005. “Black Musical Traditions and Copyright Law: Historical Tensions.” Michigan Journal of Race & Law 10: 463. ISSN: 1095-2721. Focuses on race, music, and copyright. The author situates African American music and musicians in a historical perspective by a chronological examination of community composition, rhythmical and musical complexity, improvisation, and exploitation of African American musicians in the commercial markets that have continued to immerse the African American music tradition. Presents, as cases in point, discussions of blues musicians followed by arguments and examples for jazz. Included in the discussion are details about Dizzy Gillespie, Thelonious Monk, Miles Davis, Charlie Parker, and John Coltrane who began to experiment with new styles of jazz improvisation.

892.

Holmes, Jeff. 1998. “Melodic Techniques for Jazz Improvisation: “Summertime” and The Melodies Are Easy.” Jazz Player 5(4) (June): 44–47. No ISSN. An analysis of Miles Davis’ recording of George Gershwin’s composition “Summertime” from Davis’ album Porgy and Bess (Columbia CS 8085), recorded in 1958 with Gil Evans as arranger and conductor. Discusses how Davis and Evans have approached the composition and describes it as a standout example of melodic and improvisational examination.

893.

Holmes, Jeff. 1997. “Melodic Techniques for Jazz Improvisation: ‘So What” & The Seven Cell Part II.” Jazz Player 4(5) (June): 12–16. No ISSN. The second part of an instructional feature on cells and/or mini-chords that examines Miles Davis’ solo on the original recording of “So What” from the Kind of Blue album is presented.

178

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Holmes, Jeff. 1997. “Melodic Techniques for Jazz Improvisation: ‘So What’  & Seven Cells.” Jazz Player 4(3) (April): 28–30. No ISSN. A study of melodic cells for jazz players through an extensive examination of Miles Davis’ “So What” from his legendary 1959 album Kind of Blue. Discusses form of the composition and explains how the author demonstrates improvisation to his students by using one of these cells chords over the Dm/Dorian sound. Includes an assignment for players to practice these cells over the form of “So What.”

895.

Horricks, Raymond. 2001. “Miles Davis/John Coltrane: The Good, the Bad . . . and the Experimental: Part 3: Coltrane After Miles.” Crescendo  & Jazz Music 38(2) (April): 22–23, 37. ISSN: 0962-7472. An overview of John Coltrane’s rise to national prominence with the Miles Davis Quintet during the 1950s. Also discusses Coltrane’s development from 1961 until his death in 1967. Observes that by 1961 Coltrane was not only a rival to Miles Davis but was topping every published poll on tenor saxophone. Presents highlights of Coltrane’s albums Giant Steps (May 1959), Coltrane Jazz (November 1959), and My Favorite Things (October 1960) as the first to feature Coltrane as tenor soloist in a musical context away from the group setting with Davis. Discusses the significance of each recording in Coltrane’s career.

896.

Horricks, Raymond. 2001. “Miles Davis/John Coltrane: The Good, the Bad . . . and the Experimental: Part 2: Miles After Coltrane Concluded.” Crescendo & Jazz Music 38(1) (February): 22–24. ISSN: 0962-7472. Argues that in Miles Davis’ career, inspired conception and superb musical organization had occurred to rival In a Silent Way since Side Two (“All Blues”/“Flamenco Sketches”) on his Kind of Blue LP. Also discusses Bitches Brew and later albums.

897.

Horricks, Raymond. 2000. “Miles Davis/John Coltrane: The Good, the Bad . . . and the Experimental: Part 2: Miles After Coltrane.” Crescendo  & Jazz Music 37(5) (October): 10–11. ISSN: 0962-7472. Argues that Miles Davis was a man in crisis due in part to a certain indecision over selecting the best musicians and choosing musical ideas for future exploration. Notes that indecision is what frustrated Davis and the worst crisis to hit Davis in the early 1960s was having to replace John Coltrane in his own group, the revised Quintet. However, Davis’ hiring of Wayne Shorter in the mid-1960s took care of the group’s frontline for the next six years. This transition helped ease Davis through the next successful stage of his recording career.

898.

Horricks, Raymond. 2000. “Miles Davis/John Coltrane: The Good, the Bad . . . and the Experimental: Part 1: Their Together Years.” Crescendo  & Jazz Music 37(3) (June): 8–10. ISSN: 0962-7472. Presents biographical profiles of Miles Davis and John Coltrane and discusses the five-year period when they worked and performed together.

Annotations of Journals179

899.

Huber, Aubrey A. 2014. “Hearing Voices.” Text & Performance Quarterly 34(3): 317–320. ISSN: 1046-2937. Provides a critical retrospective as director of “Miles Away From ‘the Cool’ ” in which the performer asks the director to listen to/for the implications of specific location and the pedagogical implications in the life’s work of Miles Davis and his (Chris McRae) relationship with Davis. The performer asks the audience to consider their subject positions and relationships to and with race, cultural icons, and their pedagogical practices as students and teachers. The goal is to create a performance that invites the audience’s performance reflectivity and dialogic listening. This essay is the director’s reflection of this process.

900.

Hunter, Dianne. 2013. “Aranjuez With a Blue Guitar.” PsyArt 2(6):11. ISSN: 1088-5870. The author constructs the memory of first hearing Miles Davis playing the “Concierto de Aranjuez” on the Sketches of Spain album that inspired the author with a pleasurable transition from elementary school to junior high school. The unraveling of this memory more than fifty years later demonstrated how the idea of trumpet playing and overseas travel served to master the association the author had of Spain as an intrusive power.

901.

Iglesias Iglesias, Ivan. 2005. “La Hibridación Musical en España como Proyección de Identidad Nacional Orientada al Mercado: El Jazz-Flamenco (Musical Hybridization in Spain as a Projection of National Identity Connected to Market Forces: Jazz-Flamenco).” Revista de Musicologia 28(1) (June): 826–283. Spanish text. Summary in English and Spanish. ISSN: 0210-1459. Examines the hybridization between Flamenco and jazz following the wellknown but not limited experiments in the United States. Performances by Miles Davis, Gil Evans, John Coltrane, and others were influenced by Spanish saxophonist Pedro Iturralde and his two albums that appeared in 1967 and 1968 under the common title of Jazz Flamenco.

902.

Jackson, Travis. 1997. “Bebop: The Music and Its Players.” American Music 15(2) (Summer): 249. ISSN: 0734-4392. A critical and historical perspective of bebop jazz that includes discussion of jazz musicians associated with the style such as Charlie Parker, Miles Davis, and others.

903.

James, M. 1962. “Some Notes on ‘Lift to the Scaffold.’ ” Jazz Monthly 7 (February): 4–5. ISSN: 0021-5651. Focuses on Miles Davis’ music score for the French film Ascenseur pour l’ Échafaud.

904.

Jisi, Chris. “Woodshed: Intermediate Learn to Play Miles Davis’ ‘So What’ With Paul Chambers.” Bass Player 17(11) (November 2006): 70–71. ISSN: 1050-785X. Provides notation for the barline from Miles Davis’ composition “So What” from his 1959 Kind of Blue album, originally played by bassist Paul Chambers. The line is mostly based on the Dorian mode.

180

905.

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Jones, Ryan Patrick. 2005. “You Know What I Mean: The Pedagogical Canon of “Cannonball.” Current Musicology 79–80: 169–205. ISSN: 0011-3735. Examines how alto saxophonist Julian “Cannonball” Adderley combined virtuosity, idiosyncratic pre-concert remarks, and a knack for discovering, promoting, and surrounding himself with innovative musicians. Examines Adderley’s training and professional life in music. Includes discussion about working with Miles Davis and a section titled “The Miles Davis Finishing School: Quintets and Sextets: The Second Cannonball Combo.”

906.

Josselyn, Jim. 1997. “Miles Davis’ Melodic Trumpet Solo on ‘Four’. ” Down Beat 64(12) (December): 102–103. ISSN: 0012-5768. A study of Miles Davis’ solo on “Four” from the 1954 album Blue Haze. Provides musical notation to point out the brilliance of Davis’ improvisational technique. Notes Davis’ organic approach to soloing and considers how Davis constructs his solo to give music a sense of organization and completeness, and suggests learning to sing Davis’ solo.

907.

Jost, Ekkehard, and Vincent Cotro. 2001. “John Coltrane et le Modal: Quelques étapes Compositionnelles dans le Passage du Jazz Traditionnel au Free Jazz (John Coltrane and Modal Play: Some Compositional Steps in the Transition From Traditional Jazz to Free Jazz).” Analyse Musicale 39: 24–36. ISSN: 0295-3722. Examines the musical innovations of John Coltrane from 1958 to 1964 focusing on some of the circumstances and parameters that led him to the transition from traditional jazz to free jazz. Examines Coltrane’s influences and collaborations with Miles Davis, Thelonious Monk, and Eric Dolphy in particular and recordings such as “Milestones,” “So What,” “Flamenco Sketches,” “My Funny Valentine,” and “India.” Argues that the musical evolution of Coltrane is seen as a transformation style that became a challenge to the form and harmony of traditional jazz through the increasingly marked introduction of modal logic in the play of improvisation.

908.

Jost, Ekkehard. 1977. “Zur Oe Konomie und Ideologie der Sogenannten Fusion Music (The Economy and Ideology of the So-Called Fusion Music.” Jazzforschung 9: 9–24. German text. Summary in English. ISSN: 0075-3572. Surveys the music-social implications of free jazz in the 1960s and discusses some of the most relevant changes which have taken place in the jazz scene since the early 1970s when so-called fusion music became the dominating popular style. Defines fusion as a combination of jazz, rock, electronics, and in some cases, Eastern musical form of expression that was pushed by the record industry whose pressure not only shaped the inner-musical structures of that style but also the ideological frame of reference in which the music is placed to make it more easily marketable.

909.

Jousse, Thierry. 1991. “Miles in the Sky.” Cahiers du Cinema 449 (November): 79. ISSN: 0008-001X. Discusses the suitability of music by Miles Davis for the cinema, focusing on the French film Ascenseur pour l’ Échafaud.

Annotations of Journals181

910.

Joyner, David. 2000. “Analyzing Third Stream.” Contemporary Music Review 19(1): 63. ISSN: 0749-4467. A musical-historical study that evaluates the success of third stream music and failures of third stream to realize the goals of its proponents. Includes discussions of ragtime, jazz, and the classics; stylistic implications of classical music; symphonic jazz; West Coast jazz; Gunther Schuller; Stan Kenton; Miles Davis; and Birth of the Cool Band.

911.

Kahn, Ashley. 2006. “After Hours: A Decade-by-Decade Sampling of the Most Important Jazz Clubs in New York City.” Jazz Times 36(7): 45–49. ISSN: 0272-572X. Examines how many legendary Manhattan social clubs where many jazz musicians got their start are long gone but not forgotten. The author reflects on the careers of Duke Ellington, Miles Davis, and Dizzy Gillespie without the Cotton Club, the Royal Roost, or the Five Spots, respectively. The author provides a decade-by-decade selection of the city’s defining clubs: The Cotton Club (1920s), Café Society (1930s), the Royal Roost (1940s), the Five Spots (1950s), the Half Note (1960s), Bradley’s (1970s), the Knitting Factory (1980s), and Smalls (1990s).

912.

Kahn, Ashley. 2001. “Miles Behind the Scenes: “Freddie Freeloader.” Jazziz 18(3) (March): 51, 53–55. ISSN: 0741-5885. Provides an excerpt from chapter three of the author’s book, Kind of Blue: The Making of the Miles Davis Masterpiece (2000). The excerpt features transcripts from and commentary about a 1959 recording session with Miles Davis, producer Irving Townsend, an unidentified musician, and pianist Wynton Kelly. The recording session was of the musicians recording “Freddie Freeloader,” a twelve-measure blues that would be the second track on the Kind of Blue album.

913.

Kahn, Ashley, and Don Hunstein. 2001. “Miles and Bill in Black and White.” Jazz Times 31(7) (September): 48–53. ISSN: 0272-572X. An essay published in a special issue, Jazz Times XXXI/7 (September 2001): Race Matters. Examines the productive working relationship of Miles Davis and Bill Evans with respect to issues of jazz.

914.

Kania, Andrew. 2011. “All Play and No Work: An Ontology of Jazz.” Journal of Aesthetics & Art Criticism 69(4) (Fall): 319–403. ISSN: 0021-8529. An examination of the philosophy and aesthetics of jazz music. The author addresses several questions, seeking to identify the “higher order ontology” of jazz music within the larger context of and distinct from other musical forms, such as rock and classical music. Also, includes a discussion of Miles Davis and the uneasiness of many critics’ display toward Davis’ “mistakes” and their failures to explain the power of his play.

915.

Kato, Yoshi. 2006. “Miles Enter Rock Hall, Sparks Controversy.” Down Beat 73(3) (March): 18. ISSN: 0012-5768. Examines how controversy arose with the announcement of Miles Davis as one of the 2006 inductees into the Rock and Roll Hall of Fame. Although the Hall of

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Fame has jazz members including Jelly Roll Morton and Billie Holiday, the controversy surrounded Davis’ inclusion in the main “Performers” category and not the secondary “Early Influences” category. 916.

Keim, Alexander. 2007. “Transkriptionen: ‘Solar’ as Played by Miles Davis.” Jazzforschung 39: 1258–1263. German text. ISSN: 0075-3572. A critical study of the jazz piece “Solar,” as performed by Miles Davis.

917.

Kernfeld, Barry Dean. 1988. “Two Coltranes.” Annual Review of Jazz Studies 2: 7–66. ISSN: 0731-0641. An essay that attempts to define systematically and categorize procedures for jazz improvisation: paraphrase (ornamental), chorus phrase (constant-harmony), formulaic, thematic, and modal improvisation. Argues for a fundamental conflict in John Coltrane’s 1958–1959 improvisations on recordings with Miles Davis’ sextet. Dissatisfied with his rhythmically rigid, overly repetitive formulaic playing, Coltrane discovered a creative alternative-motive development. The author places the conflict in a historical context through a survey of Coltrane’s improvisations from 1955 to 1964.

918.

Kerschbaumer, Franz. 2009. “Improvisation Modale dans le Musique de Miles Davis (Modal Improvisation in the Music of Miles Davis).” Musurgia: Analyse et Pratique Musicales 16(2): 45–52. ISSN: 1257-7537. A study of modal structures, harmony, and improvisation in the works of Miles Davis.

919.

Kerschbaumer, Franz. 2002. “Der Einfluss des Free Jazz auf die Musik von Miles Davis (The Influences of Free Jazz on Miles Davis).” Jazzforschung 34: 109–113. German text. ISSN: 0075-3572. Examines the establishment of free jazz as a new style in 1958–1959 when Miles Davis released his music from chord progressions and set up the modal playing. Examines Miles Davis’ quintet from 1964 to 1968, with some tendencies to free musical forms, more tonal outgoing playing, and partially free rhythms in the drumming of Tony Williams. Such tendencies led to more free instances in the Miles Davis Quintet around 1969 when the new rhythm section formed a mini free jazz band within the group especially with Chick Corea’s influences on the entire ensemble and Davis’ playing in the direction of free jazz. Observes that Davis’ development in free jazz continued in the live concerts of his rock-jazz period until 1975 when Davis halted his development because of the tonal and rhythmic density of his music and because of his illness. After his comeback in the 1980s, free jazz no longer influenced Davis’ music.

920.

Kerschbaumer, Franz. 1999. “Impressionistische Strukturen im Jazz (Impressionistic Structures in Jazz).” Jazzforschung 31: 65–74. German text. ISSN: 0075-3572. Explores how the impressionist, tonal method of creation, such as diatonic and non-tonic chord transitions, elimination, and preference for modality, as well as

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the use of major and ninth chords as in the piano work of Claude Debussy, have also been applied to jazz since the 1920s. Explores how the tonal stage of development and impressionistic playing styles were used in virtually in all jazz areas, notably by musicians such as Bix Beiderbecke, Don Redman, Duke Ellington, Red Norvo, and Art Tatum. Tonal, impressionistic approaches are particularly associated with the modal style playing of Miles Davis, Gil Evans, and Toshko Akiyoshi. Concludes that modern jazz harmonies from the 1940s onward portray a fusion of impressionistic chords and European functional harmony with specific tonal expressions of African American folklore. 921.

Kerschbaumer, Franz. 1996. “The Roots and the Development of Fusion in the Music of Miles Davis.” Jazzforschung 28: 19–28. ISSN: 0075-3572. The development of fusion in the music of Miles Davis is traced. Examines Davis’ fusion of the mid-1960s as influenced by musicians such as Herbie Hancock, Charles Lloyd, George Benson, Joe Zawinul, and John McLaughlin, hard bop musicians that had picked up elements of rock and pop in 1960s. Argues that Davis’ music of the 1960s contained not only rock and pop elements but also musical characteristics from African percussion rhythms, the free improvisation of the musicians in his ensemble, and musical structure from the avant-garde. In his third period (1980–1991), Davis was also influenced by current forms of popular music such as soul, funk, reggae, hip-hop, and rap.

922.

Kerschbaumer, Franz. 1995. “L’ Improvisation Modale dans la Musique de Miles Davis 1958 à 1965 (Modal Improvisation in the Music of Miles Davis From 1958 to 1965).” Musurgia: Analyse et Pratique Musicales 2(2): 45–52. French text with summaries in French and English. ISSN: 1257-7537. A study that examines Miles Davis’ 1958–1965 period that gives a picture of his evolution toward modality. Argues that after a simple use of modes at the beginning, the constant search for added tensions guided Davis to include elements farther and farther from basic modes: triads, altered scales to the borders of an integral chromaticism. Also argues that modes were used only in their relation to basic harmonic principles.

923.

Kerschbaumer, Franz. 1972. “Zum Personalstil von Miles Davis.” Jazzforschung 3–4: 225–232. German text. ISSN: 0075-3572. A study that transcribes and analyzes Miles Davis’ recording of “Bye Bye Blackbird.”

924.

Keyes, Cheryl L. 2013. “She Was Too Black for Rock and Too Hard for Soul: (Re) discovering The Musical Career of Betty Mabry Davis.” American Studies 52(4): 35–55. ISSN: 0026-3079. Presents a biography of funk singer Betty Mabry Davis, the wife of Miles Davis who often spoke about how Miles Davis introduced her to jazz. In this essay the author focuses on Betty Mabry Davis’ use of eroticism in her performances. Early in her career she performed with the Chambers Brothers, a folk-rock group, and later relocated to New York City where she met jazz musicians and her future

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husband, Miles Davis. After her divorce from Miles Davis, she relocated to San Francisco, California, where she released her album Betty Davis and started a publishing music company. 925.

Keyes, Cheryl L. 2009. “Sound, Voice, and Spirit: Teaching in the Black Music Vernacular.” Black Music Research Journal 29(1) (Spring): 11–24. ISSN: 0276-3605. An extensive study that delves into how prior to the 1960s music scholars often characterized African American music in terms of selected features that were present or absent in Western European music. By the 1960s scholars emerged who incorporated a sociocultural perspective that revealed the lived experiences of voices of the African American community. This source of African American music flows from an oral tradition, creating the need to interpret as well as teach, via a black music vernacular which emanates from the culture bearers also known as “sage philosophers.” The author includes discussion of Miles Davis as sage philosopher and his visionary music and performances.

926.

Kjellberg, Erik. 1980. “ ‘Vart går Jazzen—Framåt eller Bakåt?’: Tendenser i Svenskt Jazzliv ca 1945–ca 1960 (‘Where Is Jazz Heading—Forward or Backward?’ Tendencies in Swedish Jazz Life From About 1945 to 1960).” Svensk Tidskrift for Musikforskning/Swedish Journal of Musicology 62(1): 99–112. ISSN: 0081-9816. Examines two contrasting jazz movements of the 1940s in the United States that reached Sweden after World War II. Both New Orleans and bebop became known through recordings and visits of American musicians. Two journals, Orkester Journalen and Estrad, presented and debated developments in and outside Sweden, reporting on new influences in the later 1950s of Miles Davis, Art Blakey, and others, and jazz’s diminishing significance in the 1960s.

927.

Klausen, Søren Harnow. 2010. “The Notion of Creativity Revisited: A  Philosophical Perspective on Creativity Research.” Creative Research Journal 22(4) (October–December): 347–360. ISSN: 1040-0419. Provides a review of some recent attempts to define and understand creativity, informed by the methods and debates of contemporary philosophy. Argues that the product and not the person or process should be viewed as primarily the bearer of creativity. Argues that Miles Davis is generally perceived as a more exceptionally creative artist than radical free jazz musicians such as Alvin Ayler or Cecil Taylor.

928.

Knoblauch, Steven. 2014. “The Centrality of Analyst’s Vulnerability to Inactive Regulation of Therapeutic Movement: Discussion of Paper by Paolo Stramba-Badiale, ‘Affective Attunement, Vulnerability, Empathy: The Analytic Experience With Veronica’. ” Psychoanalytic Inquiry 34: 288–294. ISSN: 0735-1690. Focuses on psychoanalysis. But it also provides a reading and discussion of Miles Davis’ composition “So What” from Kind of Blue (1959) as a title fraught with ambiguity, but which the author has always thought of “knowing something about Miles,” as Miles Davis, the musician attempts to heal the ruptures that

Annotations of Journals185

racism burned into his self-expression. The author also discusses Davis work “In a Silent Way” as relating to psychoanalysts and the word/concept of agency. 929.

Korn, Steve. 1996. “Drum Soloist—Philly Joe Jones: ‘Woody ‘N You’. ” Modern Drummer 20(1) (January): 124. ISSN: 0194-4533. Provides a transcription of Philly Joe Jones’ drum solo on an October 29, 1956, recording session of “Woody ’N You” with Miles Davis. Also provides a brief description of the solo.

930.

Krieger Franz. 1998. “Herbie Hancock in Seiner Zeit bei Mils Davis: Transkription und Analyse Ausgewählter “My Funny Valentine”-Soli (Herbie Hancock During His Time With Miles Davis: Transcription and Analysis of Selected Solos From “My Funny Valentine).” Jazzforschung 30: 101–156. ISSN: 0075-3572. Examines the recording of the Rodgers/Hart standard, “My Funny Valentine,” made during the five-year period from 1963 to 1968 when pianist Herbie Hancock was a member of Miles Davis’ ensemble. Herbie Hancock, then twenty-three years old, had the longest tenure of any pianist who played with Miles Davis. The study attempts to explain that the time Hancock spent with Davis was one of the most musically fruitful periods in the Davis band’s canon. An analysis of three recordings by the Davis ensemble with Herbie Hancock in February 1964, July  1964, and December  1965 are included as well as versions of “My Funny Valentine,” by Chet Baker, Gerry Mulligan, and Ella Fitzgerald.

931.

Krieger, Franz. 2005. “Herbie Hancock Harmonik in ‘The Sorcerer’ (Herbie Hancock’s Harmonies in ‘The Sorcerer’).” Jazzforschung/Jazz Research 37: 9–80. German text. ISSN: 0075-3572. Examines three selected Herbie Hancock recordings of the composition “The Sorcerer” and compares them on the basis of detailed transcriptions with regard to their harmonic makeup. The recordings are from three years: 1967, 1968, and 2001. Besides Hancock’s solo there are also three choruses (all instruments except drums) as well as the improvisations of Wayne Shorter and Miles Davis from the 1967 recording which have been transcribed. The harmonic analysis provides examples of reharmonization techniques used by the individual musicians, and way in which Herbie Hancock creates the impression of harmonic modernity in his 2001 recording.

932.

Kristić, Miloŝ. 2007. “Jazz Standards of a Ballad Character.” New Sound: International Magazine for Music 30: 102–108. ISSN: 0354-818X. 9 Illustrations. Examines effectively how in order to improvise, jazz musicians use small segments from themes often taken from musicals and movies. The article makes the argument that in many instances jazz musicians are interested in harmonic improvements of the ballads, fitting them into the jazz language. Due to extraordinary individual recordings, some of these ballads have become known as “standards” now commonly performed from memory, with contributions by performers such as Miles Davis, Coleman Hawkins, John Coltrane, and others.

186

933.

Annotations of Journals

Kwarza, Johann. 1986. “Julian “Cannonball” Adderley: Seine Improvisationstechnik in der Zeit Seines Shaffens bei Miles Davis (Julian “Cannonball” Adderley: His Technique of Improvisation During His Creative Career With Miles Davis.” Jazzforschung 18: 9–66. ISSN: 0075-3572. An analytical study of the music of jazz saxophonist Julian “Cannonball” Adderley that demonstrates how he developed a personal style in hard bop during a period of collaboration with Miles Davis, 1957–1959. The study examines how Adderley contributed to the development of modal playing which is usually attributed to Miles Davis. The analysis in the study points out that Adderley employed dense rhythmic patterns, blue notes, and a variety of phrase and motivic structures.

934.

La Verne, Andy. 2009. “Play It: Advanced: The Dominant Colors of ‘Blue in Green’. ” Keyboard 35(3) (March 2009): 52, 54. ISSN: 0730-0158. An instructional article provided for playing Bill Evans’ piano solo on “Blue in Green” from Miles Davis’ Kind of Blue album.

935.

Lehman, Steve. 2007. “McLean’s Scene: Jackie McLean as Improviser, Educator, and Activist.” Critical Studies in Improvisation 3(2): 13. ISSN: 1712-0624. An essay about alto saxophonist and composer, Jackie McLean who developed a model of collaborative and socially engaged pedagogy that was to prove enormously fruitful both for his own career and that of younger musicians who came into the sphere of activities. Discusses the rigorous musicianship essential to Afrological forms of improvisation as seen in the music of Charlie Parker, Bud Powell, Miles Davis, Charles Mingus, and Ornette Coleman that allowed for personal self-confidence and a radical openness.

936.

Leur, Walter Van De. 2001. “The American Impressionists and the Birth of the Cool.” Dutch Journal of Music Theory/Tijdschrift voor Muziektheorie 6 (February): 18–26. ISSN: 1385-3066. Traces the early Western classical influences of French Impressionism on foundations of cool jazz and musicians that include Duke Ellington, Billy Strayhorn, Claude Thornhill, Miles Davis, and others.

937.

Liebman, Dave, and Eric Porter. 2012. “It’s Different Out There: On the Job With the Prince of Darkness.” Jazz Times 42(8) (October): 44–47. ISSN: 0027-572X. Focuses on saxophonist Dave Liebman’s experience of working with Miles Davis. Liebman recalls his fascinating tenure with Miles Davis.

938.

Liebman, Dave. 1982. “Apprenticeship With the Giants of Jazz.” Jazz Educators Journal 14(3): 15–16. ISSN: 0703-9791. Jazz musician Dave Liebman shares his experience of collaborating with Miles Davis and Elvin Jones.

939.

Lindeman, Alex. 1998. “Fix It in the Mix.” Popular Music and Society 22(4) (Winter): 91–100. ISSN: 0300-7766.

Annotations of Journals187

Examines the practice that recording artists, engineers, and producers have of substantially altering original sound recordings for re-release often without comment. Provides examples of recordings by America, the Beach Boys, the Beatles, Blue Öyster Cult, the Buckinghams, Miles Davis, the Doors, Henry Mancini, Charlie Parker, Public Enemy, the Rolling Stones, Steely Dan, and Frank Zappa and the Mothers of Invention. The implications of this recording practice are placed in a historical context. 940.

Lindeman, Stephen D. 1997, 1998. “Miles’ ‘Stella’: A Comparison in the Light of the Two Quintets.” Annual Review of Jazz Studies 9: 57–76. ISSN: 0731-0641. An analysis of Miles Davis’ two different performances of “Stella by Starlight,” recorded six years apart. The study compares how the style changes depict Davis’ conception of the tune and reveals the perspective of how the two units differed in their approach to the standard. A schematic breakdown of the group’s arrangement published in 1958 is presented and a comparison is made with the 1964 schematic breakdown performed by Davis’ quintet. The study argues that the reasons for focusing on “Stella by Starlight” is to broaden and enrich one’s understanding of one of the most significant small ensembles in the history of jazz.

941.

Louth, Joseph Paul. 2012. “An Approach to Improvisation Pedagogy in Post-Secondary Jazz Programs Based on Negative Dialectics.” Music Education Research (March): 9–24. ISSN: 1461-3808. Argues that an approach to jazz improvisation pedagogy based on negative dialectics may provide a viable solution to the threat of codification of the jazz language as a result of the academization of improvisation of the post-secondary level. Discusses concepts and theories from Theodore Adorno. Also, includes discussion of Miles Davis’ Kind of Blue.

942.

MaGee, Jeffery. 2007. “Kind of Blue: Miles Davis, Afro-Modernism and the Blues.” Jazz Perspectives 1(1) (May 1): 5–27. ISSN: 1749-4060. Examines how musicians and scholars alike tend view Miles Davis’ career through the lens of change to emphasize his stylistic shifts among modern jazz styles from bebop, cool, and hard bop to modal jazz, fusion, and beyond. Examines how Davis supported the view with his famous claim that “I have to change. It’s like a curse.” However, through all the changes, the blues form a connecting thread that runs from Davis’ earliest recordings as a rhythm and blues sideman to his final years on tour. This article presents a thorough investigation of Miles Davis’ diverse blues compositions and improvisations that reflect his many stylistic shifts that are linked by what the author defines as a cultural phenomenon and Afro-Modernism. The article explores several of Davis’ blues compositions that include “Sippin’ at Bells,” “Israel,” “Walkin’, ” “Blue n’ Boogie,” “All Blues,” “Eighty-One,” and “Star People (aka New Blues).”

943.

Marantz, Bart. 1996. “Transcriptions and Analysis of Miles Davis’ ‘So What’. ” Bach Brass Notes (Fall): 4–6. No ISSN.

188

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Presents transcriptions and analysis of Miles Davis’ solo on two versions of the tune “So What,” from the 1959 Kind of Blue album and a live recording made in 1961. 944.

Marantz, Bart. 1988. “Miles Davis’ Solo on ‘So What’-Big Band Version.” Down Beat 55(10) (October): 56. ISSN: 0012-5768. Provides an analysis and transcription of the big band version of Miles Davis’ solo on the composition “So What.”

945.

Marcus, Greil. 1998. “Vortag, Gehalten am 3 September 1997 anälßlich der Ausstellung ‘Birth of the Cool’ (Lecture Given on 3 September 1997 for the Exhibit ‘Birth of the Cool’ in the Kunsthaus, Zurich).” Jahresing: Ein Schnift durch Literatur und Kunst der Gegenwart (Jahrbuch fur Moderne Kunst 49: 21–32. German text. ISSN: 0448-1631. Discusses the term cool which is used primarily in jazz. Examines cool jazz that originated in the late 1940s in the circle around Miles Davis.

946.

Martin, Henry. 1997. “The Nature of Recomposition: Miles Davis and ‘Stella by Starlight.’ ” Annual Review of Jazz Studies 9: 77–92. ISSN: 0731-0641. An analytical study that examines Miles Davis’ solo on “Stella by Starlight” as recorded in December 1965, live at the Plugged Nickel in Chicago, to determine whether Davis’ group was performing free improvisations. This study attempts to demonstrate that Davis’ live solo features an evolving group-improvisatory technique that moves from paraphrase to variation to recomposition and comments that the Davis Second Quintet takes jazz about as far as it is possible in a live performance while maintaining strophic from. Special emphasis is made that Davis, after an extensive career of consistently brilliant improvisation on jazz standards, soon abandoned the practice.

947.

Matsunobu, Koji. 2011. “Spirituality as a Universal Experience of Music: A Case Study of North Americas’ Approaches to Japanese Music.” Journal of Research in Music Education 59(3) (October): 273–289. ISSN: 0022-4294. A study in which shakuhachi music provides a different angle on cultural expression. Explanations are given of the shakuhachi experience using jazz knowledge. Argues that the sound of the shakuhachi expresses no structure, no restrictions, but merely tension and energy which is very similar to the jazz experience. Provides examples in jazz from the improvisational techniques of John Coltrane and Miles Davis.

948.

Matthews, Paul. 1996. “Billy Taylor Interview (Part Four).” Cadence Magazine. The Independent Journal of Creative Improvised 22(1) (January): 19–29, 122. ISSN: 0162-6973. An interview with jazz pianist Billy Taylor who discusses the genre’s lack of mainstream credibility, his memories of Charles Mingus, his work with Miles Davis at Birdland, and other topics.

Annotations of Journals189

949.

Matthias, John. 2015. “From Birdsong to Songbird: An Adventure in Collaborative Arts.” Technoetic Arts: A Journal of Speculative Research 13(3) (December): 309–313. ISSN: 1477-965X. Miles Davis’ album In a Silent Way was one of the major influences for this study. Discusses the making of an album with one track that features piano, a violin, a bass synthesizer, vocals, and hitting two sticks rhythmically on the side. The author discusses how Davis’ In a Silent Way influenced his work.

950.

Maxile, Jr., Horace J. 2013. “Implications, Quotations, and Coltrane in Selected Works by David N. Baker.” Journal of the Society for American Music 7(2) (May): 147–164. ISSN: 1752-1963. Explores composer David N. Baker’s use of elements of jazz and vernacular music to articulate formal structures and suggest extramusical commentaries in his concert works. Also discusses Miles Davis’ influence in the 1950s with improvisational methods and reliance of modal concepts with recordings such as Milestones (1958) and Kind of Blue (1959), and John Coltrane’s influence by Davis’ tunes and modal concepts.

951.

Maxwell, Ian. 2006. “Music as a Cultural System Sensibility and Interpretation (Miles Davis’ ‘Doo Bop’ Compared to Guru’s Jazzmatazz).” Context 3: 5–19. ISSN: 1038-4006. Examines how in the early 1990s two hip-hop producers released albums which transgressed the most fundamental law of hip-hop music: both used live musicians in the studio. This study presents ethnographic and comparative research that analyzes and compares two recordings and discusses them in terms of the hip-hop genre. These include Miles Davis’ collaboration with rapper Easy Mo Bee and the recording of “Doo Bop,” released in 1992, and a performance rendition of Guru’s “Jazzmatazz.” Particularly the hip-hop community in Sydney, Australia, in the mid-1990s is examined through the release of Davis’ and Guru’s recordings. Also included is anthropological theoretical perspective formulated by Clifford Geertz. Emphasis is made that an analysis of the musicological features of each recording cannot suffice to account for the diametrically opposed responses both recordings provoked.

952.

McInerney, Michael. 2015. “New Notational Strategies for New Interpretative Paradigms: Revisiting the Scores of Anestis Logothetics (1921–1994).” Perspective of New Music 53(1) (Winter): 99–120. ISSN: 0031-6016. Discusses the concept of musical life between sound and score along with sound resources, post-product editing, and dissemination. Views about the Viennese composer Anestis Logothetis are provided regarding radical aesthetics in graphic scores of Viennese music. The article also discusses the use of jazz and rock interpretative practices in Miles Davis’ album Kind of Blue.

953.

McLaughlin, Michael. 1998. “African Music, Rhythm and Jazz.” Proceedings of National Association of Jazz Educators Research 3: 74–91. No ISSN.

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Includes six rhythmic characteristics of African music as outlined by music scholar A.M. Jones (1959) in examples taken from the music of five major American jazz musicians—Louis Armstrong, Count Basie, Charlie Parker, Thelonious Monk, and Miles Davis. The study draws similarities between function of meter in jazz and the time background in African music which is divisive and imparts no accent on the melodic line. Demonstrates that meter in jazz functions as a framework for the melody and is unrelated to standard metrical pulses. 954.

McLeod, Ken. 2009. “The Construction of Masculinity in African American Music and Sports.” American Music 27(2) (Summer): 204–226. ISSN: 0743-4392. Examines the connections between African American music and sports, emphasizing these two forms of entertainment and leisure culture and their synergetic roles in the formation of African American masculine identity. Explores some notable connections between sports and music in the African American community, particularly as manifested in individual performer Miles Davis and others, and the historical relationships between jazz, boxing, basketball, and baseball. Also provides an analysis of musical and athletic performance and improvisation and their relationship to black masculinity.

955.

McMichael, Robert K. 1998. “We Insist—Freedom Now:’ Black Moral Authority, Jazz, and the Changeable Shape of Whiteness.” American Music 16(4) (Winter): 120–122. ISSN: 0734-4392. A detailed examination of a seminal period in American race relations from 1960 to 1965 as reflected in changing audiences and trends in the jazz world. Identifies key factors including mainstream television coverage of the civil rights struggle, the development of the avant-garde jazz movement with a largely white intellectual audience, and the rise of the black nationalist movement in jazz writing. Includes discussion of the television coverage of The Sound of Miles Davis, a concert/program that aired on May 31, 1959, on CBS that significantly affected integrationist quality in American culture.

956.

McRae, Chris. 2013. “For ‘All of Me’ to ‘All of You’: Listening to Aura.” Cultural Studies/Critical Methodologies 13(2) (April): 115–124. ISSN: 1532-7086. Offers an example and reading of aura that can be extended to the criticism and understanding of music performances as events that happen in and beyond context. Argues for a hearing of Walter Benjamin’s concept of aura about an attributed and aural quality that is situated in the various intertwining contexts of performer, performances, and audience members. Includes example specifically of how the music performance of jazz trumpeter Miles Davis comes to live in spaces and the gaps that surround various contextual clues.

957.

McRae, Chris. 2012. “Listening to a Brick: Hearing Location Performatively.” Text and Performance Quarterly 32(4): 332–348. ISSN: 1046-2937. A critical study that presents the concept of “listening” as a performative act that is offered as a critical, reflexive, and embodied act of engaging with and learning

Annotations of Journals191

from the other. Includes an example of a specific performance of Miles Davis to provide a starting place for considering the ways we may performatively listen to life stories, geographic locations, and music. Argues that this consideration of what it might mean to listen performatively to a life story in and from a specific geographic location extends, adds to, and transforms the pedagogical implications and possibilities of performatively listening to the other. 958.

McRae, Chris. 2004. “Miles Away From ‘The Cool’ .” Text and Performance Quar­ terly 34(3) (July): 304–316. ISSN: 1046-2937. Presents theoretical analogies between ideologies of performance and autobiography centering on the music of Miles Davis. Argues that the artist’s statement and excerpts from the performance script present an autobiographical reading for the music and autobiography of Miles Davis. The performance presents questions about dialogic performance, ethics, location, pedagogy, and the role of the student as listener. The responses to this performance are enmeshed in ethical implications of the performance, the generative possibilities of Davis’ stories and music, and the pedagogical value of the stories about and music of Davis.

959.

Meadows, Eddie S. 1991. “Improvising Jazz.” Music Educators Journal 78(4) (December): 41. ISSN: 0027-4321. Examines jazz improvisation and what is needed to have the ability to improvise jazz. Explains benefits of jazz improvisation to musicians and how to start improvising in jazz. Points out that for many years, musicians outside of the jazz community believed the ability to improvise was a gift, not something that could be learned. While acknowledging Louis Armstrong, Miles Davis, and John Coltrane as musicians who learned their craft primarily from oral sources, and as performers who achieved greatness, however, teacher and students must realize that they can also learn to improvise.

960.

Meadows, Eddie S. 1988. “The Miles Davis-Wayne Shorter Connection: Continuity and Change.” Jazzforschung 20: 55–63. ISSN: 0075-3572. A critical examination of the significant styles, trends, collaborations, and compositions of Miles Davis and Wayne Shorter. Argues that the years of collaborations between Miles Davis and Wayne Shorter (1958–1967) are characterized by both continuity and change. Elements of both these tendencies are analyzed in the most important compositions and improvisational work produced by the two musicians during the period.

961.

Meehan, Norman. 2004. “Using the Melody as the Bases for Improvisation.” Jazz Education Journal 37(1) (July): 42–44. ISSN: 1540-2886. Jazz pianist and composer Norman Meehan uses notation of solos by saxophonist Wayne Shorter and Sonny Rollins to discuss the way a led melody line can be used in an improvised jazz solo. Provides discussion of Miles Davis’ treatment of melody in “Time After Time” and selections from Miles Davis: The Complete Plugged Nickel.

192

962.

Annotations of Journals

Merod, Jim. 1997. “Intellectual Collaboration in the Age of Technological Over Determination: Miles Davis and John Coltrane.” Boundary 2-International Journal of Literature and Culture 24(1) (April): 79–112. ISSN: 0190-3659. Examines concepts of relationships to collaboration of intellectual, literary marketplace, literary theory and criticism, and technology compared to jazz music by Miles Davis and John Coltrane.

963.

Meyers, John Paul. 2015. “Standards and Signification on Jazz and Fusion: Miles Davis and ‘I Fall in Love Too Easily’. ” Jazz Perspectives 9(2) (August): 113–136. ISSN: 1749-4060. Examines Miles Davis’ studio and live repertoire from 1963 to 1970, particularly his performances of the ballad “I Fall in Love Too Easily.” Discussions of form, rhythm, timbre, and orchestration are included.

964.

Micallef, Ken. 2006. “Playback-Jack DeJohnette-A Master’s Music.” Modern Drummer 30(12) (December): 108, 110, 112. ISSN: 0194-4533. Jazz drummer Jack DeJohnette comments on a number of recordings on which he appeared during his career. Albums from Jackie McLean, Miles Davis, John Abercrombie, the Keith Jarrett Trio, Foday Musa Suso, and the Trio Beyond are discussed.

965.

Milkowski, Bill. 2003. “Fission: Re-Energizing Miles.” Jazziz 20(11) (December): 38–39. ISSN: 0741-5885. Examines the revived interest in Miles Davis’ controversial electric work that has led to a number of tribute ensembles and recordings. Provides examples of the band Children on the Corner as paying homage to Davis with fusion jazz music featuring Davis collaborator Michel Henderson on bass. Another example is Nicholas Payton’s album Sonic Trance (Warner Bros. Records, 2003) that is influenced by Davis’ use of wah-wah pedal and electronics.

966.

Milkowski, Bill. 2000. “The Genres: Bill Milkowski on Fusion.” Jazz Times 30(7) (September): 64–66. ISSN: 0272-572X. Discusses how the style of fusion developed during the 1960s at the same time as a “world cultural revolution.” Considers the role of Miles Davis and his influential record Bitches Brew.

967.

Miller, Michael Vincent. 2002. “The Aesthetics of Commitment: What Gestalt Therapists Can Learn From Cézanne and Miles Davis.” International Gestalt Journal 25(1) (Spring): 109–122. ISSN: 1545-7516. The research for this essay stems from a scholarly paper presented at the eighth Annual Conference on the Theory and Practice of Gestalt Theory, May 8, 1985. The essay puts forward a conception of commitment derived from the basic principles of Gestalt therapy. The major argument of the essay replaces commitment as a cultural imperative with a vision of commitment as full attention to subjective

Annotations of Journals193

experience. The conclusion is that such a vision is common to Gestalt therapy and the working methods of artists. This view is demonstrated by drawing on the lives and works of the painter Paul Cézanne and jazz trumpeter Miles Davis. 968.

Morgan, Robert C. 1991. “Visual Improvisations: The Paintings of Miles Davis.” Arts Magazine 65(5) (January): 58. ISSN: 0004-4059. The visual art of Miles Davis is discussed. Argues that Davis’ paintings and assemblages are more than a digression or a diversion from his musical genres. Davis is, in the most definite sense, an intermedia artist.

969.

Moore, Fletcher. 1995. “The Dialectic of Miles Davis.” Music Research Forum 10: 1–13. ISSN: 1042-1262. Attempts to demonstrate the influence of Charlie Parker, Gil Evans, and John Coltrane on Miles Davis’ life and music, as well as his influence on them. Argues that Davis used his creative energies to fuse various jazz styles. The commercial reactions to these styles are also discussed.

970.

Morgan, David S. 2000, 2001. “Superimposition in the Improvisations of Herbie Hancock.” Annual Review of Jazz Studies 11: 69–90. ISSN: 0731-0641. Critical study of improvisational techniques employed by Herbie Hancock including his collaborations with Miles Davis. Defines superimposition as the technique by which an improviser plays a melody implying a chord, chord progression, or tonal center other than that being stated by the rhythm section. Argues that pianist Herbie Hancock’s pervasive use of superimposition while playing with the Miles Davis Quintet from 1963 to 1968 contributed significantly to the increasing chromaticism and abstraction of Davis’ music. Examples of superimposition from Hancock’s improvisations and thoughts on the significance of superimposition in Hancock’s playing are offered.

971.

Moten, Fred. 2007. “Taste Dissonance Flavor: Preface for a Solo by Miles Davis.” Women  & Performance: A  Feminist Theory 17(2) (July  1): 217. Topics: ISSN: 07040-770X. The music of Miles Davis is enmeshed as a concept and paradigm in this essay. Seeks to establish and explain the following assertions: that there is an irreducible relationship between blackness, criminality, and the aesthetic and that escape-in-confinement is a fundamental audio-visual motif for black expression. This motif is essential to modernity and modernism in their broadest conceptions and in the relationship between the history of race and the history of cinema.

972.

Mouëllic, Gilles. 2000. “Improvisation: Le Jazz, comme Modèle-Du Bebop au Free Jazz (Improvisation: Jazz as Model-From Bebop to Free Jazz).” Musurgia: Analyse et Pratique Musicales 7(3–4): 85–129. French text. ISSN: 1257-7537. Examines improvisation in jazz analyzing pieces by Charlie Parker, Miles Davis, and Ornette Coleman. Argues that improvisation plays an important role in the history of Western music, extending to the aleatoric compositions of the 1950s

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and 1960s. Also argues that composers’ preoccupation with improvisation during the twentieth century has a great deal to do with the centrality of jazz. Furthermore, resistant to notation, jazz puts in question the distinction between composer and performer. 973.

Njoroge, Njoroge. 2008. “Dedicated to the Struggle: Black Music, Transculturation, and the Aural Making and Unmaking of the Third World.” Black Music Research Journal 28(2) (Fall): 85–104. ISSN: 0276-3605. Examines the late 1950s and early 1960s musicians who strove to realize their artistic potential and creative possibilities that were emerging simultaneously with anti-colonial efforts and the civil rights movements. Provides discussion of several recordings that include Max Roach’s “We Insist! Freedom Now Suite,” Randy Weston’s “Uhuru Afrika,” and Miles Davis’ “Walkin’. ”

974.

Oakes, Steve, Noel Dennis, and Helen Oakes. 2013. “Web-Based Forums and Metaphysics Branding.” Journal of Marketing Management 29(5–6) (2013): 607– 624. SSN: 0267-257X. Introduces metaphysical branding and an original overarching concept binding together discrete data themes when analyzing online evaluation of the best-selling album in jazz history, Kind of Blue by Miles Davis. The research employs an approach involving analysis of online textual discourse posted on a music-rating website.

975.

Olsen, Per. 2006. “Oppe på Beatet: Den Amerikans Beatgeneration-Jazz & Poetry (On the Beat: The American Beat Generation-Jazz  & Poetry).” Dansk Noter 1 (March): 14–28. Danish text. ISSN: 0107-1424. Examines the authors of the Beat Generation—Jack Kerouac, Alan Ginsberg, and William Burroughs—who were inspired especially by jazz musicians Charlie Parker, Miles Davis, Dizzy Gillespie, and Thelonious Monk. Argues that in Denmark, the jazz and poetry influences were copied in the 1960s, and the Alan Ginsberg poem Howl inspired Danish authors such as Peter Laugesen, Peter Poulsen, and Dan Turèll who also used the improvisational elements of jazz in texts with challenging and provoking rhythms.

976.

Paetzold, Christopher. 2009. “Singing Beneath the North African and Arabic Past and Present in Contemporary Andalusian Music.” Journal of Spanish Cultural Studies 10(2) (June): 207–223. ISSN: 1463-6204. Examines the association of Arabic-Andalusian music and Andalusian Flamenco music in Spain. Discusses Miles Davis’ composition “Flamenco Sketches” from the album Kind of Blue (1959), a recording inspired by Flamenco’s Arabic tradition. Argues that “Flamenco Sketches” also brought Flamenco’s eroticism to jazz and inspired a younger generation of talented Flamenco musicians such as Paco de Lucia, José Monje, and Enrique Morente. Explains how Andalusian music continues to grow and adjust, refusing to become a sterile music tradition that reenacts and invents perceived innocent ages.

Annotations of Journals195

977.

Parker, Ted. 2007. “Miles Revisited: Ron Carter Discusses Life in the ’60s With the Miles Davis Quintet.” Jazziz 4(9) (September): 48–51. ISSN: 0741-5885. Jazz bassist Ron Carter shares insights into his experiences of working, performing, and collaborating with Miles Davis.

978.

Pejrolo, Andrea. 2006. “Transatlantic Interplays: The Origins of Miles Davis’ Modal Jazz in Ascenseur pour l’ Échafaud (Lift/Elevator to the Scaffold)-1957.” Atlantic Studies 3(1) (April): 63–82. ISSN: 1478-8810. An analysis of the modal elements present in the music recorded by Miles Davis in 1957 for the soundtrack of the French film Ascenseur pour l’ Échafaud. Argues that the recording is a representation of a pivotal point in Davis’ transition from a traditional bebop style to a more modern and innovative modal sonority. Focuses on the crucial role played by European musicians Pierre Michelot (bass) and René Urtreger (piano) in inspiring and fostering Davis’ new modal improvisational approach. This successful collaboration between America and European musicians created for Davis the perfect musical and personal environment in which to conceive, develop, and mature his new modal sound. Concludes by demonstrating that the transatlantic interplays framed the recording of the French film as a unique project for its era, a collaboration in which different styles, techniques, and backgrounds aided Davis to conceptualize modal jazz.

979.

Pejrolo, Andrea. 2003. “A  Bass Perspective on the Origins of Modal Jazz: An Interview With Pierre Michelot.” Journal of the International Society of Bassists 26(3) (February): 11–13. ISSN: 0892-0532. An interview with bassist Pierre Michelot about his work with Miles Davis on the recording of the film score Ascenseur pour l’ Échafaud.

980.

Peremanti, Thierry. 2009. “Miles: Créateur de Désir.” Cité Musiques: Journal de la Cité de la Musique 61 (September–December): 10–11. French text. ISSN: 1259-1394. An interview with jazz drummer Jack DeJohnette discussing Miles Davis, with whom he worked.

981.

Peyrebelle, Jean-Pierre, and Jacques Aboucaya. 2002. “Du Be-Bop au Free Jazz: Forms et Techniques d’ Improvisation Chez C. Parker, Miles Davis et O. Coleman.” Revue de Musicologie 88(2): 449. ISSN: 0035-1601. A study of the improvisational techniques employed in the music and performances of Charlie Parker, Miles Davis, and Ornette Coleman.

982.

Polston, James E., and Stanley D. Glick. 2011. “Music Induced Context Preference Following Cocaine Conditioning in Rats.” Behavioral Neuroscience 125(4) (Spring): 674–680. ISSN: 1939-0084. Examines traditional models of drug-seeking behavior and exposure to associated environmental cues and relapses. Examines closely how learned associations take place during repeated drug administration resulting in conditioned

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reinforcement. The purpose of the study is to further assess the effectiveness of music as a conditioned stimulus in rats and to determine rats’ preferences for two contrasting pieces of music, and to determine rats’ preferences for music versus silence. Testing included providing an apparatus that gave instrumental control of music repertoire choice of Miles Davis v. Beethoven to the rats themselves. 983.

Polston, James E., Heather Y. Rubbinaccio, Joshua T. Morra, E. M. Sell, and Stanley D. Glick. 2011. “Music and Methamphetamine: Conditioned Cue-Induced Increases in Locomotor Activity and Dopamine Release in Rats.” Pharmacology, Biochemistry and Behavior 98(1): 54–61. ISSN: 0091-3057. Examines the role of a musical composition stimulus by assessing locomotor activity and in vivo microdialysis. Two groups of rats were given non-contingent injections of methamphetamine or vehicle and placed in standard chambers. During these conditioning sessions both groups were exposed to a continuous conditional stimulus, in the form of a music selection, a recording of “Four” by Miles Davis played repeatedly for ninety minutes. After seven consecutive condition days, subjects were given one day of rest and subsequently tested for locomotor activity or dopamine release in the absence of drugs while the musical conditioned stimulus (“Four” by Miles Davis) was continually played. Results of the study demonstrate the importance of certain brain regions in conditioned learning paradigms, and also demonstrate that music is an effective conditioned stimulus warranting further investigation.

984.

Porter, Christopher. 2002. “Hancock on Miles.” Jazz Times 32(7) (September): 62. ISSN: 0272-572X. An interview with jazz keyboardist/composer Herbie Hancock who comments on Miles Davis. Topics include why Miles Davis hated revisiting his acoustic music and how he chose musicians for his bands.

985.

Powers, Matt. 2007. “Toward a Discipline-Dependent Scholarship.” Journal of Architectural Education 61(1) (September): 15–18. ISSN: 1046-4883. Explores the relationship between design and research, and design and scholarship. Argues that merging design and research is untenable since activity embodies a different epistemological perspective and set values. Includes a section titled “Scholarship: A Function of Knowledge and Know-How,” that includes a discussion Miles Davis and the Kind of Blue album (1959) that involved Davis walking into a New York City recording studio and handing his band a series of sketches that represented abstract frameworks in time intended to structure the band’s improvisation. Argues that the Kind of Blue album captures spontaneity of jazz at that moment but also embodies in process and product the integration and application of history, culture, and knowledge. The author compares Davis with parallels of famous architects such as Frank Lloyd Wright and Roberto Burle Marx.

986.

Prouty, Kenneth E. 2010. “Plagiarizing Your Own Autobiography, and Other Strange Tales: Miles Davis, Jazz Discourse, and the Aesthetic of Silence.” Jazz Research Journal 4(1) (May): 15–41. ISSN: 1753-8637.

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Discusses the challenges writers faced when dealing with a less-than forthcoming Miles Davis during interviews. Davis’ notoriety for silence and his disdain for those who commented on his life and music often resulted in forced assumptions from writers and critics who sometimes even used other written works to fill in the gaps of missing information which allegedly occurred with the publication of Miles: The Autobiography. Makes arguments that Davis’ relationships with the media were similar to his relationships when performing and recording with other musicians. He left spaces to fill and this is conceptualized as an aesthetic of silence that underscores Davis’ approach to music and his engagement with the broader discourse. 987.

Prouty, Kenneth E. 2006. “Orality, Literacy, and Mediating Musical Experience: Rethinking Oral Tradition in the Learning of Jazz Improvisation.” Popular Music and Society 29(3): 317–334. ISSN: 0300-7766. Examines the place of oral tradition in the narrative of jazz history as well as how and why assumptions about its development persist in the music discourse. Argues that in a tradition such as jazz that is deemed by many of its practitioners to be derived in large part from African musical practices, by contrast the emphasis on oral tradition would seem to be a convenient way for music to be set apart from the Western. Discussion of Miles Davis’ remarks about Charlie Parker and Parker’s avoidance of written sources as a “badge of honor.”

988.

Prouty, Kenneth E. 1997. “Toward a Model Aesthetic: Miles Davis and L’ Ascenseur pour l’ Échafaud.” Jazz Research Proceedings Yearbook 147: 1955. No ISSN. OCLC Number: 37709092. Deals with improvisation, style, musical intervals, and scales in Miles Davis’ film score, titled Ascenseur pour l’ Échafaud.

989.

Puser, Ronald E., and Alfonso Montouri. 1994. “Miles Davis in the Classroom: Using the Jazz Ensemble Metaphor for Enhancing Learning.” Journal of Management Education 18(1) (February): 21–31. ISSN: 1052-5629. Argues that the jazz ensemble is a useful metaphor that does not suppress individual creativity but also demands high degrees of interpersonal sensitivity and group cooperation. Argues that the usefulness of the jazz ensemble metaphor for terms is demonstrated through the application of an experiential exercise that involves students listening to the Miles Davis Sextet. Furthermore, by enacting the behavioral and attitudinal qualities of jazz ensemble musicians, students learn how to temporarily suspend their assumptions and opinions, thereby reducing defensive and self-oriented behaviors in their realms.

990.

Radano, Ronald. 2001. “Myth Today: The Color of Ken Burns Jazz.” Black Renaissance 3(3) (Summer): 42. ISSN: 1089-3148. Presents a critique of Ken Burns’ Jazz documentary series as a version of Amiri Baraka’s “blues impulse” or what Baraka later named “changing same.” Argues that Burns proposes a static notion of black aesthetic urbanity traversing the

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modern. Despite his commitment to social context, Burns does not explain the historical reasons for formation of modern orthodoxies of jazz greatness such as Louis Armstrong, the beatific presence; Duke Ellington’s American classical voice, Charlie Parker’s harmonic genius; and Miles Davis, the perpetual innovator and reinventor of musical self. 991.

Ramsey, Guthrie, and Rudolph Angermüller. 2001. “Who Hears Here? Black Music, Critical Bias and the Musicological Skin Trade.” Musical Quarterly 85(1) (Spring): 1–52. ISSN: 0021-4631. Argues for the inclusion of more African American scholars in the field of musicology and related disciplines. Discusses black music historiography from the 1960s to the 1990s, critical theory, and identity politics. Examines the music of James Brown and Miles Davis together with the scholarship they inspired. Also provides examples of figures that have generated compelling research insight into African American cultural practices and their interpretation.

992.

Reeves, Scott. D. 2002. “Gil Evans: The Art of Musical Transformation.” Annual Review of Jazz Studies 12: 1–40. ISSN: 0731-0641. Examines the compositional works and influences of Gil Evans. Discussions include Evans’ works and collaborations with Miles Davis. Examines Evans’ ability; methods of arranging music that blurred lines between improvisation and compositions; and his use of timbre, form, melody, harmony, and rhythm. An overview of selected pieces by Evans is provided.

993.

Riley, John. 2002. “Philly Joe ‘Fours’ ” Trading Solos With the Master.” Modern Drummer 26(12) (December): 106. ISSN: 0194-4533. Provides instruction on performing jazz drummer Philly Joe Jones’ four drum parts for Miles Davis’ song “Four.” Musical examples are included.

994.

Rosar, William H. 2007. “The Manchurian Candidate (1962): An Interview With David Amram.” Journal of Film Music 2(1) (Fall–Winter): 63–74. ISSN: 1087-7142. Composer David Amram explains and describes his writing style for The Manchurian Candidate (1962) as “Hebraic-Elizabethan-American.” Focusing on the American element of his style, Amram discusses that this part of his style is attributable to American composer Aaron Copland but also to contemporary jazz of the day: Duke Ellington, Gil Evans, Miles Davis, Thelonious Monk, and Charlie Parker.

995.

Rutkoff, Peter M., and William Scott. 1996. “Bebop: Modern New York Jazz.” Kenyon Review 18(2) (Spring): 91. ISSN: 0163-075X. Examines the beginning of the bebop movement in New York City including the recording sessions of Charlie Parker and his ensemble at Savoy Records, on November  26, 1945. Miles Davis, Dizzy Gillespie, and Max Roach all participated in this recording session.

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 996. Saffar, Frédéric. 2010. “Kind of Blue: Divagations sur Guinevere.” Volume! La Revue des Musiques Populaires 7(1): 25–251. ISSN: 1950-568X. Examines “Guinevere,” an Elizabethan ballad released by David Crosby in 1969 that features a complex structure that incorporates modal and polymetric material. Provides an examination and analysis of Miles Davis’ 1970s rendition of “Guinevere” that is highly regarded in this scholarly research as an Afro-Futurist symphonic instrumental work.  997. Sagee, Alona. 2003. “Miles Davis’ Improvised Solos in Recordings of “Walkin’ ”: 1954–1967.” Annual Review of Jazz Studies 13: 27–47. ISSN: 0731-0641. An analytical study of improvisational techniques found in Miles Davis’ recordings of “Walkin’. ” Argues that “Walkin’ ” is an appropriate model for illustrating the transmutations of Davis’ improvisational style during a crucial and revolutionary period in his career. For example, twenty-four recordings of Davis performing “Walkin’ ” made between 1954 and 1967 have been issued commercially. Furthermore, on the first recorded version from on April 29, 1954, Davis’ solo remains in the confines of the total framework of the blues. His 1959 Kind of Blue recording represents a crystallization of modal jazz, a new musical dialect that carried over to Davis’ recordings in succeeding years. The concluding argument is that Davis’ solos on “Walkin’ ” performances of 1963 and 1964 are closely related to free jazz. The 1967 recording touches on the demolition of links to tradition.  998. Salerni, Paul. 2006. “Chair’s Column.” American Suzuki Journal 34(3) (Spring): 3, 5. ISSN: 0193-5372. The author compares his own compositional mentor, Korean-American composer, Earl Kim, with intensely lyrical jazz trumpeter Miles Davis, both of whom displayed the strong conviction and high standards and emphasis on the production characteristic of the Suzuki Method. Argues that both Earl Kim and Miles Davis believed in musical “reductionism” which can be compared with Dr. Shin’i Chi Suzuki’s belief that techniques should be mastered one by one, and that there should be only one teaching point per lesson.  999. Santa Cecilia, Carlos. 2001. “Joaquín Rodrigo: El Tiempo Lento Del Maestro.” Scherzo-Revista de Música 17 (December): 144–146. Spanish text. ISSN: 0213-4802. Several contemporary composers that include Antón García Abril, José Ramón Encinar, and Santiago Lanchares offer opinions of Joaquín Rodrigo’s music. Topics addressed include the value of Rodrigo’s work; political implications or lack thereof in his compositions; the genesis of the “Concierto de Aranjuez,” its debut in Barcelona, and its importance internationally for Spanish music in general; the jazz version of the “Concierto de Aranjuez” by Miles Davis; the importance of Rodrigo’s songs, especially his “villancicos”; and Rodrigo’s slight influence on contemporary Spanish composers. 1000. Santoro, Gene. 2000. “Jazzin’ Around: Questioning Cool, Chamber, and Third Stream.” Chamber Music 17(2) (April): 45–46. ISSN: 1071-1791.

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Examines how jazz has been a kind of chamber music and considers the term “chamber jazz” as a subset of cool jazz as well as the term “third stream” used to describe postwar experiments which merged classical music and jazz. Provides examples of alto saxophonist Lee Konitz’s album Another Shade of Blue, Miles Davis’ album Birth of the Cool, and pianist Lennie Tristano’s 1949 78 rpms with such titles as “Progression,” “Retrospection,” “Intuition,” and “Digression.” 1001. Schaal, Hans-Jürgen. 2000. “Pop, Jazz: Kompelxität und Klarheit Gehören Zusammen (Pop, Jazz: Complexity and Clarity Belong Together).” Neue Musikzeitung 1 (October): 36. ISSN: 0944-8136. Jazz musician and composer Dave Holland discusses his musical career including his influence of Miles Davis and the formation of his ensembles. 1002. Schauser, Søren Hallunbaek. 2000. “Woodstockhausen: Stockhausen Festival i Sverige (Woodstockhausen: Stockhausen Festival in Sweden).” Danish Musik Tidsskrift 75(1) (August): 22–24. Danish text. ISSN: 0106-5629. Reports of the Electronic Music Festival in Skinskatteberg, Sweden. A  major focus was on composer Karl Stockhausen. Discussions include the works and influences of Stockhausen on Miles Davis, Frank Zappa, and John Lennon. 1003. Scott, Andrew Jacob. 2005. “Forward Motion in an Improvisation by Miles Davis: A Galperian Reduction and Analysis of ‘So What.’ ” Music Research Forum 20: 23–38. ISSN: 1042-1262. Examines pianist/educator Hal Galper’s theory of musical forward motion in an attempt to correct what he views as the problematic practicing habits of student jazz musicians. Galper proposes a performance-based pedagogical approach. Among the challenges Galper makes is for students to examine the improvised performances of well-known jazz musicians. In response to this challenge a transcription and a “Galperian” analysis of Miles Davis’ improvisation in the composition “So What” is provided. 1004. Shoemaker, Deanna B. 2014. “Kind of Blue (Music for the Muse): Re-Playing Autoethnographic Stories Through Music.” Text & Performance Quarterly 34(3): 321–325. ISSN: 1046-2937. Examines how Chris McRae’s work “Miles Away from ‘the Cool’ ” traverses complex mapping of place, time, memory, music, and the politics of representation, performing powerful distillations of research and nuanced reading of Miles Davis’ autobiography and music weaving McRae’s own and Davis’ life stories together. Notes that McRae urges us to consider the spaces between the destinations, the stories, and music. 1005. Skea, Dan. 2001. “Rudy Van Gelder in Hackensack: Defining the Jazz Sound in the 1950s.” Current Musicology (Spring): 54–76. ISSN: 0011-3735. Focuses on the career of Rudy Van Gelder and on his ability to position himself at the forefront of technological advances. The article focuses on the 1950s as a

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seminal period in the development of jazz and a time during which landmark recordings by leading artists such as Miles Davis were routinely made in Van Gelder’s Hackensack, New Jersey, living room studio in his home. Being able to employ more microphones and place them closer to the instruments allowed Van Gelder to get a more intimate sound in the living room studio. A  prime example of this is the sound of Miles Davis’ muted trumpet which Van Gelder would later record with the Telefunken microphone almost touching the metallic Harmonic mute and permitting Miles Davis to achieve great intensity without having to play at a high volume level. 1006. Smith, Jeremy. 2000. “Sell It Black: Race and Marketing in Miles Davis’ Early Fusion Jazz.” Jazz Perspectives 4(1) (April 1): 7–33. ISSN: 1749-4060. The author makes distinctions and considers the differences and similarities between Miles Davis’ and Columbia Records’ values in relation to marketing during the contested and commonly misrepresented period of the early 1970s fusion jazz. The author also emphasizes that while Columbia Records’ primary concern was in reaching what it recognized to be an expansive and lucrative white youth audience Davis would not be satisfied until Columbia began selling his recordings to reach a significant number of African American listeners. 1007. Solis, Gabriel. 2010. “I Did It My Way: Rock and the Logic of Covers.” Popular Music & Society 33(3) (July): 297–318. ISSN: 0300-7766. Argues that when rock musicians play and record new versions of old songs and when they cover those songs, particularly by other musicians’ songs, they are doing something fundamental to rock as a musical culture. Provides examples of Miles Davis’ version of Cyndi Lauper’s “Time After Time” from the album You’re Under Arrest and Herbie Hancock’s version of Don Henley’s song “New York Minute” on the 1996 album The New Standard. Davis’ and Hancock’s versions are both instrumental versions of songs from the rock/pop continuum. 1008. Spencer, Jon Michael. 1996. “Miles Davis’ ‘Kind of Blue’ (Spiritual Jazz).” Theology Today 52(4) (January 1): 506. ISSN: 0040-5736. Examines Miles Davis’ Kind of Blue (1959) jazz album as a prime example of Davis’ philosophy that jazz is spiritual. Argues that Davis recognized the foundations of jazz in African music that focused on the spiritual and religious elements. Also presents a sacred/secular dichotomy relationship in jazz and African music by arguing that this music overcomes the barriers believed to be between the flesh and the spirit by providing a medium that unites the secular with the sacred. 1009. Stanbridge, Alan. 2004. “A  Questions of Standards ‘My Funny Valentine’ and Musical Intertextuality.” Popular Music History 1(1) (April): 83–108. ISSN: 1740-7133. A study that relies on the Italian novelist, essayist, and critic Umberto Eco’s understanding of post-modernism as the “ironic rethinking” of the past that insists by

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definition on a contextual reading of cultural contexts. An analysis is presented on recordings of the popular standard “My Funny Valentine,” performed and recorded by Miles Davis, Frank Sinatra, and Tony Bennett. These performances are used to address a range of both textual and context issues, and tracing the song back to its origins in the Broadway stage musical Babes in Arms (1937) by the songwriting team of Richard Rodgers and Lorenz Hartz. 1010. Stern, Chip. 2000. “The Seventies.” Jazz Times 30(7) (September): 38–43. ISSN: 0272-572X. Presents as part of the journal’s thirtieth anniversary issue a recounting of the decade of the 1970s in jazz. Recalls the music of Miles Davis and his album Bitches Brew. Attempts to evaluate the role of fusion as well as contributions by drummer Max Roach and pianist Cecil Taylor. Explains how “seventies explorers” Jack DeJohnette and Pat Metheny have kept the spirit of the seventies alive in their collaborative recordings. 1011. Straka, Manfred. 2006. “Einflüsse des Montuno auf die Entstehung des Modalen Jazz (Influences of the Montuno on the Development of Modal Jazz).” Jazzforschung 38: 51–62. German text. ISSN: 0075-3572. Examines scholarly writings of Paul Berliner, Mark Levine, Mark Gridley, Henry Martin, and Keith Waters regarding modal jazz elements of slow-moving harmonic rhythm—the repetition of a single chord or a pair of alternating chords lasting for at least four measures, absence of standard functional harmonic patterns, and static harmony. With these characteristics, this study examines the Cuban Son Montuno in relation to influences in modal jazz and in the music of Miles Davis, Bill Evans, John Coltrane, Teddy Charles, Gil Evans, and George Russell. 1012. Sultanoff, Jeffery. 2011. “The Miles Davis Nonet Manuscript Lost and Found: From Manuscript to Publication.” Journal of Jazz Studies 7(2): 192–257. ISSN: 0093-3686. In 2002 the author published “Birth of the Cool: A Folio of Miles Davis Nonet,” a repertoire of 1948 to 1950 based on the original manuscripts. This article provides a brief history of the Nonet and its music and describes how the manuscripts turned up and how the folio came to be published. Also presents listings of the most detailed editorial changes made to the parts in preparing the folio as well as corrections that should be made to folios as well as new information about this repertoire to prepare accurate versions of jazz and ensemble popular music. 1013. Svorinich, Victor. 2000–2001. “Electric Miles: A Look at the ‘In a Silent Way’ and ‘On the Corner’ Sessions.” Annual Review of Jazz Studies 11: 91–107. ISSN: 0731-0641. Analyzes and presents details of recording sessions of Miles Davis’ In a Silent Way and On the Corner. Several participating musician comments are included. Describes that Davis’ thoughts were constantly evolving in the In a Silent Way session and

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featured new concepts and experiments. Furthermore, while only a portion of the session has been available to the public, the master reels and other associated data provide a larger perspective and a better understanding of this session and some of the others of that particular area. On the Corner has been one of Davis’ most controversial albums and much of the hostility has come from critics and other outsiders whose criteria are based on Davis’ previous efforts and trends of the era. 1014. Taylor, Thomas. 2003. “Jazz Drummers’ Workshops: Comping With Miles and Wynton.” Modern Drummer 27(8) (August): 94–96. ISSN: 0194-4533. Discusses the benefits of drummers learning other instrumentalists’ solos. Examines the playing of Miles Davis and Wynton Kelly which can aid drummers in comprehending the nuances of jazz. The article provides transcription of the playing of both Davis and Kelly. 1015. Teuser, Kai. 2007–2008. “Ersehnte Anerkennung, erste Filmmusik, Begegnung mit Juliette Greco: Miles in Paris (Desired Approval, First Film Encounter With Juliette Greco: Miles in Paris).” Jazz Podium 56(12) (December–January): 29. ISSN: 0021-5686. Profiles Miles Davis’ time in Paris, France. Discusses the acceptance Davis encountered when composing film music for Louis Malle’s French film Ascenseur pour l’ Échafaud and Davis’ encounter with Juliette Greco. 1016. Thelander, Ulf. 2009–2010. “Stilstudier 6: Fusion.” Orkester Journalen 77(6) (December–January): 34–43. ISSN: 0030-5642. Presents a historical survey of jazz fusion. Discusses rock music and influences of Miles Davis, Chick Corea, Wayne Shorter, Herbie Hancock, and the album Free Spirits. Examines the importance of the “rock style” and includes a list of recordings and a brief bibliography. 1017. Thompson, Bill. 1994. “Miles Davis and the Art of Dynamic Subtlety: Expressive Jazz Techniques.” Jazz Player 1(2) (February): 61–62. No ISSN. An article that presents practice exercises for learning to use dynamics in the jazz style of Miles Davis. 1018. Thompson, William. 1999. “On Miles and the Modes; a Different View: On Miles and the Modes.” College Music Symposium 39: 130–135. ISSN: 0069-5696. Discusses the complexity of musical intervals and modal framework in the music of Miles Davis. 1019. Thompson, William. 1998. “On Miles and Modes.” College Music Symposium 38: 17–32. ISSN: 0069-5696. Scholarly commentary is provided regarding the relationship between a composer’s intentions for a work and the resultant products of their efforts. Focuses on the claims that modes are the pitch-structural basis for the creations of many revered jazz musicians. Also provides an analysis of the claims of modal

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incorporations in the jazz improvisations on the influential 1959 quintet album Kind of Blue by Miles Davis. Commentary is also provided on notable interpretations of modal jazz music by Martin Williams, Mark C. Gridley, and others. Includes extensive analyses of transcriptions of solos by Miles Davis and others from the performance and relates Davis’ ideas about modality to the music of medieval composers who also employed modes. 1020. Tomlinson, Gary. 2002. “Cultural Dialogics and Jazz: A White Historian Signifies.” Black Music Research Journal 22: 71–105. ISSN: 0276-3605. Explores the African American culture and literary works citing the book Signifying Monkey: A Theory of African American Literary Criticism, by Henry Louis Gates, Jr., and defines signifyin(g) as connoting a variety of ways of speaking and interacting that are characterized by irony, indirection, needling, and trickery. Argues that in approaching a most compelling variety of African American music, writings about jazz have mainly reproduced the gestures of a white, European-American musicology. Similarly, the canon of European music is a strategy for exclusion. Furthermore, as Gates suggested the jazz tradition is essentially a signifyin(g) tradition and also true that much of the jazz musicians’ signification has played on musical works and styles from outside the jazz critics’ mainstreams. Therefore, it is argued that jazz is largely extra-canonic. Includes discussions of general aims of signifying, relation of tropology and archeology to African American history, culture and literary works, interpretation of the fusion of Miles Davis, and its dialogics which was outside European canons of jazz. 1021. Tucker, Mark. 2001. “Porgy and Miles.” Current Musicology 71–73: 13–21. ISSN: 0011-3735. Explores how Porgy and Bess became one of the most successful albums of Miles Davis’ career which was widely admired by critics and the fans. The album not only offers jazz-flavored interpretations of selected tunes but also delivers a thorough and cohesive reimagining of George Gershwin’s musical score, with detailed attention given to structure, pacing, continuity, and shifts in mood. This article focuses on the success of Miles Davis with the launch of his album Porgy and Bess. Description of the music, recording, and affiliation with jazz musicians. Also examines the attitude of Miles Davis as a musician. 1022. Tucker, Sherrie. 2001. “Big Ears: Listening for Gender Studies.” Current Musicology 71–73 (Spring): 375–408. ISSN: 0011-3735. Issues a call for continued ear-training that will help those in jazz studies hear and analyze jazz activity and meaning more historically and more in tune with its musical and social complexity. Emphasizes resistance to gender analysis in jazz studies and ear training that would enable jazz researchers to better listen for gender in dissonances, silences, and negotiations of changes at all levels of jazz studies. Also includes discussions of Miles Davis and other jazz musicians and the versions of masculinity that produced and are produced through their music and other modes of self-expression not only in performances, but also in interview settings and in autobiographies.

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1023. Turner, Douglas, and Quincy Troupe. 2002. “Miles and Me: An Interview With Quincy Troupe.” African American Review 36(3) (October): 429–434. ISSN: 1062-4783. Features an interview with Quincy Troupe, an author, poet, and Professor of Creative Writing and American and Caribbean Literature at the University of California, San Diego. The interview regards Troupe’s book Miles and Me (2000) and Troupe’s affection toward Miles Davis and observances of the relationship between Davis and Wynton Marsalis. 1024. Turner, Richard. 1975. “John Coltrane: A Biographical Sketch.” Black Perspectives in Music 3(1) (Spring): 16–30. ISSN: 0090-7790. A biographical sketch of the life and career of John Coltrane. Coltrane’s stylistic evolution is discussed in relationship to the musical styles of several contemporary jazz musicians, particularly Miles Davis and Thelonious Monk. 1025. Van Maas, Sander. 2010. “Lyrical Bodies: Music and the Extension of the Soul.” Critical Studies 32(1): 159–177. German text. ISSN: 0923-411X. Explores history in which music has resisted subsumption under the prevalent categories of time and space. This resistance is evident in the development of musical notation. From the earliest beginnings, musical notation has included concepts which although referring to space and time cannot be wholly understood within their confines. Thus, the study begins with an exploration of the notion of the sound body (corps sonore) which has been analyzed by Jean-Luc Nancy in terms of the soul. Also included is an analysis of the soul as key to understanding the new “liquid” or “lyrical” negotiations of space and time that currently take place in society. This point is illustrated with examples ranging from musical modernism of Olivier Messiaen and Harrison Birtwistle to popular culture of Frank Sinatra, Miles Davis, and Michael Jackson. 1026. Veal, Michael. 2004. “Miles Davis: Jazz in Transition 1968–1971.” Glendora Review 3(3): 18. ISSN: 1118-146X. Examines critically what can be described as Miles Davis’ electronic period manifested with his work in jazz fusion and how Davis changed jazz innovation with his recordings such as In a Silent Way and Bitches Brew. 1027. Veal, Michael. 2002. “Miles Davis’ Unfinished Electric Revolution.” Raritan: A Quarterly Review 22(1): 153. ISSN: 0275-1607. Discusses the role of Miles Davis in the evolution of modern and contemporary jazz. Among the debates are discussions about the relationship between jazz and popular music influenced by the integration of electronic elements into Davis’ music, and emergence of a younger generation of non-conservative jazz musicians. Examples of electric jazz music recordings produced by Miles Davis are included. 1028. Villanueva, Patrick. 1997. “Jazz et Mode: Une Renaissance?” Musurgia: Analyse et Pratique Musicales 4(3): 133–144. ISSN: 1257-7537.

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Investigates Miles Davis’ role in modal innovations. Argues that until the 1950s, jazz improvisation was mainly harmonic. During his research into opening temporal space Miles Davis was concerned with the mode as a support to his melodic construction. John Coltrane developed very sophisticated harmonic work at the same time and incorporated the Davis modal concept into his explorations of new and expressive means. 1029. Walser, Robert. 1993. “Out of Notes: Signification, Interpretation, and the Problem of Miles Davis.” Music Quarterly 77(2) (Summer): 343. ISSN: 0027-4631. Includes several topics and discussions of multiple meanings in Davis’ works. In addition, the author presents useful ways of analyzing Miles Davis’ jazz creative output by using Henry Louis Gates’ theoretical paradigm of signification. 1030. Waters, Keith. 2003. “Motive and Formal Improvisation in the Miles Davis Quintet 1965–1968 (Strategies in ‘Orbits and Pinocchio’).” Dutch Journal of Music Theory/Tijdschrift voor Muziektheorie 8 (February): 25–39. ISSN: 1385-3066. An analytical study of the use of jazz improvisation performed by the Miles Davis Quintet with examples from the compositions “Orbits” and “Pinocchio.” 1031. Waters, Keith. 2001. “Outside Forces: ‘Autumn Leaves’ in the 1960s.” Current Musicology 71–73: 276 –302. ISSN: 0011-3735. Presents terminology for the metric strategies followed by musical analyses that considers the standard jazz composition “Autumn Leaves.” Transcriptions of solos on the tune by Keith Jarrett from the Charles Lloyd Quartet recording Dreamer Weaver (Atlantic) and Herbie Hancock from the Miles Davis Quintet recording Miles in Europe (Columbia) are examined. These transcriptions are intended to show how both improvisations consistently maintain the repeated thirty-two-bar from of “Autumn Leaves,” but the pitch and metric strategies of the solos frequently create conflicts with the composition’s underlying harmonic progression and meter. Concludes that these are local alterations to the harmonic and metric structure; both Jarrett and Hancock solve a number of the key problems of form and formal redundancy in popular-song from improvisation. 1032. Waters, Keith. 2000. “What Is Modal Jazz?” Jazz Educators Journal 33(1) (July): 53–55. ISSN: 07030-9791. Defines and discusses the term “modal jazz.” Contends that it is useful to sort out the three strands of modal improvisation, modal accompaniment, and modal composition. Provides in-depth examinations of the problems, ambiguities, and inconsistencies in applying the term “modal” to each strand. Argues that in terms of improvisation, soloists do not necessarily limit themselves to the seven pitches of a mode for a given harmony. Concludes with an analysis that many of the defining fundamental characteristics of modal jazz have more to do with composition than improvisation or accompaniment. Also discusses the new harmonic possibility with modal jazz.

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1033. Waters, Keith. 1996. “Blurring the Barline: Metric Displacement Piano Solos of Herbie Hancock.” Annual Review of Jazz Studies 8: 19–37. ISSN: 0731–0641. Examines the metric sophistication and subtlety within the tradition and jazz framework as observed in the piano solos of Herbie Hancock especially during his time as pianist with the Miles Davis Quintet and as a leader during the 1960s. Argues that by using rhythmic displacement and accent, Hancock avoided rhythm clichés. 1034. Watson, Kevin. 2010. “Charting Future Directions for Research in Jazz Pedagogy: Implications of the Literature.” Music Education Research 12(4) (December): 383–393. ISSN: 1461-3808. Examines biographical material in relations to forty influential jazz musicians in order to investigate a possible line between psychopathology and levels of creativity in jazz. Some of the musicians in the study include Miles Davis, Charlie Parker, Chet Baker, Art Pepper, and Stan Getz. 1035. Wegele, Peter. 2013. “Jazz im Film (Jazz in Film).” Kieler Beiträge zur Fimmusikforschung 9: 150–183. German text. ISSN: 1866-4768. Explores the topic of jazz in the movies from several perspectives. Jazz is represented as the subject of movies. Film music by Miles Davis, Duke Ellington, and Charles Mingus are discussed to demonstrate how jazz musicians dealt with the challenge of integrating their music into a non-musical creative process and of adapting to the rules of film. The way in which prominent American composers used jazz idioms to create an original American musical language that severed as a model beginning in the 1950s is explained. 1036. Weidemann, Erik. 1975. “Une Minute Mystique de Jazz: Some Remarks on the Conditions of Collective Improvisation.” Musik & Forsknig 1: 95–106. ISSN: 0903-188X. Defines improvisation as the fundamental working method of jazz and a pre-condition of rhythmic freedom and creativity, and as existential challenge, the form of jazz improvisation is characterized as primarily collective even in solos as long as they are accompanied. Miles Davis’ recording of the “The Man I Love” (1954) is analyzed to explain Davis’ interference during the pause in Thelonious Monk’s piano solo as a possible error, owing to a misunderstanding of Monk’s intentions. These are discussed partly by a comparison with the corresponding Monk solo in a previous “take” of the same piece. 1037. Williams, Kent J., and Keith Waters. 2010. “Modeling Diatonic, Acoustic, Hexatonic, and Octatonic Harmonies and Progressions in Two-and Three-Dimensional Pitch Spaces; or Jazz Harmony After 1960.” Music Theory Online 16(3): 4. Electronic Resource. ISSN: 1067-3040. Provides thorough methods for modeling harmonies and harmonic progression based on diatonic, acoustic, hexatonic, and octatonic collections. Examines these four spaces in relation to jazz harmony, particularly post-1960s jazz composition in

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which harmonic function is suppressed or absent. Discusses the opening progression of Wayne Shorter’s composition “Vonetta” from the Miles Davis Quintet album recording Sorcerer (1967) and ultimately provides a three-dimensional Tonnetz that permits move among ninth chords and showing them as trapezoidal moves in all four spaces. The study uses interactive graphics to illustrate its procedures. 1038. Williams, Richard. 2014. “All That Jazz.” Sight & Sound 24(2): 3. ISSN: 0037-4086. A celebration of Miles Davis’ improvised score for the 1957 film Ascenseur pour l’ Échafaud, noting how the score marked a turning point in the film industry’s relationship with jazz. 1039. Wilson, Fo. 2002. “Looking for Miles Davis: The Search to Articulate an African American Design Aesthetic.” Communication Arts 44(4) (August): 198–207. ISSN: 0010-3519. Integrates Miles Davis’ music/jazz aesthetic with the communication arts. 1040. Wilson, Stephen R. 2003. “Note, Rewarding Creativity: Transformative Use in the Jazz Idiom.” University of Pittsburgh Journal of Technology Law & Policyy 6(1): 19. Argues that Miles Davis may have selected a popular American song, “Love for Sale” (by Cole Porter) so that he may interject European-influenced melodies, harmonies, and rhythms of African American influenced musical elements. Argues that the lyrics of Cole Porter’s song “Love for Sale” were absolutely critical for the message of the song and that the message of Miles Davis’ instrumental version bares little if any resemblance to the original. 1041. Woideck, Carl. 2008. “John Coltrane’s Development of a Tenor Saxophonist, 1950–1954.” Jazz Perspectives 2(2) (November): 166–213. ISSN: 1749-4060. Explores in detail John Coltrane’s recorded improvisational work on the tenor saxophone from 1950 through 1954 before he joined Miles Davis’ group. Serves as a reference source for exploring a comparative examination of the differences and similarities in Coltrane’s improvisational work before and during his collaborations with Miles Davis. 1042. Wong, E. David. 2007. “The Rebirth of Cool: Toward a Science Sublime.” Journal of Aesthetic Education 41(2) (July 1): 67. ISSN: 0021-8510. Employs a theoretical concept of “cool” and asserts its importance in science education. Presents arguments acknowledging that some experiences can be engaging but are superficial and unimportant, that is, the “merely cool.” Other experiences are deeply moving because a growing capacity to perceive meaning and value in the world is felt—that is, the “sublimely cool.” Borrowing from Miles Davis, the author of study states that he is suggesting a “rebirth of the cool” in education, rejecting the crass instrumentalism that justifies educational practice primarily in terms of the quality and “cash value” of student learning. 1043. Wood, Michael. 1999. “Blue in Green.” Antioch Review 57(3) (Summer): 296– 305. ISSN: 0003-5769.

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Discusses the track “Blue in Green” from Miles Davis’ Kind of Blue album. Focuses on the dispute about what songs either Bill Evans or Miles Davis wrote for the album and brings listeners closer to the album. 1044. Wood, Naaman. 2013. “Uncle Toms, Massas, and Symbolic Violence: Miles Davis’ Rhetoric of Moral Reconstitution.” Jazz Perspectives 7(1) (April  1): 57. ISSN: 1749-4060. Extends Albert Murray’s thesis that “performing artists are rhetoricians.” This study attempts to apply a rhetorical approach to the book Miles: The Autobiography. Davis’ rhetoric of moral reconstitution utilizes the classical means of persuasion—ethos, pathos, and logos—within the epideictic or ceremonial genre. Argues that Davis focuses his logos of the Uncle Tom insult where he displays his own and incites others, a pathos of insolence. Furthermore, Davis used these discourses to explain norms, introduce instability in the jazz community, create moral distance from particular figures, elevate himself, and reconstitute the true jazz around his own ethos of detachment. 1045. Woodworth, Griffin. 2013. “Prince, Miles, and Maceo: Horns, Masculinity, and the Anxiety of Influence.” Black Music Research Journal 33(2) (December): 117– 150. ISSN: 0276-3605. Examines the onstage interaction between Prince and Miles Davis in Prince’s Sign o’ the Times stage show in 1987 and his push-pull interaction with Miles Davis which are emblematic of two interrelated tensions in Prince’s career. Also examines the influence of artists such as Miles Davis and Maceo Parker on the music of popular musician Prince. The article suggests that Prince’s songs are marked by a nostalgia for an imagined musical continuity between jazz, rhythm and blues, and popular music that indicates Prince’s refusal to acknowledge the historical divisions between musical genres. Also examines how wind and brass instruments fit into Prince’s music and his decision to give horn a central place in his 1980s and 1990s band that showed the same curious ambivalence as his relationship with Davis. Another area of discussion is Prince’s onstage interaction with Davis that demonstrates the issue of patriarchy. Analytical discussions include horn-heavy song form from Prince’s song “Love Symbol” and his jazz-influenced song, “Rainbow Children.” 1046. Young, James O., and Carl Matheson. 2000. “The Metaphysics of Jazz.” Journal of Aesthetics and Art Criticism 59(2) (April 1): 125. ISSN: 0021-8529. Ponders common perceptions of what constitutes a work of music. Argues that interpretations of a jazz standard by two different musicians can be considered examples of the same type although they do not originate with the same kind of fixed score found in a classical composition. Presents a theoretical metaphysical model proposed by Peter Kivy for classical compositions as a basis for an examination of questions of improvisations and implied standard texts as represented in different versions of “ ’Round Midnight” by Miles Davis and Thelonious Monk. Argues that jazz works can be defined by tacit guidelines for performances rather than written scores.

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1047. Yudkin, Jeremy. 2012. “The Naming of Names: ‘Flamenco Sketches’ or ‘All Blues’? Identifying the Last Two Tracks on Miles Davis’ Classic Album Kind of Blue.” Musical Quarterly 95(1) (March 1): 15–35. ISSN: 0027-4631. A critical study of the release and legacy of Miles Davis’ Kind of Blue album on August 17, 1959, and the public’s reactions and critical reviews. This study discusses the music recording of Kind of Blue arguing that the titles of the album’s songs “Flamenco Sketches” and “All Blues” may have been reversed. The author discusses two books about the album that include Kind of Blue: The Making of the Miles Davis Masterpiece, by Ashley Kahn, and The Making of Kind of Blue: Miles Davis and His Masterpiece by Eric Nisenson. Topics discussed include time signatures of the respective tracks, scales play by various musicians during the recording of the album, and the reprinted liner notes from the LP, along with analysis of revision to them. 1048. Zbikowski, Lawrence. 2004. “Modeling the Groove: Conceptual Structure and Popular Music.” Journal of the Royal Music Association 129(2) (January 1): 272– 297. ISSN: 0269-0403. Defines musical grooving as mostly typically created by a small group of musicians working together, and each contributing parts to the whole. The article sets out to characterize the knowledge behind the concept of “groove” by concentrating on “the groove” as it is practiced in soul, rhythm and blues, jazz fusion, and other popular genres. A major focus is given to cognition knowledge structures called models. It is argued that musicians rely on such structures to produce grooves and that listeners make use of similar structures to understand them. Groove from the music of Miles Davis, Eric Clapton, and James Brown is discussed and conceptual models for each are developed. 1049. Zlabinger, Tom. 2002. “Two Worlds Collide Karlheinz Stockhausen’s Influence on Miles Davis.” Jazz Research Proceedings Yearbook 32: 34–39. No ISSN. OCLC Number: 37709092. An analytical study of Karlheinz Stockhausen’s influence on Miles Davis’ later works. 1050. Zong, Woo Geem, and Jeong-Yoon Choi. 2014. “The Potential of a Music-Inspired Algorithm for Music Document Grouping.” Fontes Artis Musicae 61(3) (July–September): 260–266. ISSN: 0015-6191. Proposes a new algorithm named Harmony Search (HS) which is required by the improvisation performance of music players. The HS algorithm numerically stimulates the music process whereby musicians improvise new harmonies from their experience or from complete randomness and improve them through experience. Sample stimuli for the research study were taken from different styles of music sound files from the works of musicians such as Elton John, Jackson Brown, Led Zeppelin, J. S. Bach, Frederick Chopin, Miles Davis, Claude Debussy, John Coltrane, the Beatles, and the Police.

3 Annotations of Dissertations and Studies

1051. Abildgaard, Arne. 2006. Madame de La Fayette, Miles Davis, Georges Perec: Virtuosité: Lecture de l’Art, Appropriation de la Langue. Oslo, Norway: University of Oslo. Ph.D., dissertation. French text. Electronic Resource. OCLC Number: 702145629. A dissertation that poses several questions about artistic works and meanings. The author poses the questions of why some works of arts continue to rekindle new interests, or whether their tenacity can be explained, not just by their being sublime, but by their virtuosity. Examines the philosophical concept of “rereading.” The author employs three experiences of re-readings: those with Madame de la Fayette, Miles Davis, and George Perec. 1052. Al-Zand, Karim Adam. 2000. Theoretical Observations on Jazz Improvisation: The Solos of Julian “Cannonball” Adderley. Cambridge, MA: Harvard University. Ph.D., dissertation. 315 p. ISBN: 9-780-59977-557-2. Argues that Julian “Cannonball” Adderley’s improvised music is characteristic not only in its directly observable musical elements—melodic, rhythmic, harmonic, structural, and the like—but also because of his underlying improvisational strategies, his modus operandi. Provides a careful consideration of Adderley’s music in particular and addresses the many analytical questions raised by improvised jazz more generally. A  major focus of the dissertation is on Adderley’s works, both those recorded with the Miles Davis Sextet and with his own quintet. The dissertation includes transcriptions and a complete discography. 1053. Anderson, Benjamin Park. 2014. Seeing (For) Miles: Jazz, Race, and Objects of Performance. Williamsburg, VA: The College of William and Mary. Ph.D., dissertation. 237 p. ISBN: 9-781-32153-974-5. 211

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Presents varied topics on Miles Davis through paradigms of jazz, race, politics, fashion, and objectivity of performance. In essence, the dissertation attempts to build on a growing discourse related to the intersection of jazz, race, and visual/ material culture. Explores Davis’ numerous decisions to spend money on expensive things and/or have them custom made and insisting these things be seen by others, and overseeing his image in advertisements—a reminder that famous musicians often find themselves straddling the line between being consumers and objects of consumption. Seeks to comprehend how Davis negotiated this variety of viewpoints as a musician, consumer, and African American via his colored trumpets, tailored suits, sports cars and expensive home, and instrument advertisements. The sections of the dissertation include: “Kind of Green, Black, Red, and Blue: Expressions of Individualism and Race in the Colored Trumpets of Miles Davis”; “Miles Runs the Zoot Suit Down: Jazz, Race, and the Politics of High Fashion During the Civil Rights Movement”; “Those Funny Things That Only a Ferrari Can Do”; “Miles Davis, Race, and the Issue of Mobility”; “Interesting Places”; “Interesting Men: Jazz, Race, and Home Space”; “Miles and Martin: Jazz, Instrument Ads, and Identity”; and “Seeing (for) Miles.” 1054. Angelos, Blake Jason. 1992. Concepts and Styles in the Music of Miles Davis and John Coltrane From the Years 1958–1967. Tempe, AZ: Arizona State University. M.M., thesis. 139 p. Music Examples. OCLC Number: 26705036. A historical, critical, and interpretative study that examines details of several aspects of the styles, ideas, and concepts surrounding the music, performances, collaborations, and techniques of Miles Davis and John Coltrane. 1055. Bair, Jeffery Jay. 2003. Cyclic Patterns in John Coltrane’s Melodic Vocabulary as Influenced by Nicolas Slonimsky’s “Thesaurus of Scales and Melodic Patterns”: An Analysis of Selected Improvisations. Denton, TX: University of North Texas. D.M.A., dissertation, 124 p. OCLC Number: 64574251. Documents and analyzes cyclic patterns used in the melodic vocabulary in John Coltrane’s improvisations from compositions of 1965 to 1967. The analysis is divided into two distinct sections. The first section provides an analysis of melodic vocabulary that is derived from the cycle of descending major thirds progressions found in the compositions of 1959 to 1960. The second section presents analysis of melodic vocabulary that is revived from Nicolas Slonimsky’s Thesaurus of Scales and Melodic Patterns using the theoretical terminology incorporated in the treatise. The scholarly works of Carl Woideck, Lewis Porter, David Demsey, and Walt Weiskopf are included. Also, the citation of interviews with musicians and commentaries by writers of the time period on the influence of Thelonious Monk, Miles Davis, and Ornette Coleman are included and discussed in the chapter titled, “Thelonious Monk, Miles Davis, and Ornette Coleman: Converging Influences”. 1056. Bievre, Guy De. 2012. Open, Mobile and Indeterminate Forms. Uxbridge: Brunel University. Ph.D., dissertation. Electronic Resource. OCLC Number: 806196921.

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Examines that since the early 1950s an “open form” has become a generic description for many different compositional concepts having in common musical outcomes which to a certain degree are indeterminate. The author investigates different meanings given to “form” in music and gives a historical survey of the origins of compositional indeterminacy. The concept of “open form” is elaborated into a territory which is usually not associated with it: jazz. The author includes several case studies that include Folio (1952–1954) by Earle Brown which is considered to contain the first internationally “open form” works. Next, Miles Davis’ Ife (1972) is investigated and is a recognizable composition throughout its various incarnations, and is repeatable and its outcome is indeterminate. Other works examined in the dissertation include Adam Rudolph’s Ostinatos of Circularity, and Peter Zummo’s Experimenting With Household Chemicals. 1057. Blancq, Charles. 1977. Melodic Improvisation in American Jazz: The Style of Theodore “Sonny” Rollins, 1951–1952. New Orleans: Tulane University. Ph.D., dissertation. 270 p. OCLC Number: 3661052. A biography and musicological study including solo transcription and a scholarly discussion of harmonic, melodic rhythmic and scalar devices. The biographical overview covers Rollins’ life and associations with numerous jazz music legends. Included are selected discussions of the improvisational styles of Louis Armstrong, Miles Davis, Coleman Hawkins, and Charlie Parker. Includes transcriptions of performances by Coleman Hawkins, Miles Davis, and Sonny Rollins. 1058. Bouffard, Peter Paul. 2004. Foundations for a New Mode of Expression in Modern Jazz: Miles Davis’ Kind of Blue and Modal Jazz. Boston, MA: New England Conservatory of Music D.M.A., dissertation. 137 p. ISBN: 9-780-49608-346-6. Examines and determines factors and influences that laid the foundation for the modal expression of Miles Davis’ 1959 recording Kind of Blue. Argues that while an analysis of “So What” and “Flamenco Sketches” verifies that these pieces may be appropriately used as a point of reference for discussions concerning modal jazz, it is clear that Miles Davis did not invent modal jazz. Instead he was exposed to modal concepts through his interactions with key individuals which served to help the new musical approach develop. Provides a brief analytical discussion of Davis’ contrasting antecedent bebop style and emphasizes the innovative features of his new mode of expression. The dissertation reveals that Davis’ modal tendencies are related to and in some respects founded upon the distinctive modal quality found in the Flamenco melos, certain musics of Russia and its surrounding Eastern regions, and in the blues which all share a number of similar modal characteristics. The dissertation also seeks to establish clear foundational modal jazz precedents in work by classical composers specifically cited by Davis in addition to jazz works recorded prior to Kind of Blue which are analytically examined and shown to include significant modal features similar to those defined in the analysis of “So What” and “Flamenco Sketches.”

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1059. Bowen, Robert Eric. 2001. Function and Meaning in Reprise. Princeton, NJ: Princeton University. Ph.D., dissertation. 286 p. ISBN: 9-780-49333-054-9. Examines, within the jazz tradition, reprise form (AXA) that is not merely commonplace but ubiquitous, a “head-solo-head” performance protocol that has endured decades of radical stylistic change. This broad acceptance has its roots in the practical considerations of improvised performance. The dissertation argues that those indoctrinated in the jazz tradition embrace reprise largely out of habit, a condition that the author dubs as “reprise reflex.” Further argues that when those of the jazz world branch out from improvisational structures to compositional ones the reflex often goes with them. With these arguments, the author attempts to uncover the function and meaning of reprise. The dissertation includes three case studies. Chapter one centers on the 1969 Miles Davis album In a Silent Way, an early fusion release containing two tape concatenations, “Shhh/Peaceful” and “In a Silent Way/It’s About That Time.” The second chapter investigates Gigues, a rare instance of reprise from in the mature orchestral repertoire of Debussy. The third chapter culminates in a close reading of “Prime Directive” as recorded by the Dave Holland Quintet. 1060. Byrne, Edmond F. 1998. The Influence of Claude Debussy’s and Maurice Ravel’s Music on Jazz, as Seen in the Compositions of Bix Beiderbecke, Bill Evans, and Miles Davis. Boston, MA: New England Conservatory of Music. D.M.A., dissertation. 96 p. OCLC Number: 41092172. Examines the influences of Western classical music, particularly Impressionism, and the styles, timbres, and textures as found in the works of Claude Debussy and Maurice Ravel. Several compositions of trumpeters Bix Beiderbecke, Miles Davis, and pianist and composer Bill Evans are examined and discussed. 1061. Carlson, William Ralph. 1981. A Procedure for Teaching Jazz Improvisations Based on an Analysis of the Performance Practice of Three Major Jazz Trumpet Players—Louis Armstrong, Dizzy Gillespie, and Miles Davis. Bloomington, IN: Indiana University. Doctor of Music Education, dissertation. 212 p. OCLC Number: 10000810. An analysis of performance practices of jazz trumpeters Louis Armstrong, Dizzy Gillespie, and Miles Davis, this dissertation proposes a method of study containing the following components: (1) melodic materials derived from recorded performances by significant jazz musicians; (2) elements of ear training techniques; (3) the use of a so-called regional concept introducing melodic materials within certain intervallic boundaries which are gradually expanded throughout the lesson sequence; (4) use of a cassette tape containing selected improvised solos; and (5) grids containing the exact location of melodic patterns introduced in each lesson. 1062. Castle, Patrick Douglas. 1981. Aspects of Style in the Repertory of the Claude Thornhill Orchestra 1940–1948. Urbana-Champaign, IL: University of Illinois. D.M.A., dissertation. 113 p. OCLC Number: 10000825.

Annotations of Dissertations and Studies215

Examines the contributions of bandleader Claude Thornhill during the periods of 1940–1942 and 1948–1949 who performed arrangements of popular songs which were significantly different from other dance bands of the period. The dissertation examines motivic material, instrumentation, and elements of bebop stylistic determinants. Also examines how Thornhill in 1946 reorganized his band and Gil Evans, an arranger who had been active in the 1940–1942 ensemble, made an addition to the Thornhill stylistic materials in the form of bebop motivic material scored for the full ensemble. Importantly also during this period some leading jazz soloists were with the Thornhill band such as Gerry Mulligan, Lee Konitz, and Red Rodney. The dissertation also examines the late 1940s “Birth of the Cool” band of Miles Davis which was an attempt to emulate the Thornhill band but with a smaller ensemble and a greater emphasis on jazz solo performance. 1063. Coggiola, John C. 1997. The Effect of Conceptual Advancement in Jazz Music Selections and Jazz Experience on Musicians’ Affective Response. Tallahassee, FL: Florida State University. Ph.D., dissertation. 257 p. ISBN: 9-780-59150-726-3. A study that investigates empirically what musicians consider to be their aesthetic experience to jazz music selections having varied levels of melodic complexity. Data were compiled as subjects of jazz musicians and non-jazz musicians manipulated the dial of a Continuous Response Digital Interface to indicate the magnitude of their response as they listened to four taped selections. Written responses were also collected following each session via a questionnaire. The for musical stimuli were “St. Louis Blues” (Nat King Cole), “Slats” (Count Basie and His Orchestra), “St. Louis Blues” (Ella Fitzgerald), and “Dr. Jekyll” (Miles Davis). The study revealed that the jazz musicians evidenced a higher level of aesthetic interest when compared to their non-jazz counterparts for the Miles Davis selection. Also, a qualitative analysis of group graphs indicated that this same selection (Miles Davis) was rated higher by the jazz musicians. 1064. Cole, Bill. 1970. Miles Davis a Musical Biography. Pittsburgh, PA: University of Pittsburgh. Ph.D., dissertation. 256 p. OCLC Number: 61170017. One of the earliest dissertations that focuses on Miles Davis. Provides a thorough biography, analysis, and discussions of the life, career, trends, and music of Miles Davis. 1065. Coleman, Kwami. 2014. The “Second Quintet”: Miles Davis, the Jazz Avant-Garde, and Change, 1959–68. Stanford, CA: Stanford University. Ph.D., dissertation. Electronic Resource. OCLC Number: 890854911. Examines stylistic changes in Miles Davis’ work after his successful recording of Kind of Blue. In 1963 four years after the recording of Kind of Blue Davis began to assemble a new ensemble to record and tour. Much had changed during those four years. For example, Ornette Coleman’s 1959 premiere at the Five Spot Café in Manhattan’s East Village introduced audiences to a free improvised “new thing” in jazz and marked an emergence of avant-garde. Other examples include Cecil

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Taylor, Archie Shepp, and others as insurrectionists who were intent on shattering the jazz tradition. Also, Miles Davis’ “Second Quintet” gradually became more “free.” This dissertation offers an explanation of stylistic changes via the experimentalism of the so-called jazz avant-gardists and traces how “free” (e.g., timbral, chromatic, polymetric, and free meter) improvisation proliferated in their live and studio recordings up to 1968. The author suggests that the increasing abstraction and volatility of the Quintet’s music can best be understood in the context of the jazz avant-garde and the tumultuous social and structural changes of the 1960s. 1066. Coolman, Todd. 1997. The Miles Davis Quintet of the Mid-1960s: Synthesis of Improvisational and Compositional Elements. New York: New York University. Ph.D., dissertation. 210 p. OCLC Number: 39267802. Provides reasons why the Miles Davis Quintet of the mid-1960s is considered one of the greatest combos in the history of jazz. The author assesses the question from two view perspectives. First, the author interviewed the four surviving members of the group to gain their perspectives and to develop an historical context of the group. Second, the author provides thorough analysis of selected recordings of “Agitation,” “Masqualero,” and “Stella by Starlight” to determine how compositional and improvisational elements were synthesized in both studio and live performances. The analysis also explores the uses and functions of form, modality, rhythm, tonality, and ensemble interaction. 1067. Crawley, Ricky Alonzo. 2001. Julian “Cannonball” Adderley: Selected Highlights of His Life and Music. Tallahassee, FL: Florida State University. Ph.D., dissertation. 219 p. ISBN: 9-780-49340-548-3. Features selected highlights in the life of jazz saxophonist Julian “Cannonball” Adderley. The several sections of the dissertation describe the early years, an overview of Adderley’s family, and his first twenty-six years of his life. Also, other topics addressed include his recruitment with Miles Davis, starting his own quintet, and transcription of fifty selected solos as performed by Adderley. 1068. Creighton, Randall J. 2009. A Man of Two Worlds: Classical and Jazz Influences in Nikolai Kapustin’s Twenty-Four Preludes, Op. 53. Tucson, AZ: University of Arizona. D.M.A., dissertation. 281 p. ISBN: 9-781-10953-496-2. Focuses on Nikolai Kapustin who was born in 1937 and has been a composer since the late 1950s, but only became relatively well known in the West since approximately 2000. Although Kapustin spent most of his life in Russia, he was strongly influenced by American jazz and his compositional style has consistently been a combination of the formal elements of classical music and the stylistic elements of jazz. Kapustin has blended classical form and jazz style with influences from Russian composers such as Sergei Rachmaninoff and Alexander Scriabin as well as Art Tatum, Oscar Peterson, and Chick Corea. The dissertation examines the “Twenty-Four Preludes, Op. 28” published in 1988 that are highly influenced by the classical music of Frédéric Chopin, Scriabin, and Rachmaninoff. The

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preludes are also influenced by jazz as Kapustin takes quartal, pentatonic, and diminished harmony, along with highly chromatic two-voiced textures similar to those used by jazz artists from the 1960s onward, particularly for Miles Davis’ works. 1069. Cugny, Laurent. 2001. L’Analyse de L’œuvre de Jazz: Specificités Théoriques et Méthodologiques. Paris, France: Université Paris-Sorbonne IV. Ph.D., dissertation (Thèse de Doctorat: Musicologie). 700 p. French text. OCLC Number: 491683758. A critical, historical, and interpretative study that examines jazz theories and methodologies from several different standpoints employing an analysis of works by Miles Davis and others. 1070. Dericq, Lilian. 1999. Impact et Expansion des Techniques Musicales dans le Jazz Autour des Années Soixante. Paris, France: Musique: Université de Paris. Ph.D., dissertation, (Thèse de Doctorat). 463 p. French text. OCLC Number: 490505142. Poses several theoretical questions: How do we analyze jazz? What are the theoretical problems posed by this exercise? It is necessary to propose specific methods, or do we need what has been elaborated by the analysis of published music scholarship or ethnomusicological research? With these questions the dissertation attempts to define what is the work of jazz and the nature of the production process. The dissertation presents arguments that the important moment for jazz is the performance and the work exists for analysis when it has been recorded. With this, the author examines both compositions and arrangements by examining transcriptions and problems proposed by parameters: harmony, rhythm, form, sound, and melody. Studies by French and American scholars are discussed and seven analyses of works by Gil Evans, Bill Evans, Miles Davis, and others are discussed. 1071. Duport, Laurent. 1990. Les Maisons Jaoul. Le Corbusier/’Round Midnight: Miles Davis Quintet. Paris-Belleville, France: Ecole d’Architecture de Paris-Belleville. Ph.D., dissertation: (Memoire de Diploma). 140 p. French text. Illustrations, Music Examples, Architectural Plans, and Portraits. OCLC Number: 174566419. An interdisciplinary study of architecture and music. The focus of the dissertation combines an examination of Le Corbusier, 1887–1965, the Miles Davis Quintet recording of “ ’Round About Midnight,” and the Maison Jaoul (Neuillysur-Seine, France). 1072. Dvinge, Anne Christine. 2007. Between History and Hearsay: Imagining Jazz at the Turn of the 21st Century. Københavns, Denmark: Kobenhavns Universitet, Institut for Engelsk, Germansk og Romansk. Ph.D., dissertation. xi, 252 p. OCLC Number: 476006604. Examines how jazz over the last twenty years has experienced a significant shift in its cultural position within the United States. Argues that jazz has increasingly defined the boundaries and meanings of jazz as a United States art form. In the dissertation, United States’ representations of jazz from 1982 to 2000 are

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discussed. Argues that jazz tradition is being consciously imagined at the center of United States culture through discourses of canon, metaphor, and myth, often resulting in definitions that invariably preclude dialogue as well as simplify the complexities and heterogeneity of the music. The dissertation includes examinations of interviews and samples for Down Beat magazine. Also, jazz biographies and autobiographies help to uncover the interplay between personal and the collective with Miles Davis as the central figure of inquiry. 1073. Dyas, J. B. 2006. A Description, Comparison, and Interpretation of Two Exemplary Performing Arts High School Jazz Programs. Bloomington, IN: Indiana University. Ph.D., dissertation. 342 p. OCLC Number: 234238638. Explores two exemplary magnet performing arts high school jazz programs, compares and contrasts them, and reports the findings in an effort to contribute to the knowledge base for the planning and execution of jazz curricula in this type of school and beyond. The focus on the dissertation is on curricula, course content, ensemble repertoire, and instructional methodologies, as well as gaining insight into the jazz directors ad students. The two case studies were High School for the Performing and Visual Arts (HSPVA) in Houston and Booker T. Washington High School for the Performing Arts (BTW) in Dallas. The findings were that most of the students began playing music young (age four to twelve) and subsequently came to jazz by being inspired by a jazz musician (whether professional or student) and listened to jazz and to many of the same players such as Miles Davis, Herbie Hancock, John Coltrane, and Keith Jarrett. 1074. Egan, Raymond. 1996. Music for Ritual: A Philosophy for the Practice of Church Music at the End of the Twentieth Century (With Original Writing and Composition). Los Angeles, CA: University of Southern California. D.M.A., dissertation. 71 p. OCLC Number: 37921899. A two-part project consisting of a paper, an original poem, and two original musical compositions. The paper argues and documents that the church musicians need to compose their own music, they need to be fluent in a larger number of musical vocabularies, and their work needs to be informed by a spiritual component. Includes music composition “Miles Beyond” for chorus and piano, dedicated to the memory of Miles Davis. 1075. Fellezs, Kevin. 2004. Between Rock and a Jazz Place: Intercultural Interchange in Fusion Musicking. Santa Cruz, CA: University of California. Ph.D., dissertation. vi, 429 p. OCLC Number: 62366660. Focuses on the musicking of fusion (e.g., jazz-rock/jazz/funk) artists as a way of thinking about intercultural exchange and emphasizing how these musicians’ creative work output engaged struggles over cultural identity, marking themselves as both internal as well as external to normative designations of cultural and ethnic membership. In the dissertation the author uses the term “fusioning” to keep mindful of the incomplete nature of these mergings and focuses on musicking as fusion. In addition, the author uses the concept of fusion aesthetics

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to articulate an agenda counter to normalized market considerations expressed in the way that Miles Davis, John McLaughlin, Joni Mitchell, and Herbie Hancock manipulate the discursive structuration of genre, race, and gender. 1076. Fern, Jr., James Lloyd. 1995. The Effectiveness of a Computer-Based Courseware Program for Teaching Jazz Improvisation. Los Angeles, CA: University of Southern California. D.M.A., dissertation. xi, 61 p. Illustrations. OCLC Number: 36788323. A study that determines the effectiveness of an interactive computer program for instruction in jazz improvisation in terms of the user’s ability to gain a basic improvisational skill and to develop attitudes about using a computer-based jazz improvisation program. The author developed the interactive jazz improvisation program—The Masters Series: Miles Davis—combining aural and theoretical elements of jazz improvisation instruction into a comprehensive, interactive computer program. The research employed CD-ROM and MIDI technologies and focused on three distinct curricular areas: transcription with guide, transcription without guide, and individual practice. Each area addressed a specific need of the improvisation student. Participants in the study were college student volunteers with varied amounts of improvisation experience. 1077. Fine, Richard Samuel. 2010. The Birth of Jeru: Gerry Mulligan’s Early Composing/ Arranging Career (1945–1953). College Park, MD: University of Maryland. Ph.D., dissertation. 352 p. ISBN: 9-781-12448-458-7. Focuses on Gerry Mulligan (1927–1996), one of the most celebrated baritone saxophonists in jazz history. Mulligan performed with such jazz musicians as Chet Baker, Dave Brubeck, Miles Davis, Duke Ellington, Dizzy Gillespie, Thelonious Monk, and Ben Webster. The dissertation examines the history of Mulligan’s composing/arranging career beginning with his earliest professional writing projects as a teenager (ca. 1945) and ending with the dissolution of his first pianoless quartet with Chet Baker (1953). Also examines that in 1995 Mulligan recorded his oral history through a series of interviews. He addresses such topics as his childhood; associations with Gil Evans, Miles Davis, Charlie Parker, Thelonious Monk, and Genre Krupa; his pianoless quartet with Chet Baker; ideas about counterpoint; and drug addiction. 1078. Foucault, François-Marie. 2003. L’Influence de Prince sur la dernière Évolution Stylistique Inachevée de Miles Davis (1986–1991). Paris, France: Université de-Paris-Sorbonne. Ph.D., dissertation. 198 p. French text. OCLC Number: 495265515. Provides an analysis between the collaborations of the musician Prince and Miles Davis. Prince and Miles Davis interacted in Prince’s Sign o’ the Times stage show in 1987 and this interaction was emblematic in both Prince’s and Davis’ career in terms of musical continuity between jazz, rhythm and blues, and popular music. 1079. Gelb, Gregg. 2008. 1959 Jazz: A  Historical Study and Analysis of Jazz and Its Artists and Recordings in 1959. Greensboro, NC: University of North Carolina. D.M.A., dissertation. 80 p. ISBN: 9-780-54992-573-6.

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A study that provides an overview of jazz produced and recorded in 1959. The author argues that there has been a marked decrease in the jazz industry and in stylistic evolution since 1959, which emphasizes 1959’s importance in jazz history. Moreover, many jazz listeners have always thought that modal style from the famous 1959 Miles Davis recording, Kind of Blue, dominated the late 1950s. But a few of the other significant and stylistically diverse recordings from 1959 were John Coltrane’s Giant Steps, Ornette Coleman’s The Shape of Jazz to Come, and Dave Brubeck’s Time Out, which included the very well-known jazz standard “Take Five.” This study identifies over 500 jazz recordings of the 1959 to explain the high level of creativity and innovation during that pivotal year. 1080. Giarratano, Natalie A. 2012. Low-Water Mark. Kalamazoo, MI: Western Michigan University. Ph.D., dissertation. 64 p. ISBN: 9-781-26758-179-2. Comprised of works of poetry that exhibit a voice that is affected by and obsessed with making sense of some of the atrocities of American word cultures. Poems from the dissertation are influenced by several writers and musicians including C. D. Wright, Yusef Komunyakka, Lynda Hull, Derek Walcott, Virginia Woolf, Miles Davis, and the many musicians and composers who were retained by Nazis at Terezin, Czech Republic, during World War II. 1081. Graham, Alexander Hale. 2009. The Living Framework: Miles Davis and the Evolution of the American Song. Rochester, NY: University of Rochester. Ph.D., dissertation. v, 113 p. Music Examples, and Illustrations. OCLC Number: 435643862. A critical and interpretative study that examine Miles Davis’ role in the popularization of America song form in jazz and twentieth-century popular music. Explores how Davis set artistic and music standards in his performances and works. 1082. Hellhund, Herbert. 1984. Cool Jazz: Grundzüge seiner Entstehung und Entwicklung. Mainz, Germany: Musikwissenschaft from Justus-Liebig Universität, Gießen. Ph.D., dissertation. 302 p. ISBN: 3-795-71790-6. Focuses on the development of cool jazz from its beginnings in the late 1940s to the shaping of the essential styles of groups and individuals which was completed in 1953–1954. The dissertation examines the styles of New York groups such as the Lennie Tristano and Miles Davis/Gil Evans circles, and the West Coast styles of Gerry Mulligan, Chet Baker, Dave Brubeck are analyzed, as well as particular positions such as those of the Modern Jazz Quartet and Stan Getz. 1083. Iglesias, Iglesias, Ivan. 2010. Improvisando la Modernidad: El Jazz y la España de Franco de la Guerra Civil a la Geurra Frís (1936–1968) (Improvising Modernity: Jazz and Franco’s Spain From the Spanish Civil War to the Cold War (1936–1968)). Valladolid, Spain: Universidad de Valladolid. D. Mus., dissertation. 508 p. ISBN: 9-781-12456-976-5. Examines how the histories of jazz in Spain have presented it as a unitary and independent genre, continuously opposite to the unreason of both sides of the

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Civil War, first, to the ignorance of Franco’s dictatorship. The dissertation analyzes the links between jazz and Franco’s Spain from 1936 to 1968. Part of the research involved using evidence from Spanish, German, and American periodicals and archives, sound recordings, scores, interviews, and photographs. Part of the research also involved investigation of avant-garde musicians such as Charles Mingus, Gil Evans, Miles Davis, and John Coltrane. 1084. Irgens-Møller, Christer. 1977. Miles Davis, 1969–1974: en indføring i periodens forudsætinger og gennemgående elementer med særling vægt pa Miles Davis solospil. Denmark: Speciale, Musikvidenskabeligt Institut, Københavns Universitet. Dissertation. 2 vols. Danish text. Music Examples. OCLC Number: 476065535. A study that examines the influences of Miles Davis in jazz fusion, style, music, and innovation. 1085. Kenagy, Peter Ellis. 2009. George Russell’s Jazz Workshop: The Composer’s Style and Original Methods of 1956. Urbana-Champaign, IL: University of Illinois. D.M.A., dissertation. 200 p. ISBN: 9-781-10974-841-3. A study of George Russell (1923–2009) who is remembered as a pioneering jazz theorist, but his life in music integrated an enormous activity alongside theory, including performing on drums and piano, composing, leading a sextet and jazz orchestra, and teaching. This contributes to the knowledge of George Russell’s musical compositions and illustrates the creative methods of his 1956 work for a small jazz ensemble. In research, Russell’s compositions have been given little attention but more attention has been given to Russell’s work The Lydian Chromatic Concept of Tonal Organization for Improvisation (1953, 1959, 1964, and 2001), recognized as the first theory of tonality to come from within jazz. The author’s review of the literature finds that studies on Russell have tended to focus not on his music but on his contribution to modal jazz theory and culture often represented by Miles Davis, Bill Evans, John Coltrane, and their followers in the sixties and as a figure within a movement of African American avant-gardism. Through documentation and analysis of Russell’s musical materials and methods this dissertation enhances the few studies attempting to view Russell’s compositional voice in the context of his wide impact. 1086. Kernfeld, Barry Dean. 1981. Adderley, Coltrane, and Davis at the Twilight of Bebop: The Search for Melodic Coherence (1958–59). Ithaca, NY: Cornell University. Ph.D., dissertation. 2 vols. in 1. xiii, 323 p. OCLC Number: 9691787. Provides an analysis of the 1958–1959 solos of Julian “Cannonball” Adderley, Miles Davis, and John Coltrane while performing in the Miles Davis Sextet. The author presents arguments that “two” Coltranes competed artistically throughout the 1950s. Furthermore, Adderley displayed several improvisational techniques, and Miles Davis used “paraphrasing” (a definition provided by jazz scholar André Hodeir) on the four analyzed compositions included in the dissertation. The author focuses on four blues in “F,” “Dr. Jekyll,” “Straight No Chaser,” “Jazz

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at the Plaza,” and specifically motivic improvisation on “So What,” “Flamenco Sketches,” “All Blues,” and “Milestones.” 1087. Kerschbaumer, Franz. 1976. Miles Davis: Stilkritische Untersuchungen zur Musikalischen Entwicklung seines Personalstils (Miles Davis: Style-Analytical Studies of Musical Deveopment of His Personal Style). Graz, Austria: University of Graz. Ph.D., dissertation. 240 p. German text. OCLC Number: 610898028. A critical and interpretative study of Miles Davis and his musical style, 1945– 1968. Incorporating a musicological approach, the author examines five style periods that include bebop, cool, mainstream (East Coast), hard bop, and modal style. The author provides a historical summary of the style, music of Davis during the period, and musical analysis of performances. 1088. Klotz, Kelsey A. K. 2016. Racial Ideologies in 1950s Cool Jazz. St. Louis, MO: Washington University. Ph.D., dissertation. xii, 408 p. OCLC Number: 954756476. Examines music, race, and jazz. Sections of the dissertation include “Introduction: Cool Jazz: So What?”; “The Construction of Whiteness in Cool Jazz Narratives”; “Race, Authenticity, and the Reception in the Modern Jazz Quartet and Dave Brubeck Quartet”; “White Places: Race, Class, and Modes of Listening”; “At the Nadir of Sociability: Miles Davis, the Critics’ Enigma”; “The Blues Don’t Come From Pickin’ Cotton: Miles Davis’ Intellectual Discourse”; and “Conclusion: Closely to Lived Experiences.” 1089. Kukkonen, Jarno. 2009. Early Jazz-Rock: The Music of Miles Davis, 1967–72. Helsinki, Finland: Sibelius Akademy Jazz Department. Dissertation. 103 p. English text. ISBN: 9-789-52553-159-6. OCLC Number: 643992239. A study that focuses on Miles Davis’ jazz-rock fusion style. 1090. Lajoie, Steve. 1999. An Analysis of Selected 1957 to 1962 Gil Evans Works Recorded by Miles Davis. New York: New York University. Ph. D., dissertation. 523 p. ISBN: 9-780-59916-083-5. Contains a detailed history of the large-ensemble collaborations of Gil Evans and Miles Davis, providing transcriptions and analysis of four of their works: “Blues for Pablo,” “New Rhumba,” “Bess, You Is My Woman Now,” and “Will o’ the Wisp” and brief analysis of the thirty-two pieces they recorded. The author provides discussions of the concepts of composition, re-composition, and arrangement as they apply to Evans-Davis collaborations. The scope of this discussion is encompassed within twentieth-century copyright laws that affect the definition of the word “composer.” The author’s main thesis is that many of the Evans-Davis collaborations fall under the category of compositions and re-compositions although they are credited most frequently as arrangements. The author analyzes Evans’ writings to illustrate his unique usage of sound, harmony, melody, counterpoint, rhythm, and growth in large, middle, and small dimensions using a method adapted from the Style-Analytical Method of LaRue (1970/1992) and the Eclectic Method of Ferrara (1991). The sound portion of each analysis includes

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computer-generated amplitude graphs that demonstrate dynamic shape in large and small dimensions. Also, each work is analyzed descriptively as sound-tie and as a reflection of its onto-historical work. A conductor’s performance guide is included as part of each analysis. 1091. Laroussaire, Jean-François. 1998. Weather Report, un Expérience Originale dans l’Evolution de la Musique de Jazz. Paris, France: Université de-Paris-Sorbonne; UFR de Musîque et Musicologie. Dissertation. French text. 136 p. Illustrations. OCLC Number: 690402239. A study that explores the origins, influences, and styles of jazz-rock fusion by the group known as Weather Report organized by Wayne Shorter and Joe Zawinul, who both were members of Miles Davis ensembles. 1092. Lempert, Benjamin Richard. 2012. Up in the Sound: Form and Voice in Jazz and Post-War American Poetry. Berkeley, CA: University of California. Ph.D., dissertation. 171 p. ISBN: 9-781-32163-139-5. A study based on redrawing the conceptual lines of American postwar poetry and music. Argues that the postwar American and African American poets who engaged with jazz most profoundly were those who heard the music not simply as a set of sounds, but instead as an ongoing argument about the nature of aesthetic from. The chapters are divided into two sections which pair music and poetry to outline a larger historical or theoretical argument. Particularly in the second section the music of Miles Davis’ mid-1960s band is the author’s major focus: of a powerful but overlooked model of (African) American avant-garde performance. The author argues that Davis’ key aesthetic move is to play sensuous presence against intellectual reception and oversaturating notes and rhythms with potential meaning such that pinning any of them down in a single implication becomes constitutively impossible. 1093. Mahadjer-Kangarlou, Ingo. 1994. Bitches Brew die Benutzung Elektoakustischer instrumente und der Damit Verbundene Stilwandel in der Musik von Miles Davis Gegen Ende der 60er Jahre. Hamburg, Germany: Hochschule für Musik und Theater. Dissertation. 105 p. German text. OCLC Number: 935501930. A critical and interpretative study of Miles Davis’ work Bitches Brew and electronic innovation. 1094. McRae, Chris. 2011. Hearing Miles Davis: A Pedagogy of Autobiographical Performance and Jazz. Carbondale, IL: Southern Illinois University, Department of Speech Communication. Ph.D., dissertation. vi, 258 p. ISBN: 9-781-12471-954-2. Argues for a relational ethic of listening that emphasizes the pedagogical role of the listener as a student in dialogically hearing, producing, and responding to the other. This ethic of listening aids to hear possibilities among differences of the other as they are produced relationally among macrostructures and micro-practices. Argues that listening to jazz and the music of Miles Davis provides an approach to hearing possibilities as they are enabled and constrained by larger

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macrostructures and specific micro-practices. Thus, listening to autobiography and location can enable a critical and ethical understanding of the ways history, context, and power play on the bodies in jazz autobiography, location, and autobiographical performance. 1095. Meehan, Norman. 2014. Creativity in Jazz. Wellington, New Zealand: Victoria University of Wellington. Ph.D., dissertation. 279 p. Music Examples. OCLC Number: 899244899. A dissertation that focuses on the works and creativity of Miles Davis, Ornette Coleman, and Duke Ellington. 1096. Meili, Jürg Martin. 2011. Kunst als Brūcke zwischen den Kulturen: Afro-Amerikanische Musik im Licht der Schwarzen Burgerrechtsbewegung (Art as Bridge Between Cultures: African-American Music in the Light of the Civil Rights Movement). Zurich, Switzerland: Universität Zurich. Ph.D., dissertation. 320 p. ISBN: 9-783-83761-732-0. A study based on the premise that globalization and migration can lead to intercultural tensions. The dissertation poses two questions: Is art in a position to build bridges between cultures? And if so, in what way? With these questions the substance and effect of art are examined with respect to its sociopolitical influence. Examines texts by civil rights leaders such as Martin Luther King, Jr., and Malcolm X, as well as musicians such as Miles Davis, Chuck Berry, and Tupac Shakur; philosophers such as John Dewey and Richard Rorty are explored from the perspectives of various disciplines (philosophy, sociology, history, and English/African American studies). 1097. Moorman, Dennis Lee. 1984. An Analytical Study of Jazz Improvisation With Suggestions for Performance (Theory). New York: New York University. Ph.D. dissertation. 192 p. OCLC Number: 12564466. Analyzes selected jazz improvisation compositions in order to make specific recommendations for improvised performance. Part of the research involved an analysis of twenty-five selected jazz improvisations. The list of jazz improvisers whose music was analyzed includes Louis Armstrong, Coleman Hawkins, Bix Beiderbecke, Thelonious Monk, Clifford Brown, Fats Navarro, Donald Byrd, Charlie Parker, John Coltrane, Oscar Peterson, Miles Davis, Bud Powell, Kenny Dorham, Woody Shaw, Dizzy Gillespie, Teddy Wilson, Dexter Gordon, and Lester Young. 1098. Mortensen, Tore. 1977. Miles Davis-Den nye Jazz [Udviklingen i Miles Davis’ musik i perioden 1969–1975]. Aarhus, Denmark: Hovedfagsspeciale i musik, Aarhus Universitet. Dissertation: vi, 155 p. Danish text. OCLC Number: 874552098. A critical study of Miles Davis’ music during the period 1969–1975. 1099. Mueller, Darren. 2015. At the Vanguard of Vinyl: A  Cultural History of the Long-Playing Record in Jazz. Durham, NC: Duke University. Ph.D., dissertation. 314 p. ISBN: 9-781-32169-659-2.

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Uses the recordings of Miles Davis, Duke Ellington, Dizzy Gillespie, and Julian “Cannonball” Adderley to outline the diverse approaches to record making that characterized the transitional years as the LP became the standard recording format. The dissertation demonstrates how jazz practices and musical “mistakes” caught on record-production process, such as tape edits, microphone placement, overdubbing, and other sound processing effects, connect such choices to the visual and tactile attributes of these discs. Argues that the history of jazz in the 1950s is one of social engagement by means of and through technology. 1100. Musser, Paul Thomas. 2005. Me, Myself, and Mingus. Urbana-Champaign, IL: University of Illinois. D.M.A., dissertation. 76 p. ISBN: 9-780-54244-746-4. Examines and compares aspects of arrangement, form, and freedom as an element of formal expansion in the quartet, quintet, and sextet works of Charles Mingus and Paul Thomas Musser. The first section of the dissertation focuses on selected works by Charles Mingus: blues work such as “Work Song,” “Haitian Fight Song,” and “Boogie Stop Shuffle,” in order to present some of the idiomatic features of Mingus’ small group writing, including the use of imitative counterpoint, contrasting rhythmic feels, collective improvisation, and bass ostinato devices, as well as the general emancipation of the instruments within the jazz combo from their traditional roles. The second section of the dissertation consists of an analysis of Paul Thomas Musser’s arrangements and works for quartet (“Red Tango”) and sextet (“10–500 B.C.” and “Nardis”). Connections to Mingus’ compositional approach as it relates to texture and formal construction are demonstrated as well as the presence of additional musical influences such as Persian and Indian classical music and the early fusion works of Miles Davis. 1101. Pejrolo, Andrea. 2001. The Origins of Modal Jazz in the Music of Miles Davis: A  Complete Transcription and a Linear/Harmonic Analysis of “Ascenseur pour l’ Échafaud” (Lift to the Scaffold), 1957. New York: New York University. Ph.D., dissertation. xxiii, 351 p. ISBN: 9-780-49333-624-4. Analyzes the modal elements present in the music recorded by Miles Davis in 1957 for the soundtrack of the French film Ascenseur pour l’ Échafaud. The author traces the origins and evolution of modal jazz in Davis’ playing and writing. In addition to the analysis, the author also includes an oral-historical study in the form of interviews conducted with the only two living musicians who participated in the original recording session: Pierre Michelot and pianist René Urtreger. The author includes transcriptions from ten tracks from the film score that are available on compact disc (catalog number, Fontana 836 305–6). The research for the historical chapters is grounded on an adaptation of the method described by Paul D. Leedy in Practical Research Planning and Design and by Lawrence Ferrara and Roger P. Phelps in A Guide to Research in Music Education. 1102. Perry, Justin Clay. 2006. A Comparative Analysis of Selected Piano Solos by Red Garland, Bill Evans, Wynton Kelly and Herbie Hancock From Their Recordings With the Miles Davis Groups, 1955–1968: A  Doctoral Essay. Coral Gables, FL: University of Miami. D.M.A., dissertation. 202 p. ISBN: 9-780-54266-991-0.

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Provides transcriptions and analysis of eight historically significant jazz improvisations from the Miles Davis groups between 1955 and 1958. The four significant pianists of this era include Red Garland, Bill Evans, Wynton Kelly, and Herbie Hancock. For analysis, two solos were selected from each pianist’s work with Davis for transcription and are presented in chronological order. Criteria for their selection were (1) degree to which the recorded improvisation is indicative of each artist’s style and (2) the improvisation contrasting value with this set. The improvisations were analyzed melodically, harmonically, and rhythmically. The dissertation is intended to be useful to students of jazz piano or any instrument in their quest to understand the history of jazz piano performance and to provide them with the transcriptions and analyses to aid their study. 1103. Polston, James E. 2012. Musical Cues and Drug Seeking Behavior in Rats. Albany, NY: Albany Medical College of Union University. Ph.D., dissertation. 167 p. ISBN: 9-781-26717-498-7. A scientific study that examines the effectiveness of music as a contextual conditioned stimulus through the use of both behavioral and neurochemical assays. Both classical and operant procedures were employed to determine the role of a musical conditioned stimulus on drug-seeking behavior and brain neurochemistry. Groups of rats were given non-contingent injections of methamphetamine or vehicle and placed in standard chambers. During these conditioning session both groups were exposed to a continuous conditional stimulus in the form of a music selection, a recording of “Four” by Miles Davis played repeatedly for ninety minutes. After seven consecutive condition days, subjects were given one day of rest and subsequently tested for locomotor activity or dopamine release in the absence of drugs while the musical conditioned stimulus (“Four” by Miles Davis) was continually. Testing also included providing an apparatus that gave instrumental control of music repertoire choice of Miles Davis v. Ludwig van Beethoven to the rats themselves. 1104. Pond, Steven Frederick. 2000. Herbie Hancock’s Head Hunters: Troubling the Waters of Jazz. Berkeley, CA: University of California. Ph.D., dissertation. 259 p. ISBN: 0-599-87406-6. Examines Herbie Hancock’s 1973 album, Head Hunters, which was a best-selling album but also steeped in controversy. Using this album, the dissertation investigates the notion of genre with an analysis of its web of affiliations, and how it intersects with African and African American cultural approaches to music-making. Examines Head Hunters as a “genre” inflected by a diverse range of musical influences including Miles Davis, Maurice Ravel, Claude Debussy, James Brown, Sly and the Family Stone, Afro-Cuban jazz, and the sub-Saharan African musics. 1105. Powell, Elliott Hunter. 2014. Kindred Sounds: Afro-South Asian Musical Intersections in Jazz and Hip Hop. New York: New York University. Ph.D., dissertation. 390 p. ISBN: 9-781-32116-277-6. Explores the resonance between African American and South Asian diasporic musical collaborations during the postwar jazz and post–911 hip-hop eras in the

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United States. The goal of this dissertation is to challenge scholarship in ethnomusicology and popular music studies that tether these cross-cultural exchanges to similar practices by white artists with a focus on connecting Afro-South Asiana hip-hop to Madonna’s commercialization of South Asian style commodities and linking postwar jazz’s use of Indian music to the Beatles. Included in this dissertation (the first two chapters) is an exploration the recordings of jazz musicians John Coltrane and Miles Davis, respectively, and illustration of the ways in which their appropriations of South Asian music articulated and shaped larger United States domestic and transnational Afro-Asian connections of the civil rights and black power movements. Argues that Coltrane and Davis understood South Asian sound as central to black masculinist political consciousness of the 1970s. 1106. Rask, Perry Joel. 2001. Arthur Edward Pepper (1925–1982): An Analysis of His Improvisational Style Through Solo Transcriptions From 1943–1960. Ph.D., dissertation, University of Northern Colorado. 972 p. ISBN: 9-780-49315-890-7. Focuses on jazz saxophonist Arthur Edward Pepper who contributed to jazz performance in the 1940s and 1950s and aided in defining the jazz sound associated with “West Coast Jazz.” Pepper was involved with music groups led by Benny Carter, Stan Kenton, Marty Paich, Shorty Rogers, and Buddy Rich as well as groups that he led incorporating the rhythm sections of Miles Davis. The dissertation focuses on identification and codification of those elements that comprise a style or performance practice that can be identified as being uniquely Art Pepper. The dissertation presents discussions and analysis of 175 of the over 500 record titles on which Pepper performed between 1943 and 1960. 1107. Richter, Stephen. 1994. Zu einer Ästhetik des Jazz (Toward an Aesthetic of Jazz). Frankfurt am Main, Germany: Ludwig-Maximillians-Universität München. Ph.D., dissertation. 339 p. German text. ISBN: 3-631-49047-X. Analyzes critical writings of jazz in relation to the aesthetic assumptions of European music. The music of Thelonious Monk, Duke Ellington, John Coltrane, Miles Davis, Billie Holiday, and Benny Goodman, and literature influenced by jazz are discussed. 1108. Ross, Thomas Wynne. 1985. A Tune Beyond Us, Yet Ourselves: On Transcultural Hearing. Middletown, CT: Wesleyan University. Ph.D., dissertation. 404 p. OCLC Number: 13564336. Employs theoretical paradigms from the music of Miles Davis and Amir Khan. Presents the concept of “hearing” as an alien music in which one is confronted with what may at first seem to be a bewildering array of sounds. The dissertation poses the question of how one might correlate one’s own musical experience with hearing. The author finds parallels between (primarily) the traditions of jazz and Indian music and examines this question from the vantage of a participant in cross-cultural performing and composing. The author concludes that musical growth, whether within or between cultures, depends on acclimating one’s ear properly to novelty, experienced as a “transcultural hearing” and often leading to a new manner of making music.

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1109. Saffar, Frédéric. 2007. Jazz et Théorisation: La Figure Centrale de George Russell (Jazz and Theorization: The Central Figure of George Russell). Paris, France: Thèse de Doctrat: Esthétique, Sciences et Technologies des Arts. Spécialité Musique: Université de Paris, VIII. Dissertation. 376 p. French text. OCLC Number: 494338203. Presents a critical and interpretative study of George Russell’s principal work, The Lydian Chromatic Concept of Tonal Organization, one of the most widely recognized contributions to jazz theory. Russell was part of a circle of jazz musicians influenced by composer and arranger Gil Evans who reflected their practice; Miles Davis was one of those musicians. The author examines how Russell’s jazz theory work focuses on the organizational principles of jazz and blends theory of “harmonic modality” developed by the end of the nineteenth-century composers such as Claude Debussy and Maurice Ravel. Russell associated “modal’ theory with the chromaticism inherited from modern music and allows jazz to approach influences of “pan-tonality,” drawing closer to atonality but distinguishing his concepts from free jazz. 1110. Sagee, Alona. 2001. The Influence of Modal Jazz on the Music of John Coltrane and Miles Davis, 1958–1967. Ramat Gan, Israel: Bar-Ilan University. Ph.D., dissertation. 166 p. Abstract in Hebrew and English text. OCLC Number: 234101416. Focuses on the music of John Coltrane and Miles Davis. Examines the historically significant Kind of Blue album recorded by the Miles Davis Sextet in 1959 which represents the crystallization of the modal jazz styles. Argues that John Coltrane was the most important of Davis’ adherents in the development of modal jazz, carrying the advancement of Kind of Blue to far-reaching consequences. In his compositions and tightly organized solos of the 1960s Coltrane was constantly engaged in expanding modality in jazz and finally reached out toward a free modal jazz. However, although Davis composed no new pieces in the modal jazz idiom during 1960–1965 he nevertheless adhered to the principles laid down in Kind of Blue in his recording standards during these years. The dissertation makes comparison of the twenty-four different recorded versions of Davis’ improvisations on “Walkin’ ” over a period of thirteen years (1953– 1967) that reveals increased leanings toward a linear-horizontal conception and emphatic disregard for the restrictions of conventional jazz. 1111. Saint-Paul, Jean-Michel. 2010. L’ Eléctro-Jazz Européen: (Influences, Diversités et Cristallisation d’un Style). Paris, France: Musique, Paris 8. Dissertation. 495 p. OCLC Number: 800306500. Attempts to characterize electro-jazz as a musical style which emerged in the middle of the 1990s. The author analyzes the musical influences of Miles Davis, Herbie Hancock’s funk, Pat Metheny, and Terje Rypdal. Also, the author examines the link of the artistic and commercial EMI record label. In Europe and Scandinavian countries EMI has contributed innovative repertoire for the electro-jazz on an aesthetic level. The author uses the theory of aesthetical renewal or a mutation that focuses on the works of George Lewis and Steve Coleman who

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since the beginning of the 1980s have proposed an alternative way for relationships between improvisers, the instrumental material, and the electronic. 1112. Salisbury, Linda J. 2011. Twelve Jazz Standards and Improvisations Transcribed and Adapted for Horn. Denton, TX: University of North Texas. D.M.A., dissertation. 160 p. ISBN: 9-781-26704-544-7. A study that provides a representative collection of jazz standards with improvised solos fashioned after the types of resources available for traditional jazz instruments, but transcribed and adapted specifically for horn and designed to aid horn players in achieving greater success in jazz performance. Featured jazz musicians include Miles Davis, Curtis Fuller, Ella Fitzgerald, Tommy Turk, Charlie Parker, Sonny Rollins, John Coltrane, Wes Montgomery, J. J. Johnson, Stan Getz, and Milt Jackson. Song titles and albums covered include “Autumn Leaves,” Somethin’ Else (1958); “Blue Train,” Blue Train (1957); “How High the Moon,” Ella in Berlin (1960); “Lester Leaps In,” Jazz at the Philharmonic (1949); “Lover Man,” The Magnificent Charlie Parker (1951); “Moritat,” Saxophone Colossus (1956); “Naima,” Giant Steps (1959), Kind of Blue (1959); “Polka Dots and Moonbeams,” Jazz Guitar of Wes Montgomery (1960); “Satin Doll,” The Trombone Master (1957); “Stella by Starlight,” Stan Getz Plays (1952); and “Straight No Chaser,” Genius of Modern Music 2 (1951). 1113. Sanford, David. 1998. Prelude (Part 1) From Agharta: Modernism and Primitivism in the Fusion Works of Miles Davis. Princeton, NJ: Princeton University. Ph.D., dissertation. 186 p. OCLC Number: 41559686. A study that emerged from a concentration of “Prelude (Part I) from Agharta.” Focuses on the positive and negative criticism of Miles Davis’ music from this period. The author examines Davis’ music of this period as a fertile, alternative trope as well as a complex and innovative artifact that signals trends of twentieth-century music discourse. Provides discussion of orchestral components of electronic timbres, rhythmic section grooves, transcriptions and analysis, and a discussion of “opposition” (as defined by Robert Cogan). The author also discusses the primitivism and black nationalism found in Davis’ fusion works, and makes comparisons with it to Russian nationalism in the music of Igor Stravinsky. 1114. Smith, Jeremy Allen. 2008. Sound, Mediation, and Meaning in Miles Davis’ “A Tribute to Jack Johnson.” Durham, NC: Duke University. Ph.D., dissertation. 377 p. ISBN: 9-780-54990-573-8. An examination of Miles Davis who in a Rolling Stone interview in 1969 stated that he could put together one of the greatest rock and roll bands ever heard. Critics have agreed that Davis’ A Tribute to Jack Johnson recorded between February and April of 1970 was an attempt to do what Davis had stated. Many people were taken by Davis’ desire to associate with rock and roll, especially jazz listeners. The dissertation poses inquiries into what it meant for Davis to make such a claim and such an album at the articular time that he did. The dissertation investigates these inquiries in terms of the production, circulation, and reception of both the stand-alone album A Tribute to Jack Johnson and the documentary film for which parts of album were initially the soundtrack.

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1115. Smith, Christopher John. 1999. “I Can Show It to You Better Than I Can Explain It to You”: Analyzing Procedural Cues in African American Musical Improvisations. Bloomington, IN: Indiana University. Ph.D., dissertation. 494 p. ISBN: 9-780-59970-686-6. Argues that improvised musical performances are possible by participants’ understanding of sophisticated cues: the musical, physical, and kinesthetic signal musicians use to say “do this” or “don’t do that” and to communicate intent, direction, and goals. Argues that the central process in improvised performance is shown to be communicative cuing between participants. In support of this argument the author presents five case studies that analyze performance and performance vocabularies of James Brown (funk), Miles Davis (jazz), Screamin’ Jay Hawkins (rhythm and blues), Big Bill Broonzy (country blues), and Fela Kuti (Afro-Beat). 1116. Spinola, Stanley J. 2013. An Oral History of the Horn in Jazz. Coral Gables, FL: University of Miami. D.M.A., dissertation. 80 p. ISBN: 9-781-30312-166-1. Examines the development of horn music that first appeared in jazz music in the late 1930s. Over time horn music found a significant place as a side instrument in the music of Chet Baker, John Coltrane, Miles Davis, Gil Evans, Dizzy Gillespie, Freddy Hubbard, Stan Kenton, Charles Mingus, Thelonious Monk, Wes Montgomery, Jaco Pastorius, and Oscar Peterson. Also, the dissertation acknowledges other notable jazz horn soloists and a growing list of solo compositions for jazz horn. This dissertation provides details about the career of notable jazz horn players who discuss how they were introduced to jazz, how they learned to play jazz, and how they learned to be successful in a nontraditional field. 1117. Sterrs, Tamika Sakayi. 2013. Toward a Compositional Paradigm Based on Post-Tonality, Jazz, and Counterpoint. Athens, GA: University of Georgia. Ph.D., dissertation. 377 p. OCLC Number: 860692520. Argues that there is a neglected body of musical works which engage post-tonality, jazz, and counterpoint. The sharing in common of a modernist aesthetic, a propensity for mutual borrowing, and a concern for the reinterpretation of Baroque counterpoint creates a unique bond between these post-tonal jazz musicians as well as the styles they represent. The author employs Alcedo Coenen’s theory of compositional paradigms for this dissertation and proposes the existence of a compositional paradigm defined by a mutual borrowing between post-tonal music and jazz that is accompanied by the employment of contrapuntal processes. The composers selected for study include Darius Milhaud, Alban Berg, Paul Hindemith, Igor Stravinsky, Bela Bartok, William Bolcom, George Gershwin, Bud Powell, Miles Davis, John Lewis, Dave Brubeck, and Jacques Loussier. The author argues that these composers share a collaborative and pedagogical relationship that further illuminates the stylistic commonalities and creative exchange. 1118. Strait, Kevin Michael Angelo. 2010. “A Tone Parallel”: Jazz Music, Leftist Politics, and the Counter-Minstrel Narrative 1930–1970. Washington, DC: George Washington University. Ph.D., dissertation. 221 p. OCLC Number: 777008927.

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Presents an interdisciplinary focus on the works and trends of Miles Davis, Duke Ellington, jazz, minstrelsy, and race, within the paradigms of Black Studies, American Studies, and Social Sciences. In scope, the dissertation examines the ways that musicians have voiced through the medium of jazz the values and politics of black public intellectuals and the political left. The dissertation argues that jazz was a sonic expression of the antiracist politics of black public intellectuals. The dissertation seeks to reveal the music as a form of political activism and illustrates how jazz of the New Deal developed a viable, tangible political resonance that shaped the history of race and radical politics to the end of the civil rights movement. 1119. Svorinich, Victor. 2009. Listen to This: A Musical Analysis of Miles Davis’ Bitches Brew. Madison, NJ: Drew University. D. Litt., dissertation, 184 p. OCLC Number: 820736283. Focuses on Miles Davis’ album Bitches Brew, which was recorded on August 19–21, 1969, in New York City. The album was one Davis’ most successful and most controversial efforts in his career with its incorporation of rock elements and other current tastes. This dissertation examines the controversy surrounding Bitches Brew through a musicological analysis of the work. The author illustrates how Davis never abandoned the African American aesthetics or his own style and argues that many of the album’s characteristics were a unique synthesis of concepts being experimented with during a ten-year period prior to the recording session combined with new innovations. The author provides in-depth details by examining compositional and improvisational methodology of Bitches Brew using new transcriptions of the music. Icludes insights from musicians, historians, and producers, in addition to new session information. 1120. Swiboda, Marcel. 2002. The Pragmatic Constructions of Deleuze, Guattari and Miles Davis. Leeds: University of Leeds. Ph.D., dissertation. 1 vol. OCLC Number: 59315990. Examines the growing corpus of secondary literature on the work of the French philosophers and theorists Gilles Deleuze and Felix Guattari whose work has generated a substantial amount of interest in recent years and a proportionate amount of controversy. The dissertation also aims to redress some of the misunderstandings in the works of Deleuze and Guattari in an embodiment of their concepts and ideas through a case study based on the life of jazz musician Miles Davis with the goal of providing a new and challenging case as the basis of this investigation to access the pragmatic remit of Deleuze and Guattari’s thought in terms of aesthetics, ethics, and politics. 1121. Tallman, Thomas Jon. 1998. Jazz Trumpet: A Survey of the First Fifty Years. Austin, TX: University of Texas. D.M.A., dissertation. 145 p. ISBN: 0-599-38489-1. Examines the first sixty years of recorded jazz and how trumpet players have been active participants in changing the music, and certain aspects of jazz improvisation have evolved from one generation to the next. Transcriptions and

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historical information are used to discuss how players learned from one another. Analysis of complete works by Joe King Oliver, Louis Armstrong, Roy Eldridge, Dizzy Gillespie, Kenny Dorham, Clifford Brown, and Miles Davis are presented with complete transcriptions. 1122. Tamby, Jean-Luc. 2011. Éléments d’ Herméneutique Musicale en Marge de la Poétique d’Edouard Glissant. Rouen, France: Musicologie, Université de Rouen. Dissertation, Thèse de Doctorat. 552 p. French text. OCLC Number: 801031985. Explores a hermeneutical approach and the musical expressions of Edouard Glissant’s poetics. The dissertation explores Glissant’s literary works and how he treated the question of unity and multiplicity in contemporary global and multipolar world. The author employs concepts of “creolization,” “relation,” “baroque mondialisé,” and “pensée de la trace” to examine the aesthetic, formal, and ideological aspects of several twentieth- and twenty-first-century musical productions. Herbie Hancock’s jazz, music from Brittany, the works of Antonio Carlos Jobim (inspired by the myth of Orpheus), and Gilberto Gil’s productions are examined in this perspective. The author also uses the concepts of “chaosmonde,” “Tout-monde,” and “pensée archipelique,” as seen in their musical interpretation by multi-instrumentalist improviser Bernard Lubat and composer Thierry Pécou. The dissertation also examines Edouard Glissant’s poetics as being part of a thinking and conceptual world that is anchored into his style. The dissertation concludes with mirroring interpretation suggested by Glissant between his poetry and Miles Davis’ music. 1123. Titus, Jason R. 2010. Miles Davis’  “So What” as Modal Jazz Case Study. Rochester, NY: University of Rochester. Ph.D., dissertation. 227 p. ISBN: 9-781-12432-841-6. Provides an examination of Miles Davis’ composition “So What” from the 1959 album Kind of Blue, which is often cited as being an example of a type of music that emerged in the late 1950s and 1960s that came to be known as “modal jazz.” Davis’ composition “So What” is considered to be a locus classicus of this new style. This dissertation is divided into two parts. The first part develops an analytical methodology that attempts to explain the stylistic boundaries of modal jazz. The first part that includes chapters one, two, and three is structured to discuss some of the unique musical elements that are characteristics of the modal jazz style; discuss tonal processes in earlier jazz styles; examine how recent scholarship can be applied to the study of modal jazz; and provide a critique of the “chord-scale” theory that has been invoked in descriptions of modal jazz. The second part (which includes Chapter four) employs an analytical methodology developed in part one, in a detailed analysis of “So What.” Chapter four demonstrates how coordination and stratification were used as improvisational strategies by Miles Davis, John Coltrane, Julian “Cannonball” Adderley, Bill Evans, and Paul Chambers. This chapter also examines various types of interaction that take place in the performance of “So What.” 1124. Tode, Matthias. 1999. Jazz in Film der Späten 50er Jaher: “Ascenseur pour l’ Échafaud von Louis Malle und Miles Davis. Hamburg, Germany: Univ., FB

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Kulturgeschicte, Mag.-Schr.—Hamburg. Dissertation. 121 p. German text. OCLC Number: 247502652. Examines historically the use of jazz in film and Miles Davis’ improvisational music score collaborations for the film Ascenseur pour l’ Échafaud, directed by Louis Malle. 1125. Vernon, James Farrell. 2005. Jimmy Heath: An Analysis and Study of His Tenor Saxophone Improvisational Style Between 1959 and 1998 Through Selected Transcriptions. Greeley, CO: University of Northern Colorado. D.A., dissertation. 284 p. ISBN: 9-780-54208-245-0. Focuses on and provides an analysis of the works and improvisations of jazz saxophonist Jimmy Heath who in his extensive career played with musicians Miles Davis and Dizzy Gillespie. This dissertation includes an analysis of twelve saxophone solos and recordings on which Heath is the leader or co-leader. These include (1) “The 13th House,” (2) “All the Things You Are,” (3) “For Minors Only,” (4) “Forever Sonny,” (5) “Gingerbread Boy,” (6) “New Picture,” (7) “Nice People,” (8) “Project ‘S,’ ” (9) “Soul Eyes,” (10) “The Voice of the Saxophone,” (11) “Wall to Wall,” and (12) “You or Me.” 1126. Walker, John Verleye. 1999. Framing Dionysus: The Gutter Dandy in Western Culture From Diogenes to Lou Reed. Toronto: University of Toronto. Ph.D., dissertation. 276 p. ISBN: 9-780-61245-703-4. Examines the gutter-dandy which is an oppositional figure who appears from time to time throughout Western culture, an elusive figure who can be termed a philosopher-sage for whom the term philosophy, the philosophia, is something to be lived out and not merely gleaned and digested in an abstract sense of learned scholars and their texts. Focuses on a three-fold process of destructuralism where the socially imposed is discarded. This process is discussed within popular culture where musicians such as Elvis Presley, Miles Davis, and Lou Reed become the main proponents of neo- or gutter-dandyism. 1127. Wallman, Johannes P. 2010. The Music of Herbie Hancock: Composition and Improvisation in the Blue Years. New York: New York University. Ph.D., dissertation. 403 p. ISBN: 9-781-12401-659-7. A study of jazz pianist and composer Herbie Hancock’s seven albums recorded as a bandleader for Blue Note Records between 1962 and 1969. Recorded during Hancock’s tenures with Donald Byrd and Miles Davis, his early works are highly mature conceptions with all the major elements of Hancock’s personal musical style. The author surveys thirty-six compositions and provides an in-depth analysis of seven pieces that are proportionally representative of the formal characteristics of Hancock’s repertoire. These include “The Maze,” “The Pleasure Is Mine,” “Jack Rabbit,” “One Finger Snap,” “Little One,” “Toys,” and “I Have a Dream.” 1128. Wayte, Lawrence A. 2007. Bitches Brood: The Progeny of Miles Davis’ Bitches Brew and the Sound of Jazz-Rock. Los Angeles, CA: University of California. Ph.D., dissertation. 298 p. ISBN: 9-780-54923-316-9.

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A study about the pioneers of jazz-rock, particularly those musicians who played with Miles Davis on his seminal 1969 album, Bitches Brew. A major focus of the dissertation is placed on the sound of early jazz-rock, how it worked musically, and what effect it had on listeners. A discussion is included of the motivations of jazz-rock’s earliest practitioners and the reasons they felt compelled to stray from jazz styles in circulation in the mid-1960s in search of something new. The goal of the dissertation is to explain the historical forces that led to its development, relying primarily on a close analysis of how early jazz-rock sounded and what its practitioners had to say about the musical decisions that led to that sound. Chapter one focuses on Bitches Brew by examining its relationship to the concept of the sublime and how it relates to the difficult and chaotic sound of this recording. The remaining chapters (that focus on John McLaughlin, Joe Zawinul, Weather Report, Lenny White, and Billy Cobham) explore ways in which many of the musicians involved in Bitches Brew developed jazz-rock into a critically and commercially successful musical genre in the 1970s. 1129. White, Christopher K. 2010. The Communication of Musical Expression: As Exemplified in Jazz Performance. Manhattan, KS: Kansas State University. Ph.D., dissertation. 231 p. ISBN: 9-781-12404-047-9. Seeks to inquire into, identify, and examine elements of musical expression as exemplified in jazz performance from a phenomenological approach. The purpose is to identify the various elements utilized by expert performers and listeners in perceiving musical expression, to determine whether or not these elements are held in common between performer and listener, and to explore the relation of personal experiences of the phenomenon with aesthetic philosophy and educational practice. Aesthetic concepts were drawn from the writings of Stephen Davies and Peter Kivy, while jazz principles and foundations were drawn from Ted Gioia and Gunther Schuller. In the research participants were asked to listen to six recordings of the jazz standard “My Funny Valentine” as recorded by established jazz icons: Miles Davis, Paul Desmond, Gerry Mulligan, Bill Evans with Jim Hall, Sarah Vaughan, and Keith Jarrett. 1130. Yaffe, David. 2005. Fascinating Rhythm: Reading Jazz in American Writing. New York: City University of New York. Ph.D., dissertation. 227 p. ISBN: 9-780-54206-153-0. Integrates interdisciplinary focus in literary and music scholarship. The dissertation in scope is about jazz musicians and the themes American writers have garnered from them. Explores how Jewish novelists such as Norman Mailer, J. D. Salinger, and Philip Roth engaged in issues of racial, ethnic, and American authenticity by way of jazz and how Ralph Ellison’s writing about Louis Armstrong featured in Invisible Man led to a neoconservative movement in contemporary jazz. Also, the dissertation focuses on how poets such as Wallace Stevens, Hart Crane, Langston Hughes, and Frank O’ Hara were inspired by music and memoirs by Billie Holiday, Charles Mingus, and Miles Davis.

4  nnotations of Arrangements, Lead A Sheets, Transcriptions, and Tribute Music Compositions

1131. (anon.) 2010. “All Blues.” In 100 Greatest Artists of All Time. Milwaukee, WI: Hal Leonard. 479 p. ISBN: 9-781-42349-491-1. Publisher Number: HL00312025. OCLC Number: 682893297. An arrangement of Miles Davis’ composition “All Blues” is included in this compilation for voice and piano, with chord symbols and guitar diagrams. 1132. (anon.) 1994. Compulsion [Ensemble Music]. Milwaukee, WI: Second Floor Music. Series: Jazz Recording Session Series/Jazz Combo. 7 p. OCLC Number: 227194700. A full music score, recorded parts, and alternate parts arrangement of Miles Davis’ composition “Compulsion,” as recorded by Davis on his Collectors’ Items album. This music score is written for instrumentation that includes trumpet, alto saxophone, C instrument, tenor saxophone, alto saxophone, baritone saxophone, trombone, piano, bass, drums, and guitar. 1133. (anon.) 2003. Jazz Piano Solos. Milwaukee, WI: Hal Leonard. 69 p. ISBN: 9-78063405-905-6. Publisher Number: HL00306521. OCLC Number: 53948733. A music score arrangement of jazz piano solos of Miles Davis’ compositions. The score includes chord symbols. Selections include “All Blues,” “Blue in Green,” “Boplicity (Bebop Lives),” “Dig,” “Flamenco Sketches,” “Four,” “Freddie Freeloader,” “Half Nelson,” “Miles,” “Milestones,” “Nardis,” “Seven Steps to Heaven,” “So What,” “Solar,” “Somethin’ Else,” “The Theme,” and Tune Up.” 1134. (anon.) 2006. Miles Davis [A Step-by-Step Breakdown of the Styles and Techniques of a Jazz Innovator]. Milwaukee, WI: Hal Leonard; Artemis Music. Series: 235

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Trumpet Signature Licks. 39 p. CD. ISBN: 9-780-63400-688-3. Publisher Number: HL00695383 Hal Leonard. OCLC Number: 71226753. A compilation of trumpet transcriptions with an accompanying CD performed by Gerard Presencer, trumpet; Tom Cawley, piano; Mark Hodgson, bass; and Tom Gordon, drums. Selections of transcriptions include “Autumn Leaves,” “Billie’s Bounce,” “Bitches Brew,” “Boplicity (Bebop Lives),” “ ’Round Midnight,” “E.S.P.,” “Freddie Freeloader,” “Jeru,” “Babes in Arms,” “My Funny Valentine,” “So What,” and “Stella by Starlight.” 1135. (anon.) 2015. Miles Davis Omnibook for Bass Clef Instruments: Transcribed Exactly From His Recorded Solos. Milwaukee, WI: Hal Leonard. 232 p. ISBN: 9-78148035-485-2. Publisher Number: HL00122268. OCLC Number: 895302076. A compilation of transcriptions for bass clef instruments of Miles Davis’ recorded solos. The score includes chord symbols. Selections include “Airegin,” “All Blues,” “All of You,” “Au Privave,” “Bags’ Groove,” “Billie’s Bounce,” “Blue Haze,” “Budo,” “But Not for Me,” “Bye Bye Blackbird,” “Diane,” “Dig,” “Doxy,” “E.S.P.,” “Footprints,” “Four,” “Freddie Freeloader,” “A Gal in Calico,” “Green Haze,” “I Waited for You,” “I’ll Remember April,” “If I Were a Bell,” “It Could Happen to You,” “It’s Only a Paper Moon,” “Jeru,” “K.C. Blues,” “Miles Ahead,” “Miles [Milestones],” “My Funny Valentine,” “Oleo,” “On Green Dolphin Street,” “The Serpent’s Tooth,” “Seven Steps to Heaven,” “Sippin’ at Bells,” “So What,” “Solar,” “Someday My Prince Will Come,” “Stablemates,” “Stella by Starlight,” “Stuff,” “Summertime,” “The Surrey With the Fringe on Top,” “The Theme,” “Trane’s Blues,” “Tune Up,” “Walkin’, ” “Well You Needn’t (It’s Over Now),” “Woodyn’ You,” and “Yesterdays.” 1136. (anon.) 2015. Miles Davis Omnibook for B flat Instruments: Transcribed Exactly From His Recorded Solos. Milwaukee, WI: Hal Leonard. 232 p. ISBN: 9-788035478-4. Publisher Number: HL00122260. OCLC Number: 900885340. A compilation of transcriptions for B flat instruments of Miles Davis’ recorded solos. The score includes chord symbols, editorial notes, and discographical information for each selection. Selections include “Airegin,” “All Blues,” “All of You,” “Au Privave,” “Bags’ Groove,” “Billie’s Bounce,” “Blue Haze,” “Budo,” “But Not for Me,” “Bye Bye Blackbird,” “Diane,” “Dig,” “Doxy,” “E.S.P.,” “Footprints,” “Four,” “Freddie Freeloader,” “A Gal in Calico,” “Green Haze,” “I Waited for You,” “I’ll Remember April,” “If I Were a Bell,” “It Could Happen to You,” “It’s Only a Paper Moon,” “Jeru,” “K.C. Blues,” “Miles Ahead,” “Miles [Milestones],” “My Funny Valentine,” “Oleo,” “On Green Dolphin Street,” “The Serpent’s Tooth,” “Seven Steps to Heaven,” “Sippin’ at Bells,” “So What,” “Solar,” “Someday My Prince Will Come,” “Stablemates,” “Stella by Starlight,” “Stuff,” “Summertime,” “The Surrey With the Fringe on Top,” “The Theme,” “Trane’s Blues,” “Tune Up,” “Walkin’, ” “Well You Needn’t (It’s Over Now),” “Woodyn’ You,” and “Yesterdays.” 1137. (anon.) 2003. Miles Davis Originals, Volume 1. Milwaukee, WI: Hal Leonard. Series: Artist Transcriptions: Trumpet. 70 p. ISBN: 9-780-63400-502-2. Publisher Number: HL00672448. OCLC Number: 780718112.

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Selections of transcriptions include “Agitation,” “Circle,” “Freddie Freeloader,” “Green Haze,” “Miles,” “Milestones,” “Sid’s Ahead,” “All Blues,” “Theme,” “Blue in Green,” “Flamenco Sketches,” “Half Nelson,” “So What,” “Solar,” and “Tune Up.” 1138. (anon.) 2002. Miles Davis Originals, Volume 2. Milwaukee, WI: Hal Leonard. Series: Artist Transcriptions: Trumpet. 80 p. ISBN: 9-780-63400-557-2. Publisher Number: HL00672448 H. Leonard Corp. OCLC Number: 51218565. Selections of transcriptions include “Agitation,” “Bitches Brew,” “Country Son,” “Eighty-One,” “Filles de Kilimanjaro,” “Four,” “Miles,” “Miles Runs the Voodoo Down,” “No Blues,” “Petits Machins,” “Seven Steps to Heaven,” “So What,” and “Spanish Key.” 1139. (anon.) 1991. Music of Miles Davis. Secaucus, NJ: Warner Bros. 36 p. No ISBN. Publisher Number: IF0467 Warner Bros. Publications. OCLC Number: 25572094. Transcriptions of music composed, arranged, and popular standards performed by Miles Davis. Selections include “Aida,” “Back Seat Betty,” “All Blues,” “All of Me,” “Come and Get It,” “April in Paris,” “Boplicity,” “Blue in Green,” “EightyOne,” “Bitches Brew,” “Circle,” “Dual Mr. Tillman Anthony,” “Israel,” “Flamenco Sketches,” “It Gets Better,” “It’s About Time,” “Milestones,” “Nardis,” “Freddie Freeloader,” “Maiysha,” “The Man I Love,” “Midnite Blue,” “Miles Runs the Voodoo Down,” “My Funny Valentine,” “Right Off,” “ ’Round Midnight,” “Seven Steps to Heaven,” “Sid’s Ahead,” “Uni (U ‘N’ I),” “So What,” “Spanish Key,” “Stella by Starlight,” “Stuff,” “Yesternow,” “Love for Sale,” “Bye Bye Blackbird,” “Embraceable You,” “It’s Only a Paper Moon,” “But Not for Me,” and “Black Satin.” 1140. (anon.) 2001. Miles Davis Standards, Volume 1. Milwaukee, WI: Hal Leonard. 94 p. Series: Artists, Transcriptions, Trumpet. ISBN: 9-780-63400-503-9. Publisher Number: HL00672449 H. Leonard. OCLC Number: 46316157. A compilation of jazz solos for trumpet as recorded by Miles Davis, with chord symbols. Transcribed from recordings made 1951–1958. Includes biographical information and notes that precede the score. Selections include “All of You,” Autumn Leaves,” “The Blue Room,” “Bye Bye Blackbird,” “Easy Living,” “How Deep Is the Ocean (How High Is the Sky),” “I Could Write a Book,” “I See Your Face Before Me,” “If I Were a Bell,” “It Could Happen to You,” “Love Me or Leave Me,” “My Funny Valentine,” “My Old Flame,” “My Ship,” “Old Devil Moon,” “S’posin’, ” “The Surrey With the Fringe on Top,” “There Is No Greater Love,” “Well You Needn’t (It’s Over Now),” “When I Fall in Love,” and “Woody ‘n You.” 1141. (anon.) 2002. Miles Davis Standards, Volume 2. Milwaukee, WI: Hal Leonard. 80 p. Series: Artists Transcriptions, Trumpet. ISBN: 0-634-00557-X. Publisher Number: HL00672450 H. Leonard Corp. OCLC Number: 51218565. A compilation of jazz solos for trumpet as recorded by Miles Davis, with chord symbols. Includes biographical information. Selections include “Airegin,” “Basin Street Blues,” “Footprints,” “I’ll Remember April,” “It Never Entered My Mind,” “Lament,” “Nature Boy,” “Oleo,” “ ’Round Midnight,” “Someday My Prince Will

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Come (Master Take),” “Someday My Prince Will Come (Alternate Take),” “Stella by Starlight,” “What’s New?,” “Will You Still Be Mine,” and “Yesterdays.” 1142. (anon.) 2003. Miles Davis: The Real Fake Book. Nashville, TN: Sony/ATV; Milwaukee: WI: Hal Leonard. 80 p. ISBN: 9-780-63400-504-6. Publisher Number: HL00240137. OCLC Number: 51919331. A volume of transcriptions from sound recordings that includes chord symbols. Selections of transcriptions include “Agitation,” “Aida,” “All Blues,” “Back Seat Betty,” “Bitches Brew,” “Blue Haze,” “Blue in Green,” “Blues no. 2,” “Boplicity,” “Brown Hornet,” “Budo,” “Circle,” “Circle in the Round,” “Deception,” “Dig,” “Down,” “Drad Dog,” “Eighty-One,” “Filles de Kilimanjaro,” “Flamenco Sketches,” “Four,” “Fran Dance,” “Freddie Freeloader,” “Green Haze,” “Half Nelson,” “Ife,” “It’s About That Time,” “Lazy Susan,” “Little Willie Leaps,” “Miles,” “Miles Ahead,” “Milestones,” “Mood,” “Nardis,” “Petits Machins,” “Pfrancing,” “The Serpent’s Tooth,” “Seven Steps to Heaven,” “Shhh-Peaceful,” “Sid’s Ahead,” “Side Car,” “Sippin’ at Bells,” “So What,” “Solar,” “Somethin’ Else,” “Song No. 2,” “Spanish Key,” “Stuff,” “Swing Spring,” “Teo’s Bag,” “Theme,” “Thisness,” “Tout de Suite,” “Tune Up,” “Vierd Blues,” “Water on the Pond,” and “What Is It.” 1143. (anon.) 1955. Piano Interpretations. New York: C. Colin. 15 p. OCLC Number: 9434416. Selections include “Miles Away,” “Miles Sounds Off,” “A Cool Mile,” “Play It Cool,” “Miles Cools Off,” and “Cool Sounds.” 1144. Aebersold, Jamey. 1991. The Magic of Miles Davis: Melodies, Chords, Transposed Parts for All Instruments. New Albany, IN: Jamey Aebersold. Series: New Approaches to Jazz Improvisation, v. 50. iv, 36 p. CD. Publisher Number: JA 1272/73D. OCLC Number: 223659719. A play-a-long book and recording set for all instruments. Selections include “Nardis,” “Joshua,” “So What,” “All Blues,” “Eighty-One,” “Blue in Green,” “Milestones (new),” “Freddie Freeloader,” and “Seven Steps to Heaven.” 1145. Aebersold, Jamey. 2002. Miles Davis: Eight Classic Jazz Originals for All Instrumentalists. New Albany, IN: James Aebersold. Originally published in 1976. Series: New Approach to Jazz Improvisation, v. 7. iii, 32 p. Publisher Number: V07DS Jamey Aebersold Jazz. OCLC Number: 223433291. Transcriptions include “Four,” “Tune Up,” “Vierd Blues,” “The Theme,” “Solar,” “Dig,” “Milestones (old),” and “Serpent’s Tooth.” 1146. Aebersold, Jamey. 1995. Tune Up!: In All 12 Keys. New Albany, IN: Jamey Aebersold. Series: Jamey Aebersold Jazz v. 67. iv, 88 p. CD and Discography. No ISBN. Publisher Number: V67DS Jamey Aebersold. OCLC Number: 150681962. Lead sheets for C, B flat, E flat instruments, and bass lines. The accompanying CD also contains rhythm section accompaniment. Performers on the accompanying CD include Dan Haerle, piano; Todd Coolman, bass; and Ed Soph, drums.

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Includes transcriptions of music composed by Miles Davis and others. Selections include “Solar Flare (Jamey Aebersold),” “Sweet Georgia Brown (Ben Bernie, Maceo Pinkard, and Kenneth Casey),” “Tune Up (Miles Davis),” “Autumn Leaves (Johnny Mercer, Jacques Prévert, and Joseph Kosma),” “Perdido (Juan Tizol),” “Four (Miles Davis),” and “Rhythm (Jamey Aebersold).” 1147. Ames, Morgan, and Oscar Brown. 199-? All Blues. Greeley, CO: University of Colorado Jazz Press. 5 p. Publisher Number: ED 7677. OCLC Number: 222283253. An arrangement of Miles Davis’ composition “All Blues,” for a cappella, fourpart, SSAA vocal group. 1148. Arakawa, Yoichi. 1993. The Best of Miles Davis. Secaucus, NJ: Warner Bros. Series: Jazz Masters Series for Guitar. 24 p. Publisher Number: GF0557 Warner Bros. Publications. OCLC Number: 34370593. Arrangements transcribed for solo guitar with staff and tablature notation including chord symbols. Selections include “All Blues,” “Freddie Freeloader,” “Love for Sale,” “Blue in Green,” “Milestones,” “ ’Round Midnight,” “Stella by Starlight,” “My Funny Valentine,” “Nardis,” and “So What.” 1149. Bainbridge, Simon. 2000. For Miles: For Chamber Ensemble. London: Novello. 11 p. Publisher Number: NOV 120775 Novello. OCLC Number: 46827849. A composition written as a tribute to Miles Davis. Instrumentation includes oboe, English horn (cor anglais), clarinet (I & II), trumpet, viola, cello, and double bass. 1150. Baker, David. 1980. The Jazz Style of Miles Davis: A Musical and Historical Perspective. Lebanon, IN; Miami, FL: Studio 224; CPP Baldwin. Series: Giants of Jazz (Studio P/R). 66 p. ISBN: 0-76920-982-3. Publisher Number: SB97 Studio 224/ Warner Bros. OCLC Number: 154261417. Includes a biographical profile, a musical genealogy chart, selected bibliography, and discography and worksheets. Transcriptions include “So What,” “Straight No Chaser,” “Tune Up,” and “Freedom Jazz Dance.” 1151. Barduhn, Dave. 1987. So What. Secaucus, NJ: Warner Bros. 1 Score. ISBN: AV14501. OCLC Number: 67637626. A seventeen-part arrangement of Miles Davis’ composition “So What.” 1152. Barduhn, Dave. 1984. Milestones. Secaucus, NJ: Warner Bros. Series: Professional Editions for Jazz Ensemble. 20 p. OCLC Number: 26791385. A nineteen-part arrangement of Miles Davis’ composition “Milestones,” written for jazz ensemble. 1153. Bennett, Richard Rodney. 2006. Elegy for Miles Davis: Slow Movement of Concerto for Trumpet and Wind Orchestra. London: Novello & Co. Originally published in 1993. Series: Novello Wind Band. 15 p. OCLC Number: 835881576.

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A tribute composition written in honor of Miles Davis. Instrumentation include solo B flat trumpet, flute, oboe, English horn (cor anglais), B flat clarinet, B flat bass clarinet, E flat alto saxophone, B flat tenor saxophone, bassoon, double bassoon, horn in F, tenor trombone, bass trombone, tuba, double bass, piano, harp, timpani, and percussion. 1154. Blair, Peter. 1994. Milestones. Milwaukee, WI: Hal Leonard/Screen GemsEMI, Inc. Series: Hal Leonard Easy Jazz Ensemble. 1 Score. Publisher Number: 08050102 Screen Gems-EMI. OCLC Number: 860319880. A twenty-one-part arrangement of Miles Davis’ composition “Milestones.” Also includes a cassette recording catalogued as MLAC 785.42 MILE. 1155. Boccadoro, Carlo. 1992. Elegia per Clarnetto in si bem, e Pianoforte: In Memoriam Miles Davis. Milano: Casa Musicale Sonzogno. 1 score (11 p.) and 1 part (3 p.). Publisher Number: 3033 Casa Musicale Sonzogno. OCLC Number: 54844406. LCCN: ML250 .B662 E5 1992. A clarinet and piano composition written as a tribute to Miles Davis. 1156. Brown, John Robert. 1987. Jazz Trumpet 2 Featuring Miles Davis. London: Warner Bros Music Ltd. 80 p. ISBN: 9-780-86359-448-9. Publisher Number: 20856 Warner Bros. OCLC Number: 319901884. A compilation of transcriptions of Miles Davis’ solos dating from his Birth of the Cool album to “Tutu.” Selections include “Bebop Lives (Boplicity),” “All Blues,” “Blue in Green,” “Circle in the Round,” “Compulsion,” “Eighty-One,” “E.S.P.,” “Fat Time,” “Flamenco Sketches,” “Freddie Freeloader,” “Jean Pierre,” “The Maids of Cadiz,” “Ms. Morrisine,” “Seven Steps to Heaven,” “Shhh,” “Sid’s Ahead,” “So What,” “So What (ensemble version),” “Stuff,” “That’s Right,” and “Tutu.” 1157. Christiansen, Cory, and Per Danielsson. 2006. In the Style of Miles Davis. Pacific, MO: M. Bay Publications. Series: Essential Jazz Lines. 72 p. CD. ISBN: 9-780-78667-422-0. OCLC Number: 70049106. An instruction and study volume comprised of melodies transcribed for guitar inspired by the compositions and techniques of Miles Davis. 1158. Coltrane, John. 1973. Freddie Freeloader for Tenor Saxophone Solo. Washington, DC: Andrew’s Musical Enterprise. 3 p. OCLC Number: 31157025. A transcription of John Coltrane’s tenor saxophone solo from the recording of “Freddie Freeloader.” 1159. Davis, Miles. 1974. Black Satin. Washington, DC: Library of Congress. Copyright Registration Number: EU520303. A lead sheet deposited in the Copyright Office of the Library of Congress. 1160. Davis, Miles. 1965. Blue Haze. Washington, DC: Library of Congress. Copyright Registration Number: EU870292. A lead sheet deposited in the Copyright Office of the Library of Congress.

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1161. Davis, Miles. 1964. Bluing. Washington, DC: Library of Congress. Copyright Registration Number: EU859366. A lead sheet deposited in the Copyright Office of the Library of Congress. 1162. Davis, Miles. 1965. Compulsion. Washington, DC: Library of Congress. Copyright Registration Number: EU882569. A lead sheet deposited in the Copyright Office of the Library of Congress. 1163. Davis, Miles. 1965. Denial. Washington, DC: Library of Congress. Copyright Registration Number: EU882565. A lead sheet deposited in the Copyright Office of the Library of Congress. 1164. Davis, Miles. 1964. Dig. Washington, DC: Library of Congress. Copyright Registration Number: EU859369. A lead sheet deposited in the Copyright Office of the Library of Congress. 1165. Davis, Miles. 1974. Friday Miles. Washington, DC: Library of Congress. Copyright Registration Number: EU520308. A lead sheet deposited in the Copyright Office of the Library of Congress. 1166. Davis, Miles. 1974. Helen Butte. Washington, DC: Library of Congress. Copyright Registration Number: EU520305. A lead sheet deposited in the Copyright Office of the Library of Congress. 1167. Davis, Miles. 1965. I Didn’t. Washington, DC: Library of Congress. Copyright Registration Number: EU91826. A lead sheet deposited in the Copyright Office of the Library of Congress. 1168. Davis, Miles. 1966. I Know. Washington, DC: Library of Congress. Copyright Registration Number: EU937462. A lead sheet deposited in the Copyright Office of the Library of Congress. 1169. Davis, Miles. 1966. Miles Ahead. Washington, DC: Library of Congress. Copyright Registration Number: EU933279. A lead sheet deposited in the Copyright Office of the Library of Congress. 1170. Davis, Miles. 1974. Mr. Freedom (Mr. Freedom X.). Washington, DC: Library of Congress. Copyright Registration Number: EU520306. A lead sheet deposited in the Copyright Office of the Library of Congress. 1171. Davis, Miles. 1974. New York Girl. Washington, DC: Library of Congress. Copyright Registration Number: EU520301. A lead sheet deposited in the Copyright Office of the Library of Congress.

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1172. Davis, Miles. 1965. No Line. Washington, DC: Library of Congress. Copyright Registration Number: EU882568. A lead sheet deposited in the Copyright Office of the Library of Congress. 1173. Davis, Miles. 1974. On the Corner. Washington, DC: Library of Congress. Copyright Registration Number: EU520302. A lead sheet deposited in the Copyright Office of the Library of Congress. 1174. Davis, Miles. 1974. One and One. Washington, DC: Library of Congress. Copyright Registration Number: EU520304. A lead sheet deposited in the Copyright Office of the Library of Congress. 1175. Davis, Miles. 1965. Out of the Blue. Washington, DC: Library of Congress. Copyright Registration Number: EU870294. A lead sheet deposited in the Copyright Office of the Library of Congress. 1176. Davis, Miles. 1974. Saturday Miles. Washington, DC: Library of Congress. Copyright Registration Number: EU520307. A lead sheet deposited in the Copyright Office of the Library of Congress. 1177. Davis, Miles. 1964. Serpent’s Tooth. Washington, DC: Library of Congress. Copyright Registration Number: EU819019. A lead sheet deposited in the Copyright Office of the Library of Congress. 1178. Davis, Miles. 1963. Smooch. Washington, DC: Library of Congress. Copyright Registration Number: EU915562. A lead sheet deposited in the Copyright Office of the Library of Congress. 1179. Davis, Miles. 1964. Swing Spring. Washington, DC: Library of Congress, 1964. Copyright Registration Number: EU819017. A lead sheet deposited in the Copyright Office of the Library of Congress. 1180. Davis, Miles. 1974. Thinkin’ One Thing and Doin’ Another. Washington, DC: Library of Congress. Copyright Registration Number: EU520299. A lead sheet deposited in the Copyright Office of the Library of Congress. 1181. Davis, Miles. 1974. Thursday Miles. Washington, DC: Library of Congress. Copyright Registration Number: EU520309. A lead sheet deposited in the Copyright Office of the Library of Congress. 1182. Davis, Miles. 1965. Vierd Blues. Washington, DC: Library of Congress. Copyright Registration Number: EU882564. A lead sheet deposited in the Copyright Office of the Library of Congress.

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1183. Davis, Miles. 1974. Vote for Miles. Washington, DC: Library of Congress. Copyright Registration Number: EU520300. A lead sheet deposited in the Copyright Office of the Library of Congress. 1184. Davis, Miles. 1974. Wednesday Miles. Washington, DC: Library of Congress. Copyright Registration Number: EU520310. A lead sheet deposited in the Copyright Office of the Library of Congress. 1185. Davis, Miles, and Joe Zawinul. 1977. Great Expectations. Washington, DC: Library of Congress. Copyright Registration Number: EU842117. A lead sheet deposited in the Copyright Office of the Library of Congress. 1186. Davis, Miles, and Victor Feldman. 1963. Seven Steps to Heaven. Washington, DC: Library of Congress. Copyright Registration Number: EU784692. A lead sheet deposited in the Copyright Office of the Library of Congress. 1187. Davis, Miles, and Al Foster. 1975. Time After Time. Washington, DC: Library of Congress. Copyright Registration Number: EU582096. A lead sheet deposited in the Copyright Office of the Library of Congress. 1188. Di Lorenzo, G. 1993. The Original Cool Sounds of Miles Davis. New York: Sounds in Modern Music. 30 p. No ISBN. OCLC Number: 40197228. Compilation of lead sheets that include tablature and staff notation. Selections include “Miles Away,” “Miles Cools Off,” “A  Cool Mile,” “Play It Cool,” “Cool Sounds,” and “Miles Cools Off II.” 1189. DuBoff, Rob. 2001. Miles Davis: Kind of Blue. Milwaukee, WI: Hal Leonard. 88 p. ISBN: 9-780-63403-156-4. Publisher Number: HL00672490 Hal Leonard. OCLC Number: 49940924. A transcribed sketch score for jazz ensemble (trumpet, two saxophones, piano, bass, and drums). Includes all ensemble lines and improvised solos. Rhythm sections parts are often included as a guide to give the “feel” of each composition. Includes bibliographical references and discography. Selections include “So What (Take 3),” “Freddie Freeloader (Take 4),” “Blue in Green (Take 5),” “All Blues (Take 1),” “Flamenco Sketches (Take 6),” Flamenco Sketches (Take 1, Alternate Take),” and “Freddie Freeloader (complete Wynton Kelly solo).” 1190. DuBoff, Rob, and Jeffery Sultanoff. 2012. Donna Lee: For Jazz Ensemble. Saratoga Springs, NY: Jazz Line Publications. 17 p. Publisher Number: JLP-8146 Jazz Lines. OCLC Number: 975893689. A transcription of “Donna Lee,” a bebop jazz standard written by Miles Davis, based on the chord changes of the traditional jazz standard (“Back Home in Indiana”). Alto saxophonist Charlie Parker is often credited with this composition.

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This transcription is based on a set of parts for the arrangement Gil Evans made for the Claude Thornhill Orchestra. 1191. DuBoff, Rob, Mark Vinci, Mark Davis, and Josh Davis. 2000. Miles Davis: Kind of Blue. Milwaukee, WI: Hal Leonard. 63 p. ISBN: 9-780-6341169-6. Publisher Number: HL00672460 Hal Leonard. OCLC Number: 44156198. A transcribed sketch score compilation of recorded performances including all ensemble lines and improvised solos. Also includes a biographical profile of Miles Davis. Selections include “All Blues,” “Blue in Green,” “Flamenco Sketches,” “Freddie Freeloader,” and “So What.” 1192. Edmonds, Hank. 1960. Complete Miles Davis. New York: C. Colin. 24 p. OCLC Number: 472808407. Written for all instruments and piano and includes chord symbols. Selections include “Miles Away,” “Miles Sounds Off,” “A Cool Mile,” “Play It Cool,” “Cool Sounds,” “Amethyst,” “Rubi,” “Garnet,” “Opal,” and “Moon.” 1193. Edmonds, Hank. 1958. More of Miles Davis for All Instruments. New York: C. Colin. 16 p. OCLC Number: 4867785. Written for all instruments and piano and includes chord symbols. Selections include “Amethyst,” “Rubi,” “Opal,” “Garnet,” and “Moon.” 1194. Edmonds, Hank. 1958. Sketches Orks: Transcribed From Original Recordings. New York: C. Colin. 23 p. OCLC Number: 9434382. Transcriptions written for jazz ensembles for various instrumental combinations that include chord symbols. Selections include “Amethyst,” “Ruby,” “Garnet,” “Opal,” “Moon,” “Miles Away,” “Miles Sounds Off,” “Play It Cool,” “Cool Sounds,” and “A Cool Mile.” 1195. Edstrom, Brent. 2013. Miles Davis. [USA]: Universal Music; Milwaukee, WI: Hal Leonard, 2013. Series: Jazz Piano Solos, Vol. 1. 80 p. ISBN: 9-780-63405-905-6. Publisher Number: HL00306521 Hal Leonard. OCLC Number: 860883310. A compilation that includes transcriptions of “All Blues,” “Blue in Green,” “Boplicity (Bebop Lives),” “Circle,” “Dig,” “Eighty-One,” “Flamenco Sketches,” “Four,” “Freddie Freeloader,” “Half Nelson,” “Miles,” “Milestones,” “Nardis,” “Seven Steps to Heaven,” “So What,” “Solar,” “Somethin’ Else,” “The Theme,” and “Tune Up.” 1196. Fedele, Ivan, and Armand Angster. 2009. High: In Memoriam “Miles Davis”: (1996). Milano: Edizioni Suvini Zerboni. 7 p. Publisher Number: S. 13337 Z. Suvini Zerboni. OCLC Number: 427322865. A composition written as a tribute to Miles Davis. Originally written for trumpet, arranged for bass clarinet. 1197. Fedele, Ivan. 1999. High: In Memoriam “Miles Davis” per Tromba in si Bemolle (1996). Milano, Italy: Zerboni. 8 p. OCLC Number: 473767647.

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A composition written as a tribute to Miles Davis. Also includes a cassette. 1198. Findley, Jamie. 2003. Miles Davis for Solo Guitar. Milwaukee, WI: Hal Leonard. 93 p. CD. ISBN: 9-780-63402-302-6. Publisher Number: HL00699264. OCLC Number: 755962269. Transcriptions arranged for chord-melody guitar. Selections include “All Blues,” “All of You,” “Blue in Green,” “Bye Bye Blackbird,” “Four,” “Freddie Freeloader,” “I Could Write a Book,” “Milestones,” “Nardis,” “Nefertiti,” “Seven Steps to Heaven,” “Solar,” “So What,” “There Is No Greater Love,” and “When I Fall in Love.” 1199. Gentile, Mickey. 1960[1958]. Complete Miles Davis Interpretations. New York: C. Colin. 48 p. OCLC Number: 4867789. Written for all instruments and includes chord symbols. Selections include “Miles Away,” “Miles Sounds Off,” “A Cool Mile,” “Play It Cool,” and “Cool Sounds.” 1200. Giel, Lex. 2004. The Music of Miles Davis: A Study and Analysis of Compositions and Solo Transcriptions From the Great Jazz Composer and Improviser. Milwaukee, WI: Hal Leonard. 316 p. Illustrations and Discography. ISBN: 9-780-63401040-8. Publisher Number: HL00842011. OCLC Number: 59006766. A music score, transcriptions, and theoretical and analytical work that focus on the music of Miles Davis that is divided into four sections. The sections include “Part I: Miles the Composer”; “Part II: The Compositions, ”discussing “Little Willie Leaps, “Budo,” “Boplicity (Bebop Lives),” “Dig,” “The Serpent’s Tooth,” “Tune Up,” “Four” “Swing Spring,” “Blues by Five,” “Miles Ahead,” “Miles,” “Nardis,” “So What,” “Freddie Freeloader,” “Flamenco Sketches,” “Pfrancing (No Blues),” “Seven Steps to Heavens,” “E.S.P.,” “Eighty-One,” “Stuff,” “It’s About That Time,” and “Miles Runs the Voodoo Down”; “Part III: Miles Davis: The Player, Scales, Modes, the Blues and Pentatonic Scales, Arpeggios, Melodic Devices”; and “Part IV: The Solos” discussing “Sippin’ at Bells,” “Move,” “Dig,” “Tune Up (from Blue Haze),” “Four,” “Solar,” “Vierd Blues,” “My Funny Valentine (from Cookin’),” “Tune Up (from Cookin’), “Sid’s Ahead,” “Miles,” “So What (from Kind of Blue),” “Blue in Green,” “All Blues,” “So What (from At Carnegie Hall),” “My Funny Valentine (from The Complete Concert 1964),” “Stella by Starlight,” “Iris,” “Circle,” “Petits Machins,” and “Spanish Key.” 1201. Goodwin, Gordon. 2003. Seven Steps to Heaven. Milwaukee, WI: Hal Leonard. Series: Professional Editions for Jazz Ensemble. 23 p. Publisher Number: HL07010863. OCLC Number: 53061664. An arrangement of Miles Davis’ and Victor Feldman’s composition “Seven Steps to Heaven.” The instrumentation for this arrangement includes alto saxophone, or flute trombone saxophone, baritone saxophone, trumpet, trombone, guitar, vibraphone, piano, bass, and drums. 1202. Hamel, Peter Michael. 2007. “Milestone for Miles Davis.” In Vom Klang des Lebens: Tagebuch-Etüden für Klavier-Of the Sounds of Life: Diary-Etudes for Piano

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(1992–2006). Berlin: E. R. P. Musikverlag Eckart Rahn. 60 p. ISMN: M700252229. Publisher Number: Tre Media Edition 276. OCLC Number: 182624670. A tribute composition to Miles Davis included with several other musical tributes to John Cage, Alfred Tomatis, Morton Feldman, Walter Bachauer, Dane Rudhyar, Pandit Patekar, Oliver Messiaen, Giacinto Scelsi, Iannis Xenakis, and Johann David Antonin. Recorded by Roger Woodward on Celestial Harmonies, 13265–2, and issued as part of Otte edition of contemporary German piano music. 1203. Heider, Werner. 1997. Steps for Miles: Klavier Solo: In Memoriam Miles Davis. Karlsruhe: Tre Media Edition. Series: Edition Modern. 7 p. OCLC Number: 41381873. LC Number: M25 .H435 S7 1997. A piano composition written as a tribute to Miles Davis. The manuscript also includes instructions for performance in German following the music. 1204. Hendricks, Jon, lyrics, and Kerry Marsh. 2011. Four: SSAA With Rhythm Section. [s.l.] s.n.]. 15 p. OCLC Number: 810550409. A choral arrangement of Miles Davis’ composition “Four” that was written for the Sacramento State Jazz Singers, 2010. 1205. Hervà, Antione. 2008. Hommage à Miles Davis [Concerto pour Trompette]. Charnay-les-Mâcon: Robert Martin. 37 p. Publisher Number: R 4781 M. OCLC Number: 658726001. A trumpet concerto written as a tribute to Miles Davis. 1206. Hino, Terumasa. 1975. Jazz Improvisation: Transcriptions of Miles Davis’ Trumpet Solos for All Instrumental Musicians. Tokyo: Nichion, 1975. 2 Volumes. Text primarily in Japanese. OCLC Number: 4847550. A two-volume work that contains transcriptions of Miles Davis’ solos. In volume one, the selections include “Godchild,” “Israel,” “Dig,” “I’ll Remember April,” “Four,” “Tune Up,” “Nature Boy,” “Walkin’, ” “You Don’t Know What Love Is,” “Bags’ Groove,” “Airegin,” “Oleo,” “Doxy,” “Sid’s Ahead,” “So What,” “Freddie Freeloader,” and “Blue in Green.” The selections of volume two include “Miles’ Theme,” “Sweet Sue,” “If I Were a Bell,” “It Could Happen to You,” “It Never Entered My Mind,” “Salt Peanuts,” “My Funny Valentine (from the album Cookin’),” “Autumn Leaves,” “Django,” “Pfrancing,” “Seven Steps to Heaven,” “Joshua,” “My Funny Valentine (from the album My Funny Valentine),” “All of You,” “Stella by Starlight,” “E.S.P.,” and “Stuff.” 1207. Holmes, Roger. 2000. Freddie Freeloader. Milwaukee, WI: Hal Leonard, 2000. 7 p. Publisher Number: 07450541. OCLC Number: 48940802. A jazz combo arrangement of Miles Davis’ composition “Freddie Freeloader.” 1208. Hooper, Les. 2004. Boplicity. Miami, FL: Warner Bros. 13 p. Publisher Number: JEM040240 Warner Bros. Publications. OCLC Number: 173623163.

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An arrangement that includes chord symbols and notes to the conductor. 1209. Iannarelli, Simone. 2005. Three “Miles” Sketches [In Memory of Miles Davis]. Saint-Romuald, Quebec: Production d’ Oz. Series: Collection Alberto Vingiano. 16 p. Biographical information in English and French. ISBN: 9-782-89500-698-5. Publisher Number: DZ 812 Production d’ Oz. OCLC Number: 61138682. Special tributes in honor of Miles Davis written for guitar. Selections include “Preludio,” “Sketch I,” “Interludio,” “Sketch II,” “Interludio II,” “Sketch III,” and “Postludio III.” 1210. Isacoff, Stuart. 1985. Solos for Jazz Trumpet: Classic Jazz Solos as Played by Louis Armstrong, Dizzy Gillespie, Miles Davis, Lee Morgan, Freddie Hubbard. New York: Carl Fischer. Series: All That Jazz. 54 p. ISBN: 9-780-82580-370-3. Publisher Number: ATJ301. OCLC Number: 775023046. Selected solos transcribed from unaccompanied melodies with chord symbols. 1211. Isacoff, Stuart. 1979. Miles Davis for B Flat Trumpet. New York: Amsco/Consolidated Music. Series: Music for Millions v. 89. 48 p. ISBN: 9-780-82564-089-6. Publisher Number: 24589 Amsco. OCLC Number: 5378041. Transcriptions of solos played by Miles Davis. Selections include “Groovin’ High,” “Dig,” “Airegin,” “I’ll Remember April,” “Doxy,” “Oleo,” “Tune Up,” “All of Me,” “Four,” “Stella by Starlight,” and “I Waited for You.” 1212. Isacoff, Stuart. 1978. Miles Davis. New York: Amsco/Consolidated Music. Series: Jazz Masters; Music for Millions, v. 79. 48 p. ISBN: 9-780-82564-079-7. Publisher Number: 24598 Amsco. OCLC Number: 4559884. Transcriptions of solos played by Miles Davis. Selections include “Groovin’ High,” “Dig,” “Airegin,” “I’ll Remember April,” “Doxy,” “Oleo,” “Tune Up,” “All of Me,” “Four,” “Stella by Starlight,” and “I Waited for You.” 1213. Jasbar, Helmut. 1994. 4 Miles 2 Davis. London and Bonn: Bosworth. Series: Bosworth Guitar. 16 p. Publisher Number: BoE 4095. OCLC Number: 725287335. A tribute composition in honor of Miles Davis. 1214. Johnson, Budd. 1956. A Cool Mile. New York: New Sounds in Modern Music. Series: The Cool Sounds of Miles Davis: Small Ensembles. 9 p. OCLC Number: 803955425. An arrangement for alto, tenor and baritone saxophones, trumpet, trombone, drums, guitar, piano, and bass. 1215. Johnson, Budd. 1956. Miles Away. New York: New Sounds in Modern Music. Series: The Cool Sounds of Miles Davis: Small Ensembles. 9 p. OCLC Number: 803955381. An arrangement for alto, tenor and baritone saxophones, trumpet, trombone, drums, guitar, piano, and bass.

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1216. Johnson, Budd. 1956. Miles Cools Off. New York: New Sounds in Modern Music. Series: The Cool Sounds of Miles Davis: Small Ensembles. 9 p. OCLC Number: 803955280. An arrangement for alto, tenor and baritone saxophones, trumpet, trombone, drums, guitar, piano, and bass. 1217. Johnson, Budd. 1956. Cool Sounds. New York: New Sounds in Modern Music. Series: The Cool Sounds of Miles Davis: Small Ensembles. 9 p. OCLC Number: 222146403. An arrangement for alto, tenor and baritone saxophones, trumpet, trombone, drums, guitar, piano, and bass. 1218. Julien, Ivan. 1984. Miles Davis. Paris: A. Pierson. 43 p. Series: Collection Jazz. Publisher Number: A.P. 78. OCLC Number: 220807203. Transcriptions of Miles Davis’ trumpet solos. Selections include “Budo,” “Miles Ahead,” “All Blues,” “Freddie Freeloader,” “Blue in Green,” “So What,” “Four,” “Milestones,” “Tout de Suite,” “Dual Mr. Tillman Anthony,” “Frelon Brun,” “Filles de Kilimanjaro,” “Go Ahead John,” “Aida,” “Back Seat Betty,” “Ursula,” and “Shout.” 1219. Kirchner, Volker David. 1996. Abgewandt (In Memoriam Miles Davis). In Exil: Quartett für Klarinette in B Flat, Violine, Violoncello und Klavier (Quartet for Clarinet in B Flat, Violin, Violoncello, and Piano) (1994). Mainz and New York: Schott. 48 p. ISMN: M001112277. Publisher Number: ED 8418 Schott. OCLC Number: 638568220. A tribute composition in honor of Miles Davis. 1220. LaBarbera, John. 2005. So What: A Recorded by the John LaBarbera Big Band on “On the Wild Side”. Milwaukee, WI: Hal Leonard. 30 p. Publisher Number: 07011068 Hal Leonard. OCLC Number: 173623481. An arrangement of Miles Davis’ composition “So What.” 1221. Levine, Mark. 1992. Jazz Piano Voicings Transcribed Comping From Volume 50, Miles Davis Play-Along Recording. New Albany, IN: Jamey Aebersold. vii, 99 p. ISBN: 9-781-56224-085-1 and 1-562-24085-4. OCLC Number: 222932025. Piano comping transcriptions for several of Miles Davis’ compositions. Selections include “Freddie Freeloader,” “So What (slow version),” “All Blues,” “Milestones (slow version),” “Blue in Green,” “Seven Steeps to Heaven,” “Nardis,” “EightyOne,” “So What (fast version),” and “Milestones (fast version).” 1222. Mantooth, Frank. 1990. Jazz Combo Pak # 19. Milwaukee, WI: Hal Leonard. 8 p. CD. Publisher Number: 07011151-07011152. OCLC Number: 191058669. Transcribed scores written for piano, B flat instruments, E flat instruments, C instruments, guitar, bass, and drums. Each score provides three lines to allow a variety of possible instrument combinations: lead or harmony, lead or harmony

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with solo, and harmony only. A table included in the volume provides lists of suggested instruments. Selections include “Seven Steps to Heaven,” “Milestones,” “So What,” and “Blue in Green.” 1223. Mantooth, Frank. 1992. Freddie Freeloader, All Blues, Nardis. Milwaukee, WI: Hal Leonard. Series: Hal Leonard Combo Pak, no. 23. No ISBN. Publisher Number: 07011154 Hal Leonard. OCLC Number: 451746729. Jazz combo arrangements of Miles Davis’ compositions “Freddie Freeloader,” “All Blues,” and “Nardis” that include piano and conductor parts. 1224. Murtha, Paul. 2005. Milestones. Milwaukee, WI: Hal Leonard. Series: Hal Leonard Discovery Jazz. 8 p. Publisher Number: HL07470682 Hal Leonard. OCLC Number: 441772655. A jazz arrangement of Miles Davis’ composition “Milestones.” 1225. Nelson, Jon. 2003[2000]. Dream of Miles: Brass Quintet, Percussion. Buffalo, NY: Blue Bison Music. Series: Blue Bison Music Contemporary Series, no. 3. 30 p. Liner notes on cover. OCLC Number: 52397129. LCCN: M685 .N458 D7. A tribute composition in honor of Miles Davis written for two trumpets, horn, trombone, tuba, and drum kit, as performed by the Meridian Arts Ensemble. 1226. O’ Neill, John, and Steve Waterman. 2001. Die Jazzmethode für Trompete: vom ersten Ton bis Miles Davis. Mainz, Germany: Schott. 119 p. CD. ISBN: 9-78379575-468-6. Publisher Number: ED 8997. OCLC Number: 249104917. A tribute composition written for trumpet in honor of Miles Davis. 1227. Schneider, Christoph, and Anne Kern. 1997. Sieben Variationen und Choral über ein Thema von Miles Davis: für Bratsche und Orgel (1993). Karlsruhe: Aka-Musikverlag. 24 p. ISMN: M700102-44-9. Publisher Number: 4.010: DM 34.00. OCLC Number: 313754900. A tribute composition, variations, and choral theme in honor of Miles Davis. 1228. Shanko, Timo. 2001–2002. Miles Davis Original. Milwaukee, WI: Hal Leonard. 2 vols. ISBN: 9-780-63400-558-9. OCLC Number: 780635151. Two volumes of transcribed solos for trumpet with chord symbols and instrumental cues. Selections for volume one include “Agitation,” “All Blues,” “Blue in Green,” “Circle,” “Flamenco Sketches,” “Green Haze,” “Half Nelson,” “Miles,” “Milestones,” “Sid’s Ahead,” “Solar,” “So What,” and “Theme.” The selections for volume two include “Agitation,” “Country Son,” “All Blues,” “Bitches Brew,” “Eighty-One,” “Filles de Kilimanjaro,” “Miles,” “Miles Runs the Voodoo Down,” “Petits Machins,” “Seven Steps to Heaven,” “So What,” “Spanish Key,” and “No Blues.” 1229. Stone, George. 2002. Nardis. Milwaukee, WI: Hal Leonard. Series: Hal Leonard Jazz Ensemble Library. 14 p. Publisher Number: HL07010737. OCLC Number: 52037944.

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An arrangement of Miles Davis’ composition “Nardis.” The instrumentation of the arrangement includes five saxophones, four trumpets, four trombones, guitar, piano, bass, and drums. 1230. Sultanof, Jeffrey. 2002. Birth of the Cool: Scores From the Original Parts. Milwaukee, WI. Hal Leonard. 167 p. ISBN: 0-634-00682-7. Publisher Number: HL00672452 Hal Leonard. OCLC Number: 50672283. Arrangements for alto saxophone, baritone saxophone, trumpet, bassoon, tuba, piano, and bass. Selections include “Birth of the Cool Theme,” “Boplicity: Bebop Lives,” “Budo,” “Deception,” “Godchild,” “Israel,” “Joost at the Roost,” “Moon Dreams,” “Move,” “Rock Salt: Rocker,” “Rouge,” and “Venus De Milo.” 1231. Sultanoff, Jeffery. 2009. Boplicity. Saratoga Springs, NY: Jazz Lines Publications. ISBN: 9-781-57406-042-3. Publisher Number: JLP-8052. OCLC Number: 786417919. A full score arranged for alto saxophone, baritone saxophone, trumpet, horn in F (trumpet II), trombone, tuba, (or bass trombone), piano, bass, and drums. 1232. Sultanoff, Jerry. 2010. Deception: Nonet Arrangement. Saratoga Springs, NY: Jazz Line Publications. 31 p. OCLC Number: 786338960. A transcription of “Deception,” as recorded from Miles Davis’ Birth of the Cool album. The instrumentation includes alto saxophone, baritone saxophone, trumpet, trumpet II (alternate for horn), horn in F, trombone, tuba, piano, bass, and drums. Also includes notes for the conductor. 1233. Sweeney, Michael. 2001. So What. Milwaukee, WI: Hal Leonard. Series: Essential Elements for Jazz Ensemble. 10 p. Publisher Number: HL07010742 Hal Leonard. OCLC Number: 441772731. An arrangement of Miles Davis’ composition “So What,” arranged for jazz ensemble. 1234. Sweeney, Michael. 2000. All Blues-Recorded by Miles Davis. Milwaukee, WI: Hal Leonard. 16 p. CD. ISBN: 0-634-00682-7. OCLC Number: 866581714. A conductor’s score and accompanying CD of a transcription of “All Blues” by Miles Davis that is part of the Hal Leonard Easy Jazz Ensemble series. 1235. Taylor, Mark. 2012. Four. Milwaukee, WI: Hal Leonard. 12 p. Publisher Number: HL07011925. OCLC Number: 836202893. An arrangement of Miles Davis’ composition “Four” that is part of the Hal Leonard Little Big Band series. This arrangement is written for saxophone (alto, tenor, and baritone), trumpet (I and II), trombone, guitar, piano, bass, and drums. The solo sheets are written for C treble clef instruments, B flat instruments, E flat instruments, and bass clef instruments. 1236. Taylor, Mark. 2002. Graham Breedlove, Tony Nalker, Jim Roberts, and Steve Fidyk. 2002. Miles Davis: Ten Miles Davis Classics. Milwaukee, WI: Hal Leonard.

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51 p. Series: Jazz Play Along, v. 2. CD. ISBN: 9-780-63403-916-4. Publisher Number: HL00841645 Hal Leonard. OCLC Number: 50499275. Lead sheets and CD for B flat, E flat, and C instruments. Each song on the CD has two tracks: split track/melody and full stereo track. Performers of the CD include Graham Breedlove, trumpet; Tony Nalker, piano; Jim Roberts, bass; and Steve Fidyk, drums. Selections include “All Blues,” “Blue in Green,” “Four,” “Half Nelson,” “Milestones,” “Nardis,” “Seven Steps to Heaven,” “So What,” “Solar,” and “Tune Up.” 1237. Taylor, Mark. 1999. So What. Milwaukee, WI: Hal Leonard. Series: Jazz Classics for the Young Ensemble. 10 p. Publisher Number: HL07010575. OCLC Number: 47826500. An arrangement of Miles Davis’ composition “So What.” The arrangement is written for five saxophones, eight brass instruments, guitar, piano, bass, drums, and vibraphone. 1238. Taylor, Mark. 1992. Tribute to Miles Davis. Milwaukee, WI: Hal Leonard. Series: Jazz Ensemble Library. 24 p. Publisher Number: 07010374 Hal Leonard. OCLC Number: 421742829. A compilation in tribute to Miles Davis. Selections include “So What,” “All Blues,” “Seven Steps to Heaven,” and “Milestones.” Instrumentation includes five saxophones, four trumpets, four trombones, guitar, piano, bass, drums, and vibraphone. 1239. Tomaro, Mike. 2008. Solar. Milwaukee, WI: Hal Leonard. Originally published in 1963. Series: Hal Leonard Little Big Band. 19 p. OCLC Number: 741928815. An arrangement for Miles Davis’ composition “Solar.” The arrangement is written for alto, tenor, and baritone saxophones; trumpet (I and II), trombone, guitar, piano, bass, drums, C treble clef instruments, E flat instruments, Bass clef instruments, alternate alto saxophone, and alternate trombone. 1240. Tomaro, Mike. 2004. Milestones. Milwaukee, WI: Hal Leonard. 20 p. Publisher Number: 07011016 Hal Leonard. OCLC Number: 173623554. An arrangement of Miles Davis’ composition “Milestones.” The arrangement is written for alto, tenor (I and II), and baritone saxophones, trumpets (I, II, II, and IV), trombones (I, II, III, and IV), guitar, piano, bass, drums. 1241. Washburn, Dick, and Pat Harbison. 1980. Miles Davis Transcribed Solos: Exactly as Recorded With Original Prestige Recordings. New Albany, IN: Jamey Aebersold. iv, 34 p. LP. OCLC Number: 8617844. Transcription sheets formatted for trumpet solo. Include chord symbols for accompaniment. “Dig,” “Serpent’s Tooth,” “Tune Up,” “Miles Ahead,” “Solar,” “The Theme,” “Vierd Blues,” “Oleo,” “Airegin,” and “Tune Up.” 1242. Wilson, Dana. 1997. I Remember .  .  .  (Louis and Clifford and Miles and Dizzy). Westfield, MA: International Trumpet Guild. Special supplement to

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September  1998, International Trumpet Guild (ITG) Journal. 7 p. Liner and Biographical notes on back of cover. OCLC Number: 222665192. A tribute composition to jazz four trumpeters: Louis Armstrong, Clifford Brown, Miles Davis, and Dizzy Gillespie. This composition was first prize winner of the 1998 International Guild Composition for trumpet unaccompanied in the jazz idiom.

5 Annotations of Selected Videos and Audio Tapes

1243. Akomfrah, John. 2013. The Stuart Hall Project. London: BFI. Publisher Number: BFI VD998. DVD, 99 minutes. A documentary about sociologist Stuart Hall’s biographical background about his life and career and with lifelong influence of Miles Davis. Commentators and participants include Dewald Aukema, Nse Asuquo, Trevor Mathison, John Akomfrah, and Lina Gopaul. 1244. Allen, Steve, host. 1964. The Steve Allen Show [Miles Davis & Steve Allen]. [USA]: Public Television. OCLC Number: 55525627. VHS, 36 minutes. Miles Davis makes a rare appearance on The Steve Allen Show. 1245. Benedikt, Julian, writer and director. 2007[1997]. Blue Note: A Story of Modern Jazz. [USA]: Naxos of America. Publisher Number: 2005678 Naxos of America. DVD, 91 minutes. Subtitles in German, French and Spanish. Program notes inserted in container. A historical documentary about the Blue Note Records jazz label that recorded musicians such as Miles Davis, John Coltrane, Herbie Hancock, and many others. Commentators include Ron Carter, Herbie Hancock, Taj Mahal, Thelonious Monk, Max Roach, Carlos Santana, and Jimmy Smith. 1246. Benedikt, Julian. 2007. Play Your Own Thing: A Story of Jazz in Europe. [Germany?]: EuroArts. Publisher Number: 2055740 EuroArts. DVD, 90 minutes. Optional subtitles in English, French, and Italian. Booklet [12] p. inserted in container.

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A historical documentary of the development of jazz in Europe. Commentators and performers include Miles Davis, Louis Armstrong, Chris Barber, Stefano Bollani, Dee Dee Bridgewater, Duke Ellington, Dexter Gordon, Bud Powell, Ben Webster, and others. Sections of the documentary include “Jazz Arrives,” “Inspiration From Abroad,” “The United States of Jazz: Europe’s Recognition,” “Montmartre Jazz Club,” “Exchange Across Borders,” “Playing Your Own Thing,” “Jazz Behind the Iron Curtain,” “Finding Freedom,” and “The Personal Signature.” 1247. Burns, Ken, director. 2000. Jazz/Episode Ten, a Masterpiece by Night. Brighton, MA: PBS Video. Publisher Number: B8272D PBS DVD Gold. DVD, 120 minutes. Narrator: Keith David. A historical documentary about the development of jazz and jazz musicians. Sections of the documentary include “Freedom Now!,” “Imagining Concerts,” “Not to Be Understood,” “Shooting Comets,” “Tennis Without a Net,” “Good Evening Everybody,” and “Homecoming.” Commentators include Wynton Marsalis, Gerald Early, Joshua Redman, Lester Bowie, Abbey Lincoln, and others. 1248. Burns, Ken, director. 2000. Jazz/Episode Nine, The Adventure. Brighton, MA: PBS Video. Publisher Number: B8271D PBS DVD Gold. DVD, 120 minutes. Narrator: Keith David. A historical documentary about the development of jazz and jazz musicians. Sections of the documentary include “The Titan,” “Eavesdropping,” “Ooftah,” “The Messengers,” “Inside/Outside,” “Existence Music,” and “The Adventure.” Commentators include Wynton Marsalis, Gerald Early, Ossie Davis, John Hendricks, Gary Giddins, and others. 1249. Burns, Ken, director. 2000. Jazz/Episode Eight, Risk. Brighton, MA: PBS Video. Publisher Number: 829D PBS DVD Gold. DVD, 120 minutes. Narrator: Keith David. A historical documentary about the development of jazz and jazz musicians. Sections of the documentary include “Trying to Play Clean,” “This Is My Home,” “Sustained Intensity,” “The Apostle of Hipness,” “Monk,” “Cool,” and “The Future Unlived.” Commentators include Wynton Marsalis, Gerald Early, Ossie Davis, John Hendricks, Gary Giddins, and others. 1250. Cassenti, Frank, director. 2001. Miles Davis-Miles in Paris. [s.l.]: Warner Music Vision. OCLC Number: 463007727. DVD, 78 minutes. Recorded interviews with Miles Davis on November 3, 1989, in Paris, France. Interviews include “Miles on the Media,” “Miles on Art,” “Miles on His Sound,” “Miles on South Africa,” “Miles on Melody,” “Miles on Friends,” “Miles on Posterity,” and “Miles on Fame.” 1251. Chamberland, Carol P., director. 1998. The Legend of Bop City. New York: Carousel Film & Video. OCLC Number: 70834220. DVD and VHS, 52 minutes. An overview of the 1950–1965 after-hours club known as Jimbo’s Bop City that hosted legendary jazz musicians such as Duke Ellington, Miles Davis, Charlie Parker, and Billie Holiday.

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1252. Cheadle, Don, director. 2016. Miles Ahead. [USA]: Sony Pictures Classics. A biopic motion picture about the life, music, and career of Miles Davis played by actor Don Cheadle who also served as the film’s director. The film had its world premiere at the New York Film Festival on October 10, 2015. The soundtrack features musical highlights from Miles Davis’ compositions and new recordings overseen by Grammy Award–winning jazz/hip-hop artist Robert Glasper. Along with Glasper, some of the other performers include Herbie Hancock, Wayne Shorter, Gary Clark, Jr., Illa J., and Esperanza Spaulding. Soundtrack selections include “Miles Ahead,” “Dialogue,” “It Takes a Long Time . . .,” “So What,” “Taylor Made,” “Dialogue: Listen, You Talk Too Goddam Much,” “Solea (Excerpt),” “Seven Steps to Heaven (Edit),” “Dialogue: If You Gonna Tell a Story . . .,” “Nefertiti (Edit),” “Frelon Brun,” “Dialogue: Sometimes You Have These Thoughts . . . ,” “Duran (Take 6 Edit),” “Dialogue: You Own My Music,” “Go Ahead John (Part Two C),” Black Satin (Edit),” “Dialogue: Be Musical About this Shit . . . [Explicit],” “Prelude, Pt 2,” “Dialogue: Y’all Listening to Them . . .,” “Junior’s Jam,” “Francessence,” “Back Seat Betty,” “Dialogue: I Don’t Like the Word Jazz . . .,” “What’s Wrong with That?,” and “Gone 2015.” 1253. Coltrane, John, and Miles Davis. 2006. Impressions of Coltrane. Holland: Immortal. Publisher Number: IMM 940098 Immortal. DVD, 66 minutes. Liner notes by William Hogeland. Recorded performances in the 1950s and early 1960s with John Coltrane, soprano and tenor saxophones; Miles Davis, trumpet and flügelhorn; and other instrumentalists. Selections include “Alabama,” “Impressions,” “Afro Blue,” “So What (with Miles Davis),” “Blues for Pablo (with Miles Davis),” “New Rhumba (with Miles Davis),” “My Favorite Things (with Eric Dolphy),” and Impressions (with Eric Dolphy).” 1254. Coltrane, John, and Miles Davis. 1985. John Coltrane: The Coltrane Legacy. New York: Video Artists International. Publisher Number: VA1 DVD 4220 VA1. Series: VA1 Jazz Video Collection; History of Jazz. DVD, 61 minutes. Recorded performances of 1959, 1961, and 1963 that include the Miles Davis Quintet (Miles Davis, John Coltrane, Wynton Kelly, Paul Chambers, Jimmy Cobb). Includes a performance “So What” by the Miles Davis Quintet (1959). Also included are selections by John Coltrane ensembles. Coltrane’s selections include “Every Time We Say Goodbye,” “Impressions,” “My Favorite Things” (with John Coltrane, Eric Dolphy, McCoy Tyner, Reggie Workman, and Elvin Jones, 1961), “Afro Blue,” and “Alabama” (with John Coltrane, Eric Dolphy, McCoy Tyner, Jimmy Garrison, and Elvin Jones, 1963). 1255. Coltrane, John, and Miles Davis. 1996. John Coltrane. Princeton, NJ: Films for the Humanities & Sciences. Publisher Number: FFH 8212 Films for the Humanities & Sciences. Series: The Jazz Collection. VHS, 56 minutes. A biographical/documentary about John Coltrane that include excerpts of performances with Miles Davis. Selections include “Alabama,” “Afro Blue,” “Oop Bop

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Sh’ Bam,” “All of Me,” “Paul’s Pal,” “So What,” “Ghost,” “Impressions,” “My Favorite Things,” “Vigil,” “Leo,” “Peace on Earth,” and “Naima.” 1256. Coltrane, John, and Miles Davis. 2005. Trane Tracks: The Legacy of John Coltrane. Andorra: Efor Films. 2005. Publisher Number: 2869049 Efor Films. DVD, 80 minutes. Spanish and French subtitles. A biographical documentary that profiles of the life and career of John Coltrane. Includes concert footage of “So What,” with Miles Davis Quintet, “Afro Blue,” “Alabama,” “Every Time We Say Goodbye,” “Niama,” “Impressions,” and “My Favorite Things.” Includes video footage of Miles Davis, Johnny Hodges, Charlie Parker, Dizzy Gillespie, Lester Young, Coleman Hawkins, Thelonious Monk, the Art Ensemble of Chicago, and the Elvin Jones Quartet. Also includes interviews with McCoy Tyner, Elvin Jones, Ron Carter, Benny Bailey, Eddie Marshall, Bishop Franzo, and Wayne King. 1257. Cushley, Joe. 2010. A Journey Through American Music. [Australia]: Enhance Screenrights. OCLC Number: 721545647. DVD, 300 minutes. Host and Commentator: Morgan Freeman. A six-set documentary that examines the role of a broad range of artists including Miles Davis, Robert Johnson, Aretha Franklin, Louis Armstrong, and others in the development of American music. 1258. Davis, Miles, Lester Young, and Charlie Parker. 2003. Lester Young, Charlie Parker, Miles Davis: Great Performances. Andorra: Idem Home Video. Publisher Number: IDVD 1057 Idem House Video. DVD, 60 minutes. Recorded performances of Lester Young, tenor saxophone, August–September 1944; Charlie Parker, alto saxophone, February 24, 1952; and Miles Davis, April 2, 1959. Selections include [Lester Young] “Jammin’ the Blues,” “The Midnight Symphony,” “On the Sunny Side of the Street”; [Charlie Parker] “Hot House”; [Miles Davis] “So What,” “The Duke,” “Blues for Pablo,” “New Rhumba,” “Sweet Georgia Brown,” “If I Could Be With You One Hour Tonight,” “Blues for Marvin,” and “Jammin’ the Blues.” 1259. Davis, Miles, and Quincy Jones. 2013. Miles Davis With Quincy Jones & The Gil Evans Orchestra: Live at Montreux. [Europe]: Eagle Vision. Publisher Number: EREDV969. DVD, 133 minutes. Recorded concert, July 8, 1991, at the Montreux Jazz Festival, in Montreux, Switzerland. Performers: Miles Davis, trumpet; Quincy Jones, conductor; Gil Evans Orchestra; George Gruntz Concert Jazz Band; and guest soloists Kenny Garrett, alto saxophone, and Wallace Roney, trumpet and flügelhorn. Selections include “Introduction by Claude Nobs and Quincy Jones,” “Boplicity,” “Maids of Cadiz,” “The Duke,” “My Ship,” “Miles Ahead,” “Blues for Pablo,” “Orgone,” “Gone, Gone, Gone,” “Summertime,” “Here Comes De Honey Man,” “The Pan Piper,” and “Solea.” 1260. Davis, Miles. 2008. Directions. [Europe]: Standing Oh!vations. OCLC Number: 682174754. DVD, 104 minutes.

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A concert that was recorded June 18, 1968, San Francisco; August 29, 1970, Isle of Wight; and November 16, 1971, Turin, Italy. The performers include Miles Davis, trumpet; Keith Jarrett, piano, electric piano, keyboards, soprano saxophone; Dave Holland, bass; and other instrumentalists. Selections include [San Francisco]: “Love Ship,” “Tagore,” “Passin’ Thru,” “Forest Flowers”; [Isle of Wight]: “Call It Anything”; [Turin, Italy]: “Turin Medley.” 1261. Davis, Miles. 1990. Jazz Masters Vintage Collection 1958–1961. New York: Fred Baker Films & Videos. OCLC Number: 61199001. DVD, 95 minutes. Liner notes by Richard Cook. Selected performances recorded 1958–1961 of the Miles Davis Quintet, Thelonious Monk Trio, Count Basie Orchestra, and others. Selections include “So What (Miles Davis Quintet)” and “The Duke & Orchestral Sketches No. 1 and No. 2 (Gil Evans Band with Miles Davis Quintet).” 1262. Davis, Miles. 2006. Miles Davis: Around Midnight. [USA]: Salt Peanuts. Publisher Number: 44601 Salt Peanuts. Series: Modern Jazz on DVD. DVD, 45 minutes. A series of concerts recorded October  31, 1967, Konserthuset, Stockholm (first five selections) and November 7, 1967, Stadthalle in Karlsruhe, Germany (remainder of program) that features the Miles Davis Quintet [Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; and Tony Williams, drums]. Selections include “Agitation,” “Footprints,” “Around Midnight,” “Gingerbread Boy,” “Introduction to the Theme,” and “I Fall in Love Too Easily.” 1263. Davis, Miles. 2008. Miles Davis & Keith Jarrett: The 1971 Berlin Concert. [Europe]: Jazz VIP. OCLC Number: 498160957. DVD, 73 minutes. Concerts recorded November  6, 1971, Philharmonie, Berlin, Germany, and July 26, 1974, Umbria Jazz Festival, Perugia, Italy. Performers include Miles Davis, trumpet; Keith Jarrett, electric piano, organ, piano solo on improvisation No. 1 and No. 2; Gary Bartz, soprano and alto saxophone; Michael Henderson, electric bass; Leon “Ndugu” Chancler, drums; Charles Don Alias, conga, percussion; and James “Mtume” Forman, conga, percussion. Selections include “Berlin Medley,” “Honky Tonk,” “What I Say,” “Sanctuary,” “It’s About That Time,” “Funkytonk,” “Improvisation No. 1,” and “Improvisation No. 2.” 1264. Davis, Miles. 1969. Miles Davis Live in Copenhagen  & Rome. [Europe]: JazzShots. Publisher Number: 2869080 Jazz Shots. DVD, 81 minutes. Recorded concerts of November  4, 1969, Tivoli Koncertsal, Copenhagen, Denmark, and October 27, 1969, Teatro Sistine, Rome, Italy, by the Miles Davis Quintet [Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Chick Corea, electric piano and keyboards; Dave Holland, bass; and Jack DeJohnette, drums]. Selections include [Copenhagen Concert]: “Bitches Brew,” “Agitation,” “I Fall in Love Too Easily,” “Sanctuary,” “It’s About That Time,” and “Introduction to the Theme”; [Rome Concert]: “Bitches Brew,” “Miles Runs the Voodoo Down,” “I Fall in Love Too Easily,” “Sanctuary,” “Introduction to the Theme,” “Directions,” and “Masqualero.”

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1265. Davis, Miles. 2009. Miles Davis Quintet: Live in Europe ’67. [Europe]: Columbia/ Legacy. Series: Complete Columbia Album Collection, No. 53. OCLC Number: 952335830. DVD, 75 minutes. Recorded concerts of October 31, 1967, Konserthuset, Stockholm, Sweden (first five selections) and November  7, 1967, in Karlsruhe, Germany (remainder of program) by the Miles Davis Quintet [Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; and Tony Williams, drums]. Selections include [Stockholm, Sweden]: “Agitation,” “Footprints,” “ ’Round Midnight,” “Gingerbread Boy,” and “The Theme”; [Karlsruhe, Germany]: “Agitation,” “Footprints,” “I Fall in Love Too Easily,” “Walkin’, ” “Gingerbread Boy,” and “The Theme.” 1266. Davis, Miles. 2007. Miles Davis Quintet, Milan 1964. [Europe]: Impro-Jazz. Publisher Number: IJ 525 Improv-Jazz. DVD, 60 minutes. Recorded concert of October 1964, the Teatro Dell’ Arte, Milan, Italy, by the Miles Davis Quintet [Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Herbie Hancock, piano; Ron Carter, bass; and Tony Williams, drums]. Selections include “Autumn Leaves,” “My Funny Valentine,” “All Blues,” “All of You,” “Joshua,” “Introduction,” and “The Theme.” 1267. Davis, Miles. 2010. Miles Davis Quintet-Berlin. [Europe]: JazzShots. Publisher Number: 2869094 Jazz Shots. DVD, 45 minutes. Recorded November  7, 1969, in Berlin, Germany, of the Miles Davis Quintet [Miles Davis, trumpet; Wayne Shorter, tenor saxophone; Chick Corea, electric piano; Dave Holland, bass, electric bass; and Jack DeJohnette, drums]. Selections include “Introduction,” “Directions,” “Bitches Brew,” “I Fall in Love Too Easily,” “Sanctuary,” and “The Theme.” 1268. Davis, Miles. 2010. Miles Davis Septet: Live in Stockholm 1973. [S.l.]: Rare Jazz Footage. Publisher Number: 6632240 Rare Jazz Footage. DVD, 56 minutes and 2 seconds. Recorded concert of October 27, 1973, at Konserthuset, Stockholm, Sweden, by the Miles Davis Septet [Miles Davis, trumpet; Dave Liebman, tenor saxophone, soprano saxophone, flute; Pete Cosey, guitar, percussion; Reggie Lucas, guitar; Michael Henderson, electric bass; Al Foster, drums; and James “Mtume” Forman, congas and percussion]. Selections include “Untitled Original,” “Calypso Frelimo,” “For Dave (Mr. Foster),” and “Tune in 5.” 1269. Davis, Miles. 2004. Miles Davis: The Cool Jazz Sound of Jazz. Andorra: Eforfilms. Publisher Number: 2869033 Eforfilms. Series: Stars of Jazz. DVD, 26 minutes. Recorded concert of 1959 by the Miles Davis Quintet [Miles Davis, trumpet, flugelhorn; Julian “Cannonball” Adderley, alto saxophone; John Coltrane, tenor saxophone; Wynton Kelly, piano; Paul Chambers, bass; and Jimmy Cobb, drums] and the Gil Evans Orchestra with Ernie Royal, Clyde Reasinger, Louis Mucci, Johnny

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Coles, Emmett Berry, trumpet; Frank Rehak, Jimmy Cleveland, Bill Elton, and Rod Levitt, trombone; Julius Watkins and Bob Northern, French horn; Bill Barber, tuba; Danny Bank, bass clarinet; and Romeo Penque and Eddie Caine, woodwinds. Selections include “So What,” “The Duke,” “Blues for Pablo,” and “New Rhumba.” 1270. Davis, Miles. 200-? Somethin’ Else. [USA]: Blue Note Records. OCLC Number: 71300814. DVD, 43 minutes. Liner notes by Leonard Feather. Recorded performance of 1958 by Miles Davis, trumpet; Julian “Cannonball” Adderley, alto saxophone; Sam Jones, bass; Art Blakey, drums; and Hank Jones, piano. Selections include “Autumn Leaves,” “Love for Sale,” “Somethin’ Else,” “One for Daddy-O,” “Dancing in the Dark,” and “Allison’s Uncle.” 1271. Davis, Miles. 2009. Stadthalle, Vienna, 1973. [S.l.]: Jazz VIP. Publisher Number: 138 Jazz VIP. DVD, 63 minutes. Recorded concert of November  3, 1973, Stadthalle, Vienna, Austria, by Miles Davis, trumpet; Dave Liebman, flute, tenor and soprano saxophones; Reggie Lucas, electric guitar; Pete Cosey, electric guitar, percussion; Michael Henderson, electric bass; Al Foster, drums; and James “Mtume” Forman, congas, percussion. Selections include “Turnaroundphase,” “Tune in 5,” “Ife,” “Right Off,” “Funk,” “Calypso,” and “Frelimo.” 1272. Davis, Miles. 2007. At Hammersmith Odeon: London 1982. [GBR]: Jazzdoor. Publisher Number: JD 11036. DVD, 84 minutes. A recording of a performance from 1982 in London, England, by Miles Davis, trumpet, keyboards; Bill Evans, soprano and tenor saxophones, flute; Mike Stern, electric guitar; Marcus Miller, electric bass; Al Foster, drums; Mino Cinelu, percussion. Selections include “Back Seat Betty,” “My Man’s Gone Now,” “Aida,” “Ife,” “Fat Time,” and “Jean Pierre.” 1273. Davis, Miles. 2005. Live/Love. Holland: Immortal. Publisher Number: IMM 940079 Immortal. DVD, 63 minutes. Liner notes [2] p. by William Hogeland. Recorded concerts of 1988, Munich Philharmonic Concert Hall during Klaviersommer, and August 20, 1970, Isle of Wight Festival by Miles Davis, trumpet; Kenny Garrett, saxophone; Robert Irving III, Adam Holzman, keyboards; Benjamin Rietveld, bass; Marilyn Mazur, percussion; Joe “Foley” McCreary, guitar; Ricky Wellman, drums; Gary Bartz, saxophone; Chick Corea, Keith Jarrett, keyboards; Dave Holland, bass; Jack DeJohnette, drums; and Airto Moreira, percussion. Selections include “Hannibal,” “Code,” “Jean Pierre,” “Time After Time,” and “Call It Anything.” 1274. Davis, Miles. 2011. Miles! The Definitive Miles Davis at Montreux DVD Collection 1973–1991. London: Eagle Rock Entertainment. Publisher Number: EV303669 Eagle Rock Entertainment. 10 DVDs, 18 hours and 12 minutes. In English; subtitles (interviews only); English, French, German, and Spanish. Booklet [47] p., Photographs, and Liner Notes by George Cole.

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A collection of recorded concerts from 1973–1991, Montreux, Switzerland Jazz Festival, by Miles Davis, trumpet, organ; Bob Berg, saxophone, keyboards; Kenny Garrett, saxophone; John Scofield, guitar; Robert Irving III, keyboards; Darryl Jones, bass; Al Foster, drums; Vincent Wilburn, Jr., drums; Steve Thornton, percussion; Quincy Jones, conductor; and other musicians. Selections include [DVD 1]: July 8, 1973, “Ife,” “Interviews with Claude Nobs, Carlos Santana, and Herbie Hancock,” “About Miles: Monty Alexander, Helen Merrill, Betty Carter, Charlie Haden, Gil Goldstein, Stanley Clarke, Jean Luc Ponty, Al Di Meola, and Michel Petrucciani”; [DVD 2]: July 8, 1984 Afternoon—“Speak/That’s What Happened,” “Star People,” “What Is It,” “It Gets Better,” “Something’s On Your Mind,” “Time After Time,” “Hopscotch/Star on Cicely,” “Bass Solo,” “Jean Pierre,” “Lake Geneva,” and “Something’s On Your Mind (Reprise)”; [DVD 3]: July 8, 1984, Evening—“Speak/That’s What Happened,” “Star People,” “What Is It,” “It Gets Better,” “Something’s On Your Mind,” “Time After Time,” “Hopscotch/Star on Cicely,” “Bass Solo,” “Jean Pierre,” “Lake Geneva,” and “Something’s On Your Mind (Reprise)”; [DVD 4]: July 14, 1985 Afternoon—“Theme from Jack Johnson/One Phone Call/Street Scenes/That’s What Happened,” “Star People,” “Maze,” “Human Nature,” “MD 1/Something’s On Your Mind/MD 2,” “Time After Time,” “Ms. Morrisine,” “Code MD,” “Pacific Express,” “Hopscotch,” “You’re Under Arrest,” “Jean Pierre/You’re Under Arrest/Then There Were None,” and “Decoy”; [DVD 5]: July 14, 1985 Evening—“Theme from Jack Johnson/One Phone Call/Street Scenes/That’s What Happened,” “Star People,” “Maze,” “Human Nature,” “MD 1/Something’s On Your Mind/MD 2,” “Time After Time,” “Ms. Morrisine,” “Code MD,” “Pacific Express,” “Hopscotch,” “You’re Under Arrest,” “Jean Pierre/You’re Under Arrest/Then There Were None,” and “Decoy”; [DVD 6]: July 17, 1986, “Theme from Jack Johnson/One Phone Call/Street Scenes/ That’s What Happened,” “New Blues,” “Maze,” “Human Nature,” “Wrinkle,” “Tutu,” “Splatch,” “Time After Time,” “Al Jarreau,” “Carnival Time,” “Burn,” “Portia,” and “Jean Pierre”; [DVD 7]: July 7, 1988, “In a Silent Way,” “Intruder,” “New Blues,” “Perfect Way,” “The Senate/Me & U,” “Human Nature,” “Wrinkle,” “Tutu,” “Time After Time,” “Movie Star,” “Splatch,” “Heavy Metal Prelude,” “Heavy Metal,” “Carnival Time,” “Jean Pierre,” and “Tomaas”; [DVD 8]: July 21, 1989, “Intruder,” “New Blues,” “Perfect Way,” “Hannibal,” “Human Nature,” “Mr. Pastorius,” “Tutu,” “Jilli,” “Time After Time,” “ Jo Jo,” “The Senate/Me & U,” “Wrinkle,” and “Portia”; [DVD 9]: July 20, 1990, “Hannibal,” “The Senate/Me & U,” “Inn the Night,” “Human Nature,” “Time After Time,” “Wrinkle,” “Tutu,” “Don’t Stop Me Now,” and “Carnival Time”; [DVD 10]: July 8, 1991, “Boplicity,” “Maids of Cadiz,” “The Duke,” “My Ship,” “Miles Ahead,” “Blues for Pablo,” “Orgone,” “Gone, Gone, Gone,” “Summertime,” “Here Come De Honey Man,” “The Pan Piper,” and “Solea.” 1275. Davis, Miles. 1997. Miles Davis: Live & Electric. New York: Sony Music Studios. Publisher Number: W081TE Sony Music Studios. VHS, 5 minutes and 15 seconds. A short promotional music video featuring Miles Davis. 1276. Davis, Miles. 2000. Miles Davis: Live in Montreal. Pioneer Artists. Publisher Number: PA-10522 D. DVD, 59 minutes.

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Recorded concert of July 28, 1985, at the Théâtre St. Denis, at the Festival International de Jazz de Montreal, by Miles Davis, trumpet; Robert Berg, saxophones; Robert Irving III, synthesizer; Daryl Jones, bass; John Scofield, guitar; Steve Thornton, percussion; Vince Wilburn, drums. Selections include “One Phone Call,” “Human Nature,” “Something’s On Your Mind,” “Time After Time,” “Code M. D.,” and “Jean Pierre.” ** (The DVD 5-Evening Session for July 14, 1985 has fewer selections. “Human Nature” is not include in the Evening session.) 1277. Davis, Miles. 2002. Miles Davis: Live in Munich. [s.l.]: Miles Davis Properties; Pioneer Entertainment. Publisher Number: 11853 Pioneer Entertainment. DVD, 164 minutes. Biographical timeline, and Liner notes by keyboardist Adam Holzman. A two-DVD collection of a recorded 1988 performance at Philharmonic Concert Hall, Munich, Germany, by Miles Davis, trumpet; Kenny Garrett, saxophone; Robert Irving III; keyboards, Adam Holzman, keyboards; Joe “Foley” McCreary, guitar; Benjamin Rietveld, bass; Marilyn Mazur, percussion; and Ricky Wellman, drums. Selections include [DVD 1]: “Perfect Way,” “The Senate,” “Me & U,” “Human Nature,” “Wrinkle,” “Tutu,” “Time After Time,” “Heavy Metal Prelude,” “Don’t Stop Me Now,” “Carnival Time,” “Tomaas,” “New Blues,” and “Portia”; [DVD 2]: Rare Interview With Miles Davis (“The Art of Miles Davis”) (a gallery of artwork created by Miles Davis). 1278. Davis, Miles. 2009. Miles Davis: That’s What Happened: Live in Germany 1987. New York: Eagle Eye Media. Publisher Number: EE 39180-9. DVD, 115 minutes. A recorded performance from 1987 in Munich, Germany, by Miles Davis, trumpet; Kenny Garrett, alto saxophone, flute; Adam Holzman, keyboards; Robert Irving III, keyboards; Joe “Foley” McCreary, electric bass; Daryl Jones, electric bass; and Mino Cinelu, percussion. Selections include “Medley: One Phone Call/ Street Scenes/That’s What Happened,” “New Blues,” “Human Nature,” “Tutu,” “Time After Time,” and “Portia.” 1279. Davis, Miles. 2010. Miles Davis-Warsaw Concert 1983. Holland: IMC Music. Publisher Number: IMM 940200 Immortal. DVD, 112 minutes. A recorded October 23, 1983, performance at Congress Hall, in Warsaw, Poland, by the Miles Davis Septet [Miles Davis, trumpet, synthesizer; Bill Evans, saxophone, flute; John Scofield, electric guitar; Robert Irving III, synthesizer; Daryl Jones, bass; Al Foster, drums; and Mino Cinelu, percussion]. Selections include “Speak,” “Star People,” “What Is It,” “It Gets Better,” “Hopscotch,” “That’s Right,” “Code M. D.” “Star on Cicely,” “Jean Pierre,” “Unknown S,” “Speak,” and “Speak (Reprise).” 1280. Davis, Miles. 2013. Released! The Human Rights Concerts 1986–1998: A Conspiracy of Hope. Los Angeles, CA: Shout! Factory LLC. Publisher Number: 82666313562 Shout! Factory. 6 DVDs, 17 hours.

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A collection of recorded 1986–1998 performances of human rights concerts held to raise awareness and funds for human rights organization Amnesty International by Miles Davis, trumpet; Carlos Santana; Fela Kuti; and others. Miles Davis’ selections include “Speak,” “That’s What Happened,” “Tutu,” and “Burn.” 1281. Davis, Miles. 2008. Time After Time: Live at the Philharmonic Concert Hall. [s.l.]: Standing Ovation. Publisher Number: Oh! 44641 Standing Ovation. DVD, 126 minutes. Recorded concert of July  1988, at the Munich Philharmonic Concert Hall, in Munich, Germany, during Münchner Klaviersommer by Miles Davis, trumpet, keyboards; Kenny Garrett, saxophone, flute; Robert Irving III, keyboards; Adam Holzman, keyboards; Benjamin Rietveld, bass; Marilyn Mazur, percussion; Joe “Foley” McCreary, guitar; and Ricky Wellman, drums. Selections include “Perfect Way,” “The Senate,” “Me & U,” “Human Nature,” “Wrinkle,” “Tutu,” “Time After Time,” “Splatch,” “Heavy Metal Prelude,” “Heavy Metal,” “Don’t Stop Me Now,” “Carnival Time,” “Tomaas,” “New Blues,” and “Portia.” 1282. De Heer, Rolf, director. 2002[1991]. Dingo. Meza, AZ: Spectrum Films. Publisher Number: SP3012 Spectrum Films. DVD, 105 minutes. A motion picture released in 1991 about a West Australian jazz musician in Paris, France. Actors: Miles Davis (as Billy Cross), Colin Friels, Helen Buday, Joe Petruzzi, and others. Music composed by Miles Davis and Michel Legrand. Music performed by Miles Davis, trumpet. Selections on the soundtrack include “Kimberley Trumpet,” “The Arrival,” “Concert on the Runway,” “The Departure,” “Dingo Howl,” “Letter as Hero,” “Trumpet Cleaning,” “The Dreams,” “Paris Walking I,” “Paris Walking II,” “Kimberley Trumpet in Paris,” “The Music Room,” “Club Entrance,” “The Jam Session,” “Going Home,” and “Surprise!” 1283. Dibb, Mike, director. 2005. Keith Jarrett: The Art of Improvisation. [England/ USA]: EuroArts Entertainment. Publisher Number: 2054118 EuroArts. DVD, 85 minutes. A biopic documentary made for television that focuses on the music life of jazz pianist Keith Jarrett. Commentators and participants include Miles Davis (video excerpt), Gary Burton, Ian Carr, Chick Corea, and others. 1284. Dibb, Mike. 2002. The Miles Davis Story. New York: Sony Music Entertainment and Columbia Music Video. Publisher Number: CVD54040 Columbia Music Video. DVD, 125 minutes. A biographical documentary of Miles Davis. Commentators and participants: Ian Carr, Clark Terry, Bob Weinstock, George Avakian, Jimmy Cobb, Shirley Horn, Herbie Hancock, Ron Carter, Dave Holland, Jack DeJohnette, Joe Zawinul, Keith Jarrett, Chick Corea, John McLaughlin, Dave Liebman, and Marcus Miller. Includes performances by Miles Davis of “Tutu,” “Time After Time,” “What Is It,” “Summertime,” “Jean Pierre,” Shout,” “Blues for Pablo,” “Mr. Pastorius,” “ ’Round Midnight,” “All Blues,” “Human Nature,” and “Concierto de Aranjuez.”

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1285. Donner, Richard, director. 1988. Scrooged. Hollywood, CA: Paramount Pictures. Publisher Number: 32054 Paramount. DVD, 101 minutes. A motion picture about a selfish TV executive who is haunted by three spirits bearing lessons on Christmas Eve. Actors include Miles Davis (as a street musician), Billy Murray, Karen Allen, and John Forsythe. Music performed by Miles Davis; soundtrack recording of “We Three Kings of Orient Are.” 1286. Films Media Group. 2013[1987]. The Making of Sun City. New York: Films Media Group. Publisher Number: 53175 Films Media Group. Electronic Video, 60 minutes. A documentary featuring more than fifty popular musicians who came together in the summer of 1985 to take a stand against state-sanctioned racism in South Africa. “Artists United Against Apartheid” recorded an album to broadcast their boycott of the Sun City resort located miles from poverty-stricken areas in South Africa. Commentators and participants include Miles Davis, Steven Van Zandt, Herbie Hancock, Bonnie Raitt, Bruce Springsteen, Bono, Run-DMC, and many others singing the anthem “Sun City” and explaining why they chose to participate in the protest. Includes the segment “Miles Davis’ Participation.” 1287. Films Media Group. 2004. Synesthesia: When the Senses Overlap. [s.l.]: BBC. OCLC Number: 856057846. Streaming Video, 50 minutes. A documentary that deals with brain disorders. The documentary identifies wellknown artists, writers, and musicians who may have “crossed signals” in their sensory perceptions including Miles Davis and Wassily Kandinsky. 1288. Fitzgerald, Kevin (aka DJ Organic), director. 2004. Freestyle: The Art of Rhyme. New York: Palm Pictures. Publisher Number: 3107 WR02 Palm. DVD, 75 minutes. A documentary that documents the world of improvisational hip-hop and provides an authentic look at the life, music, and history of this underground culture. The documentary also features archival footage of Miles Davis, Thelonious Monk, Charlie Parker, and John Coltrane in performance, interspersed with footage of freestyle hip-hop, and various interviews. 1289. Harper, William, director. 1998. Monterey Jazz Festival: Forty Legendary Years. Burbank, CA: Warner Home Video. Publisher Number: 36494 Warner Home Video. DVD, 80 minutes. A historical documentary that includes archival footage of many of the Monterey Jazz Festival’s legendary performing jazz musicians. Commentators and performers include Miles Davis, Louis Armstrong, Billie Holiday, Thelonious Monk, Dave Brubeck, and others. 1290. Harrison, Jerry, director. 2000. The Roots of Rock & Roll. Chatsworth, CA: AIMS Multimedia. Publisher Number: 5C-08-3-1 AIMS Multimedia; 2522 AIMS Multimedia. VHS, 26 minutes.

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A historical documentary that traces the development of rock and roll and discusses the contributions of Louis Armstrong, Miles Davis, Elvis Presley, and others. Commentators include Rick Levy and David Fry. 1291. Hilton, Simon, director. 2003. Lennon Legend: The Very Best of John Legend. Hollywood, CA: EMI Records, Ltd. Publisher Number: C9 7243 5 99002 9 2 Capitol Records. DVD, 100 minutes. A candid documentary about the life of music legend John Lennon. Commentators and participants include Miles Davis (in segment “Nobody Told Me”), Yoko Ono, Brian Epstein, and others. 1292. Hopper, Dennis, director. 1990. The Hot Spot. [USA]: Orion Home Video. Publisher Number: 8754 Orion Home Video. DVD, 130 minutes. A motion picture about the relations and activities of a drifter who arrives in a small Texas town. Actors include Don Johnson, Jennifer Connelly, and Virginia Madsen. Original music is by Jack Nitzsche. Performers include Miles Davis, trumpet; John Lee Hooker, guitar, vocals; Taj Mahal, guitar, vocals; Earl Palmer, drums; Tim Drummond, bass; Roy Rogers, slide guitar; and Bradford Ellis, keyboards. Selections include “Coming to Town,” “Empty Bank,” “Harry’s Philosophy,” “Dolly’s Arrival,” “Harry and Dolly,” “Sawmill,” “Bank Robbery,” “Moanin’, ” “Gloria’s Story,” “Harry Sets Up Button,” “Murder,” “Blackmail,” and “End Credits.” 1293. Howard, Edgar B., director. 2004. Barry Harris: The Spirit of Bebop. Andorra: Efor Films. Publisher Number: 2869009 Efor Films. DVD, 60 minutes. A documentary about Barry Harris who has kept alive the art of bebop through teaching and band leading, as well as by performing and composing in his own right. In this documentary, Harris provides commentary about friends and influences including Charlie Parker, Thelonious Monk, Dizzy Gillespie, and Miles Davis that are juxtaposed with highlights of his personal playing style, his way of connecting with an audience, and more. 1294. Jacobs, Jim, director. 1996. Jack Johnson. [USA]: MPI Home Video. Originally produced in 1970. Publisher Number: MP 7117 MPI Home Video. VHS, 88 minutes. A biography of the life and career of African American boxer Jack Johnson. Original music by Miles Davis. Selections include “Right Off ” and “Yesternow.” 1295. Lambert, Mary, director. 1987. Siesta. [USA]: Lorimar Motion Pictures. Publisher Number: VHS 474 Lorimar Home Video. DVD, 97 minutes. A motion picture about an American woman who wakes up in a terrible state at the end of the runway in Spain. Actors include Ellen Barkin, Gabriel Byrne, and Julian Sands. The music for the film score is performed by Miles Davis, trumpet; Marcus Miller, bass, bass clarinet; John Scofield, acoustic guitar; Omar Hakim, drums; Earl Klugh, classical guitar; James Walker, flute; and Jason Miles, synthesizer programming. Selections include “Lost in Madrid, Part I,” “Siesta/Kitt’s

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Kiss/Lost in Madrid, Part II,” “Theme for Augustine/Wind/Seduction/Kiss,” “Submission,” “Lost in Madrid, Part III,” “Conchita/Lament,” “Lost in Madrid, Part IV/Rat Dance/The Call,” “Claire/Lost in Madrid, Part V,” “Afterglow,” and “Los Feliz.” 1296. Lee, Spike, director. 2001. A Huey P. Newton Story. [s.l.]: Luna Ray Films: UrbanWorks Entertainment. Publisher Number: 16452-7 UrbanWorks Entertainment. DVD, 90 minutes. A biopic story about how Huey P. Newton developed the Black Panther Party of the 1960s. Commentators and participants include Miles Davis (archival footage), Roger Guenveur Smith, and others. 1297. Lerner, Murray, director. 2004. Miles Electric: A Different Kind of Blue. [Europe]: Eagle Rock Entertainment; [USA]: Eagle Eye Media. Publisher Number: EE 39020-9 Red Distribution. DVD, 123 minutes. Narrated in English, with English, Spanish, or French subtitles. A documentary that examines Miles Davis’ music of the late 1960s and early 1970s. Also includes Davis’ complete August 29, 1970, performance at the Isle of Wight. Commentators and participants include Miles Davis, Herbie Hancock, Chick Corea, Joni Mitchell, Carlos Santana, Keith Jarrett, and Dave Liebman. Sections of the documentary include “Interview Footage,” “First Electric Period Sessionography,” “Archival Footage of August 29, 1970, Performances at Isle of Wight and Tokyo in 1973,” “Performances of ‘Miles Runs the Voodoo Down,’ ” “Bitches Brew,” and “So What.” 1298. Lerner, Murray, director. 1997. Message to Love: The Isle of Wight Festival: The Movie. New York: Sony Music Entertainment. Publisher Number: LVD 49335 Sony Music Entertainment. DVD, 120 minutes. A documentary about the events of the third and final Isle of Wight Festival, also regarded as the last great rock festival, held on the Isle of Wight in 1970. Commentators and performers include Miles Davis Joan Baez, the Doors, and others. Also includes a music performed by Miles Davis, a selection titled “Call It Anything.” 1299. Malle, Louis, director. 1958. Ascenseur pour l’ Échafaud. France: Criterion. Publisher Number: 2006 #CC 1627D. Series: The Criterion Collection, 335. DVD and VHS, 92 minutes. A motion picture about a businessman who murders his employer, the husband of his mistress. The actors include Jeanne Moreau, Maurice Ronet, Jean Wall, and Hubert Deschamps. The original music score for this motion picture was composed by Miles Davis. Performers include Miles Davis, trumpet; Barry Wilen, tenor saxophone; René Urtreger, piano; Pierre Michelot, bass; and Kenny Clarke, drums. Selections include “Nuit Sur Les Champs-Elysees (Takes 1, 2, 3, 4),” “Assassinat (Takes 1, 2, 3),” “Motel,” “Final (Takes 1, 2, 3),” “Ascenseur (Evasion de Julien),” “Le Petit Bal (Takes 1, 2),” “Sequence Voiture (Takes 1, 2),” “Generique,” “L’ Assassinat de Carala,” “Sur L’ Autoroute,” “Julien Dans L’ Asenseur,”

266

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“Florence Sur Les Champs-Elysees,” “Diner Au Motel,” “Evasion Du Julien,” “Visite Du Vigile,” “Au Bar Du Petit Bac,” and “Chez Le Photographie Du Motel.” 1300. Mann, Michael, producer. 2005. Miami Vice, Season Two. Universal City, CA: Universal Pictures. Publisher Number: 28827. Television Series, One Episode: “Junk Love,” DVD, 60 minutes. A weekly crime/drama series about two police detectives based in Miami, Florida, played by Don Johnson and Philip Michael Thomas. This episode was originally broadcast during the 1985–1986 season. Miles Davis is featured as the character of named Ivory Jones. 1301. Mann, Michael, producer. 1986. Crime Story. [USA]: Image Entertainment. Publisher Number: LAK7379DVD Image Entertainment. Television Series, One Episode: “The War.” DVD, 60 minutes. A weekly crime/drama series about two police detectives based in Las Vegas. Actors for this episode include Miles Davis (as himself), Dennis Farina, Bill Smitrovich, and others. 1302. Marsalis, Wynton, host. 1985. Trumpet Kings. Video Artists International. Publisher Number: 69036 Video Artists International. Series: VA Jazz Video Collections. VHS, 75 minutes. Wynton Marsalis presents an overview of twentieth-century jazz trumpeters as filmed and videotaped between 1933 and 1984. Biographical profiles include Wynton Marsalis, Louis Armstrong, Harry James, Dizzy Gillespie, Miles Davis, Rex Stewart, Lee Morgan, Art Farmer, Freddie Hubbard, Lester Bowie, and others. 1303. Obenhaus, Mark, director. 1986. Miles Ahead: The Music of Miles Davis. New York: Obenhaus Films. OCLC Number: 793386720. Series: Great Performances. DVD, 59 minutes. Narrator: Oscar Brown. A biography documentary of Miles Davis originally broadcast on the television series Great Performances and filmed on location at the Saenger Theater, 1986, New Orleans Jazz and Heritage Festival. Commentators and participants include Miles Davis, Dizzy Gillespie, Herbie Hancock, George Benson, Bill Cosby, Tony Williams, Wayne Shorter, Keith Jarrett, Gil Evans, and Robben Ford. Includes performance clips of John Coltrane, Charlie Parker, and others. 1304. PBS Television. 1993. Miles Davis: A Tribute. [USA]: PBS. Series: Great Performances. Publisher Number: LC Number: VBK 1567-1568 (Viewing Copy). VHS, 120 minutes. A biopic documentary presented as part of the Great Performances series (WNET Television New York) that celebrates the life, music, and legacy of Miles Davis. Commentators and participants include Miles Davis (archival footage), Dizzy Gillespie, Gil Evans, Quincy Jones, Wayne Shorter, and others.

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1305. Pfau, Ulli, director. 1996. Echoes of Genius: Miles Davis in Europe. [Canberra, Australia]: SBS TV Broadcasts. OCLC Number: 861182411. Series: Masterpiece-Television Program. DVD, 55 minutes. A documentary that explores the music, performances, and artistic innovations of Miles Davis. 1306. Prince. 1994. Prince Interactive. Irvine, CA: Graphix Zone. Publisher Number: 2-12001 Warner Bros/Graphix Zone. CD-ROM, duration not indicated. A music game. Participants include Miles Davis (archival footage), Eric Clapton, Little Richard, and others. 1307. Pritz, Shelby, director. 2004. Stan Levey: The Original Original. Hollywood, CA: StanArt Productions, 2004. OCLC Number: 58677244. DVD, 113 minutes. Bebop drummer Stan Levey explores the birth of bebop. Special comments and appearances included Dizzy Gillespie, Miles Davis, Quincy Jones, and others. 1308. Schatzberg, Jerry, director. 1987. Street Smart. [USA]: MGM Home Video. Publisher Number: 1005341 MGM Home Entertainment. DVD, 97 minutes. A motion picture about a New York journalist who lies when his fake story describes a real murder. The actors include Christopher Reeve, Kathy Baker, Mimi Rogers, Morgan Freeman, Jay Patterson, and Andre Gregory. The music score was written by Robert Irving III, who performed for many years with Miles Davis’ ensembles. Miles Davis performs many of the music cues for this film. 1309. Seig, Matthew, director. 1993. The Story of Jazz. New York: BMG Video. Publisher Number: 72333-80088-3 BMG Video. Series: Masters of American Music. VHS, 97 minutes. An historical survey of many musicians such as Duke Ellington, Miles Davis, Louis Armstrong, Charlie Parker, Sarah Vaughan, Ella Fitzgerald, and many others who contributed to the development of jazz. Commentators include Dizzy Gillespie, Lester Bowie, Carmen McRae, Wynton Marsalis, Billy Taylor, Annie Ross, and others. Also includes film footage of jazz performances including “So What” with Miles Davis and John Coltrane. 1310. Thomsen, Christian Braad, director. 2006. Marilyn Mazur: Queen of Percussion. [Denmark]: Det Danske Filminstitut, Kollektiv Film (Denmark). OCLC Number: 47506433. DVD, 71 minutes. A Danish-language documentary on the life and music of percussionist Marilyn Mazur who has worked with Miles Davis, Wayne Shorter, Palle Mikkelborg, Gil Evans, and many musicians. Commentators and participants: Miles Davis (archival footage), Future Song, Marilyn Mazur, Percussion Paradise, and others. 1311. Truffaut, Serge, director. 1997. Gil Evans, 1912–1988. Princeton, NJ: Films for the Humanities & Sciences. Publisher Number: FF 8215. Series: Jazz Collection. DVD, 55 minutes. Narrator: David Blair.

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A biographical documentary examination of the life, career, music, and legacy of composer and arranger Gil Evans. Includes discussions of Evans’ collaborations and recordings with Miles Davis and excerpts of performances by Davis. 1312. Wagner, Christian, director. 2005. ESP 2: A Tribute to Miles Davis, Live in Stuttgart. Ratingen: TDK Marketing Europe. Publisher Number: DVWW-JESP2 TDK. DVD, 59 minutes. Liner notes [12] p., in German with English and French translations and Portraits in container. A tribute concert for Miles Davis recorded in July  1994, at Jazzopen in Stuttgart, Germany, by Carla Cook, vocalist; Randy Hall, guitar, vocals; Robert Irving III, keyboards, piano; Adam Holzman, keyboard; David McMurray, saxophone, vocals; Mino Cinelu, percussion, vocals; Victor Bailey, bass; and Ricky Wellman, drums. Selections include “Open Medley: One Phone Call/Street Scenes/That’s What Happened,” “Desiree’s Desire,” “Donna Lee,” “Davis,” “The Man With the Horn,” “Ambrosia,” “Blue n’ Green,” and “No News Is Good News.” 1313. Weissbrod, Ellen, director. 2009[1990]. Listen Up: The Lives of Quincy Jones. Burbank, CA: Warner Home Video. Publisher Number: 1000024325 Warner Home Video. DVD, 115 minutes. A biographical profile of the life and career of Quincy Jones. Commentators and participants include Miles Davis, Steven Spielberg, Oprah Winfrey, Barbra Streisand, Michael Jackson, and others. 1314. Wilson, Cassandra. 2000. Traveling Miles. [USA]: Tougaloo Films. OCLC Number: 54648600. VHS, 60 minutes. Cassandra Wilson, jazz vocalist, performs a tribute to Miles Davis with Lonnie Plaxico, Eric Lewis, Marvin Sewell, Marcus Baylor, Wynton Marsalis, and the Lincoln Center Jazz Orchestra. Selections include “Seven Steps,” “Resurrection Blues (Tutu),” “Death Letter,” “Strange Fruit,” “Come Into My Kitchen,” “Old Devil Moon,” “Love Is Blindness,” and “Right Here Right Now.” THE MIKE DIBB COLLECTION OF ORIGINAL VIDEO FOOTAGE FOR THE DOCUMENTARY FILM TITLED THE MILES DAVIS STORY 1315. Carr, Ian. 1999. The Miles Davis Story-Tape Roll 1. London: The British Library. Video, 29 minutes and 30 seconds. Reference Numbers: C1187/1 and V5696. Original unedited video footage of an interview filmed mostly in a car while driving around New York City and Central Park where Ian Carr is interviewed by director Mike Dibb in December of 1999 about Davis’ life, music, and career, and the significance of the film The Miles Davis Story. 1316. Carr, Ian. 1999. The Miles Davis Story-Tape Rolls 2–3. London: The British Library. Video, 58 minutes. Reference Numbers: C11187/2; C1187/3; V5697 and V5698.

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Original unedited video footage of an interview with saxophonist Dave Liebman about his association with Miles Davis. The interview was conducted by Ian Carr on December 16, 1999, at an unidentified club or bar in New York City. 1317. Carr, Ian. 1999. The Miles Davis Story-Tape Rolls 4–6. London: The British Library. Video, 83 minutes. Reference Numbers: C1187/4; C1187/5; C1187/6; V5699; V5700 and V5701. Original unedited footage of an interview conducted by Ian Carr in December of 1999 in New York with record producer George Avakian about his work and association with Miles Davis. 1318. Carr, Ian. 1999. The Miles Davis Story-Tape Rolls 6–7. London: The British Library. Video, 45 minutes. Reference Numbers: C1187/6; C1187/7; V5701 and V5702. Original unedited footage of an interview conducted by Ian Carr in December 1999 with jazz keyboardist Joe Zawinul regarding his associations, influences, and collaborations with Miles Davis. 1319. Carr, Ian. 1999. The Miles Davis Story-Tape Rolls 8–9. London: The British Library. Video, 67 minutes. Reference Numbers: C1187/7; C11878/8; V5703 and V5704. Original unedited footage of an interview conducted by Ian Carr in December 1999 with jazz trumpeter Clark Terry about his association with Miles Davis. 1320. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 10–11. London: The British Library. Video, 72 minutes. Reference Numbers: C1187/10; C1187/11; V5705 and V5706. Original unedited footage of an interview conducted by Ian Carr in January 2000 at the residence of jazz drummer Jimmy Cobb about his association with Miles Davis. 1321. Carr, Ian. 2000–2001. The Miles Davis Story-Tape Rolls 12–13. London: The British Library. Video, 61 minutes. Reference Numbers: C1187/12; C1187/13; V5707 and V5708. Original unedited footage of an interview conducted by Ian Carr between January 2000 and 2001 at the residence of jazz bassist Ron Carter about his work and collaborations with Miles Davis. 1322. Carr, Ian. 2000. The Miles Davis Story-Tape Roll 13. London: The British Library. Video, 17 minutes and 41 seconds. Reference Numbers: C1187/13 and V5708. Original unedited footage of an interview conducted by Ian Carr in January 2000 at the residence of jazz keyboardist Gil Goldstein about his association with Miles Davis. 1323. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 14–16. London: The British Library. Video, 100 minutes. Reference Numbers: C1187/14; C1187/15; C1187/16; V5709; V5710 and V5711.

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Original unedited footage of an interview conducted in January 2000 with jazz bassist Dave Holland, and jazz drummer Jack DeJohnette and his spouse, Lydia DeJohnette, about their association and reflections on Miles Davis. 1324. Carr, Ian. 1999. The Miles Davis Story-Tape Rolls 16–17. London: The British Library. Video, 25 minutes and 30 seconds. Reference Numbers: C1187/16; C1187/17; V5711 and V5712. Original unedited footage of an interview conducted by Ian Carr 1999 (possibly in December) with jazz guitarist John Scofield about his association with Miles Davis. 1325. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 17–18. London: The British Library. Video, 75 minutes. Reference Numbers: C1187/17; C1187/18; V5712 and V5713. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz saxophonist Bill Evans about his association with Miles Davis. 1326. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 19–20. London: The British Library. Video, 55 minutes. Reference Numbers: C1187/19; C1187/20; V5714 and V5715. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz percussionist Don Alias about his association with Miles Davis. 1327. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 21–22. London: The British Library. Video, 65 minutes and 10 minutes. Reference Numbers: C1187/21; C1187/22; V5716 and V5717. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz vocalist Shirley Horn about her association with Miles Davis. Includes camera shots of various photographs and drawings of Miles Davis and Shirley Horn. 1328. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 23–24. London: The British Library. Video, 83 minutes. Reference Numbers: C1187/23; C1187/24; V5718 and V5719. Original unedited footage of an interview conducted by Ian Carr in January 2000 with film producer Bob Weinstein about his association with Miles Davis. 1329. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 25–26. London: The British Library. Video, 45 minutes. Reference Numbers: C1187/25; C1187/26; V5720 and V5721. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz keyboardist Chick Corea about his association with Miles Davis. 1330. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 26–27. London: The British Library. Video, 59 minutes. Reference Numbers: C1187/26; C1187/27; V5721 and V5722.

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Original unedited footage of an interview conducted by Ian Carr in January 2000 with Erin Davis about his association with his father, Miles Davis. 1331. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 27–28. London: The British Library. Video, 60 minutes. Reference Numbers: C1187/27; C1187/28; V5722 and V5723. Original unedited footage of an interview conducted by Ian Carr 1999 (possibly in December) with Frances Davis about her association with her former spouse, Miles Davis. 1332. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 29–30. London: The British Library. Video, 46 minutes. Reference Numbers: C1187/29; C1187/30, V5724 and V5725. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz bass guitarist Marcus Miller about his association with Miles Davis. 1333. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 30–32. London: The British Library. Video 80 minutes. Reference Numbers: C1187/30; C1187/31; C1187/32; V5725; V5726 and V5727. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz drummer Vince Wilburn about his association with Miles Davis. 1334. Carr, Ian. 2000. The Miles Davis Story-Tape Roll 32. London: The British Library. Video, 36 minutes. Reference Numbers: C1187/32 and V5727. Original unedited footage of an interview conducted by Ian Carr in January 2000 with jazz keyboardist and composer Herbie Hancock about his association with Miles Davis. 1335. Carr, Ian. 2000. The Miles Davis Story-Tape Roll 35–36. London: The British Library. Video, 1 hour and 14 minutes. Reference Numbers: C1187/33; C1187/34; V5728 and V5729. Original unedited footage of an interview conducted in Paris, France, by Ian Carr and translated by Marcel Romano on March  24, 2000, with French jazz musicians René Urtreger, Pierre Michelot, and Daniel Humair about their association with Miles Davis. 1336. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 37–39. London: The British Library. Video, 1 hour and 36 minutes and an extra 12 minutes of exterior location footage shot in Paris. Reference Numbers: C118735; C1187/36; C1187/37; C1187/40; V5730; V5731; V5732 and V5735. Original unedited footage of an interview conducted by Ian Carr on March 24, 2000, at the studio of Jean-Pierre Leloir in Paris, France, about his association with Miles Davis. 1337. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 39–41. London: The British Library. Video, 1 hour and 16 minutes. Reference Numbers: C1187/39; C1187/40; C1187/41; V5732; V5733 and V5734.

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Original unedited footage of an interview with French actress Jeanne de Mirbeck conducted in Paris, France, by Ian Carr on March 25, 2000, about her association with Miles Davis. 1338. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 70–71. London: The British Library. Video, 67 minutes. Reference Numbers: C1187/41; C1187/42; V5736 and V5737. Original unedited footage of an interview with Cheryl Davis conducted by Ian Carr in March 2000 about her association with her father, Miles Davis. 1339. Carr, Ian. 2000. The Miles Davis Story-Tape Rolls 72–75. London: The British Library. Video, 94 minutes; additional 17 minutes and 50 seconds of camera shots of Miles Davis’ paintings and drawings owned by Irene Cawthon. Reference Numbers: C1187/43; C1187/44; C81147/46; C81147/47; V5738; V5739; V5740 and V5741. Original unedited footage of an interview with Irene Cawthon conducted by Ian Carr in March 2000 about her association with Miles Davis. IAN CARR AUDIO TAPES 1340. Carr, Ian. 1990-ca. Saxophonist Bill Evans Interviewed by Ian Carr. London: The British Library. Audio Tape, 18 minutes and 27 seconds. Reference Number: C1291/15. A recorded interview conducted by Ian Carr with jazz saxophonist Bill Evans about his association with Miles Davis. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1341. Carr, Ian. 1990-ca. Bob Berg Interviewed by Ian Carr. London: The British Library. Audio Tape, 15 minutes. Reference Number: 1291/13. A recorded interview conducted by Ian Carr with jazz saxophonist Bob Berg about his association with Miles Davis. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1342. Carr, Ian. 1990-ca. Dave Holland Interviewed by Ian Carr. London: The British Library. Audio Tape, 29 minutes. Reference Number: C1291/15. A recorded interview conducted by Ian Carr with jazz musician Dave Holland regarding his association with Miles Davis from 1968–1970. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1343. Carr, Ian. 1990-ca. Dave Liebman Interviewed by Ian Carr. London: The British Library. Audio Tape, 18 minutes. Reference Number: C1291/16.

Annotations of Videos and Audio Tapes273

A recorded interview conducted by Ian Carr with jazz saxophonist Dave Liebman regarding his association with Miles Davis from 1980 to the mid-1980s. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1344. Carr, Ian. 1981-ca. Dave Liebman Speaks on Miles Davis. London: The British Library. Audio Tape, 6 minutes and 31 seconds. Reference Number: C1291/22. A recorded interview conducted by Ian Carr in ca. 1981 with jazz saxophonist Dave Liebman about his association with Miles Davis. The interview was conducted as part of the research done for Carr’s book, Miles Davis: The Definitive Biography (1982). 1345. Carr, Ian. 1990-ca. George Avakian Interviewed by Ian Carr. London: The British Library. Audio Tape, 52 minutes. Reference Number: C1291/14. A recorded interview conducted by Ian Carr with jazz record producer and former A&R manager of Columbia Records, George Avakian, regarding his association with Miles Davis in the 1950s and some landmark recordings Davis made during that decade. Also includes some discussions of Avakian’s career other than his involvement with Davis. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1346. Carr, Ian. 1990, 2000. Jack DeJohnette Interviewed by Ian Carr. London: The British Library. Audio Tape, duration not indicated. Reference Number: C1291/5 and C1291/6. Recorded interviews conducted by Ian Carr between 1990 and 2000 with jazz drummer Jack DeJohnette in conjunction with research for Mike Dibbs documentary film The Miles Davis Story or for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1347. Carr, Ian. 1990-ca. Jackie McLean Interviewed by Ian Carr. London: The British Library. Audio Tape, 10 minutes and 55 seconds. Reference Number: C1291/13. A recorded interview conducted by Ian Carr with jazz saxophonist Jackie McLean and his 1950s work with Miles Davis. Includes discussions of saxophonist Lester Young’s influence on Davis and Davis’ own role as a “teacher.” The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1348. Carr, Ian. 1975. Jimmy Cobb Interviewed by Ian Carr. London: The British Library. Duration: 95 minutes. Reference Number: C1291/3. A recorded interview conducted by Ian Carr on November 19, 1975, with jazz drummer Jimmy Cobb about his association with Miles Davis. Carr begins the interview by inquiring why drummer Philly Jo Jones left Miles Davis’ group. The interview was conducted as part of the research done for Carr’s book, Miles Davis: The Definitive Bibliography (1982).

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1349. Carr, Ian. 1975. Joe Zawinul Interviewed by Ian Carr. London: The British Library. Audio Tape, 30 minutes and 28 seconds. Reference Number: C1291/2. A recorded interview conducted on November 27, 1975, by Ian Carr with jazz keyboardist and composer Joe Zawinul regarding his association with Miles Davis. The interview was conducted as part of the research done for Carr’s book, Miles Davis: The Definitive Biography (1982). 1350. Carr, Ian. 1990-ca. Joe Zawinul Interview. London: The British Library. Audio Tape, 17 minutes. Reference Number: C1291/17. A recorded interview conducted by Ian Carr with jazz keyboardist and composer Joe Zawinul regarding his association with Miles Davis from 1969 onwards. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1351. Carr, Ian. 1990-ca. John Carisi Interviewed by Ian Carr. London: The British Library. Audio Tape, duration not indicated. Reference Number: C1291/12. A recorded interview conducted by Ian Carr with jazz trumpeter/composer John Carisi about his work with Miles Davis in the 1950s and on the Miles Ahead album. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1352. Carr, Ian. 1990-ca. Keith Jarrett Interviewed by Ian Carr. London: The British Library. Audio Tape, 21 minutes. Reference Number: C1291/17. A recorded interview conducted by Ian Carr with jazz keyboardist Keith Jarrett regarding his association with Miles Davis from 1969 onward. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990. 1353. Carr, Ian. 1997-ca. Palle Mikkelborg Audio Letter to Ian Carr. London: The British Library. Audio Tape, 34 minutes and 50 seconds. Reference Number: C1291/21. Jazz trumpeter and composer Palle Mikkelborg responds in an audio letter to a set of questions faxed to him by Ian Carr as part of research for the 1998 revisions of his book, Miles Davis: The Definitive Biography. The topics discussed include Mikkelborg’s work with Miles Davis in the composition and unusual approach to the production of Davis’ album Aura (recorded in 1985 and released in 1989). Mikkelborg also discusses the contributions to Aura of percussionist Marilyn Mazur, bassist Bo Stief, and others. 1354. Carr, Ian. 1990-ca. Ron Carter Interviewed by Ian Carr. London: The British Library, 1990? Audio Tape, 29 minutes and 15 seconds. Reference Number: C1291/16. A recorded interview with jazz bassist Ron Carter regarding his association with Miles Davis from 1963 to 1970. The interview was most likely recorded during research for Carr’s BBC Radio Series, The Music Maker: Miles Davis, ca. 1990.

Index of Names Abildgaard, Arne-1051 Aboucaya, Jacques-1, 981 Acosta, Leonardo-2 Adåker, Ulf-798 Adams, Simon-3 Adderley, Julian “Cannonball”-263, 283, 663, 905, 915, 933, 1052, 1067, 1086, 1099, 1123, 1268, 1270 Adorno, Theodore-872 Aebersold, Jamey-825, 1144, 1145, 1146 Aendt-Lyon, Nancy-524 Ailey, Alvin-570 Ake, David Andrew-4 Akiyoshi, Toshiko-526, 920 Akomfrah, John-1243 Alberts, Don-5 Albjerg, Erik-799 Alexander, Monty-1274 Ali, Muhammad-325 Alias, Don-1263, 1326 Alkyer, Frank-7, 8, 47, 129, 327, 334, 346, 534, 552, 646, 647, 788 Allais, Alex-728 Allen, Candance-6 Allen, Henry “Red”-189, 643 Allen, Karen-1285 Allen, Robert L.-175, 706 Allen, Steve-1244 Allen, Woody-19 Al-Zand, Karim Adam-1052 Ambelang, Franz-9 Améry, Jean-10 Ames, Morgan-1147 Amorosi, Ray-11 Amussen, Gretchen-800 Ancher, Garth-12 Andersen, Uwe-14 Anderson, Benjamin Park-1053 Anderson, E. Ruth-13 Anderson, Paul A.-801 Angel, Ralph-15

Angelos, Blake Jason-1054 Angermüller, Rudolph-991 Angster, Armand-1196 Antonin, Johann David-1202 Appel, Jr., Alfred-16 Appiah, Kwame Anthony-259 Arakawa, Yoichi-1148 Arcens, Michel-17 Arendt, Hannah-839 Argenti, Tristan-802 Armanno, Venero-18 Armstrong, Louis-10, 16, 17, 53, 63, 67, 68, 81, 87, 88, 189, 207, 228, 232, 253, 275, 301, 324, 341, 361, 390, 436, 437, 444, 462, 494, 510, 527, 540, 569, 582, 595, 600, 601, 628, 643, 648, 654, 666, 676, 699, 711, 713, 726, 758, 763, 764, 781, 805, 806, 837, 855, 953, 959, 990, 1057, 1061, 1097, 1121, 1130, 1246, 1257, 1289, 1302, 1309 Arndt, Jürgen-19, 20, 803 Asquo, Nse-1243 Association for the Advancement of Creative Musicians (AACM)-615 Atkinson, Richard-570 Aukema, Dewald-1243 Auslander, Philip-21 Ausserbauer, Michael-231 Avakian, George-22, 23, 1284, 1317, 1345 Ayler, Albert-834, 881 Azevedo, Francis Duarte-24 Bach, Johann Sebastian-732 Bachauer, Walter-1202 Bachmann, Dieter-25 Baez, Joan-1298 Bailes, Freya-851 Bailey, Benny-1256 Bailey, Victor-1312 Bainbridge, Simon-1149 Bair, Jeffery Jay-1055 275

276 Baker, Chet-17, 30, 68, 219, 221, 260, 351, 550, 634, 648, 687, 699, 700, 739, 789, 802, 815, 930, 1034, 1077, 1082, 1116 Baker, David-26, 27, 1150 Baker, Josephine-208 Baker, Kathy-1308 Baker, Laverne-257 Baker, Stuart-28, 514 Baldwin, James-29, 686, 795 Balen, Nöel-30, 31 Ballard, Butch-452 Balliett, Whitney-32 Bangs, Lester-33 Bank, Danny-1269 Bankston, Carl L.-34 Baraka, Amiri-35, 36, 37, 38, 49, 103, 434, 845 Barber, Bill-1269 Barber, Chris-1246 Barduhn, Dave-1151, 1152 Barkin, Ellen-1295 Barkley, Elizabeth-39 Barnard, Ken-40 Barnhart, Scotty-41 Baron, Richard-42 Barrett, Frank-43, 44 Barrett, Samuel-804, 805 Bartok, Bela-743, 1117 Bartz, Gary-47, 1263, 1273 Basie, Count-7, 17, 187, 194, 219, 280, 324, 437, 463, 494, 556, 569, 588, 600, 764, 1063 Basquiat, Jean-Micheal-795 Bassey, Shirley-569 Batchelor, Chris-806 Bauer, Bernard-807 Bauer, Billy-62, 687 Bauer, William R.-45 Bauza, Mario-2 Bayless, Martha-46 Bayley, Amanda-697 Baylor, Marcus-1314 Beatles, the-233, 555, 570, 732, 1105 Bechet, Sidney-10, 110, 301, 376, 556, 595, 686, 764, 800 Beethoven, Ludwig van-199, 1103 Beiderbecke, Bix-10, 16, 189, 286, 494, 582, 601, 643, 763, 882, 920, 1060, 1097 Belafonte, Harry-645 Belden, Bob-47, 48, 866 Belgard, Daniel-49

Index of Names Benedikt, Julian-1245, 1246 Benedikt, Michael-736 Béniès, Nicolas-50 Bennett, Richard Rodney-1152 Bennett, Tony-374 Benson, George-51, 139, 921, 1303 Beredt, Joachim-Ernst-52 Berg, Alban-1117 Berg, Bob-1274, 1275, 1341 Berg, Chuck-808 Berger, David-361 Berger, Edgar-549 Berger, Edward-489 Bergerot, Franck-54, 55, 56, 58, 292 Bergstein, Barry-809 Berigan, Bunny-207 Berlin, Irving-106 Bernard, Emílíen-728 Bernie, Ben-116 Berry, Chuck-463 Berry, Emmett-1269 Bett, Stephen C.-59 Bickl, Gerhard-810 Bievre, Guy De-1056 Biggs, Adam-811 Bigot, Yves-60, 61 Billlard, François-62 Billoud, Jean-Louis-198 Bion, Wilfred-650 Birth of the Cool Band-910 Blair, David-1311 Blair, Peter-1154 Blakey, Art-14, 221, 242, 265, 295, 319, 340, 356, 379, 529, 556, 600, 628, 699, 700, 710, 780, 926, 1270 Blancq, Charles-63, 1057 Blanton, Jimmy-578, 852 Bliek, Bob Van Der-64 Blood, Sweat, and Tears-555, 583 Blume, August-65 Blumenthal, Howard J.-66 Boccadoro, Carlo-1155 Bolcom, William-1117 Bolden, Buddy-404, 643, 869 Bölke, Peter-67, 68 Bollani, Stefano-1246 Bono-1286 Boot, Adrian-69 Boothroyd, Myles-812

Index of Names277 Bostic, Earl-748 Bouffard, Peter Paul-1058 Bowen, José Antonio-70 Bowen, Robert Eric-1059 Bowie, Lester-634, 1247, 1302, 1309 Bowles, Paul-116 Boyd, Herb-175, 706 Boyd, Robert-730 Boynton, Andrew C.-71 Brackett, David-72 Braggs, Earl S.-73 Braggs, Rashida K.-74 Brando, Marlon-475 Bratfisch, Rainer-75 Bratton, Elliott-813 Braxton, Anthony-615 Brecker, Michael-139 Breedove, Graham-1236 Breskin, David-76 Bridgewater, Dee Dee-1246 Brinkofski, Elizabeth-77 Brislin, Tom-814 Brody, Jim-78 Brofsky, Howard-815 Brookmeyer, Bobby-356 Brooks, Gwendolyn-138 Broonzy, Big Bill-1115 Brötzmann, Peter-106 Brown, Clifford-3, 207, 268, 356, 494, 643, 1097, 1121 Brown, Earle-1056 Brown, James-559, 698, 737, 754, 757, 1104, 1115 Brown, Jeremy-816, 817 Brown, John Robert-156 Brown, Lee B.-818, 819, 820 Brown, Oscar-1147, 1303 Brown, Stephen-79 Brown, Steve-743 Brownell, John-821 Brubeck, Dave-67, 84, 243, 286, 356, 379, 616, 1077, 1079, 1082, 1088, 1117, 1289 Bruce, Lenny-297 Brüggemeyer, Maik-80 Brunning, Bob-81 Bruyninckx, Walter-82 Buarque, Chico-233 Buchanan, Elwood-76, 83, 421 Buchannan, Ian-693

Buckmaster, Paul-602 Budds, Michael J.-84 Buddy, Helen-1282 Buhles, Günter-822, 823 Buin, Yves-85, 728 Bullerjahn, Claudia-20 Burleigh, Robert-86 Burns, Ken-746, 1247, 1248, 1249 Burroughs, William S.-116, 475 Burton, Gary-1283 Busby, David R.-87 Busch, Sigfried-824 Butterfield, Matthew W.-825 Byard, Jaki-764 Byas, Don-710 Byrd, Donald-1097, 1127 Byrne, Edward F.-1060 Byrne, Gabriel-1295 Cabaniss, Thomas-826 Cabu-88 Cage, John-49, 90, 308, 487, 608, 1202 Caine, Eddie-1269 Calloway, Cab-280, 301, 361, 666, 862 Candelaria, Lorenzo-89 Cane, Giampiero-90 Caporaletti, Vincenzo-827 Carballleira, Andrew-828 Carby, Hazel-91 Cardew, Cornelius-310 Carisi, John-799, 839, 1351 Carles, Philippe-458, 509 Carlin, Richard-92 Carlson, William Ralph-1061 Carminati, Elena-242 Carner, Gary-83, 93, 94, 147, 148, 160, 272, 289, 296, 559, 667, 768 Carney, Harry-764 Carr, Ian-95, 96, 97, 98, 99, 100, 101, 102, 103, 1284, 1315–1354 Carson, Johnny-325 Carter, Benny-1106 Carter, Betty-45, 669, 710, 1274 Carter, Ron-47, 104, 105, 139, 212, 408, 612, 710, 740, 747, 977, 1245, 1256, 1262, 1265, 1266, 1284, 1321, 1354 Casey, Kenneth-1146 Cassenti, Frank-1250 Castle, Patrick Douglas-1062

278 Castledon, Rodney-106 Castro, Ruy-107 Cather, Willa-512 Catlett, Sid-748 Cawley, Tom-1134 Cawthon, Irene-1339 Cawthra, Benjamin-108, 109 Cerchiari, Laurent-687 Cerchiari, Luca-110, 111, 112, 113 Chafin, Sky-829 Chamberland, Carol P.-1251 Chambers, Jack-114, 115, 416 Chambers, Paul-566, 580, 871, 904, 1123, 1254, 1268 Chancler, Leon “Ndugu”-1263 Chandarlapaty, Raj-116 Charles, Ray-60, 295, 569 Cheadle, Don-1256 Cherlin, Paul B.-497 Chermayeffo, Maro-117 Cherry, Don-643, 710 Chess Records-648 Chicago-583 Chinen, Nate-751, 752 Chinnery, Ann-832 Choi, Jeong-Yoon-1050 Chopin, Frédéric-1068 Christenfeld, Nicholas-830 Christensen, Erik-833 Christian, Charlie-236, 494, 601 Christiansen, Cory-1157 Christiansen, Lars Boie-834 Ciletti, James A.-118 Cinelu, Mino-1272, 1278, 1279, 1312 Ciorba, Charles R.-835 Clapton, Eric-140, 690, 1306 Clark, Gary-1252 Clark, William-121 Clarke, Donald-119 Clarke, George Elliott-836 Clarke, Kenny-303, 356, 710, 833, 1299 Clarke, Stanley-139, 1274 Clarkson, William R.-837 Claude, Samuel-120 Cleveland, Jimmy-1269 Cliburn, Van-572 Clinton, George-487 Cobb, Jimmy-103, 412, 1254, 1268, 1284, 1320, 1348

Index of Names Cobham, Jimmy-1128 Coenen, Alcedo-1117 Cogan, Jim-121 Cogan, Robert-1113 Coggiola, John C.-838, 1063 Cohan, Charles-122 Cohen, Brigid-839 Cohen-Solal, Annie-123 Cole, Bill-124, 125, 126, 1064 Cole, George-127, 1274 Cole, Nat King-1063 Coleman, Bill-189 Coleman, Eric-847 Coleman, Kwami-1065 Coleman, Ornette-1, 19, 20, 32, 53, 56, 84, 90, 110, 187, 201, 242, 291, 295, 388, 476, 481, 494, 582, 595, 598, 601, 615, 628, 634, 710, 747, 763, 764, 771, 780, 803, 822, 823, 834, 840, 844, 845, 881, 935, 972, 981, 1055, 1065, 1079, 1095 Coleman, Steve-1111 Coles, John-1269 Collier, Graham-840 Collier, James Lincoln-128 Collins, John-841 Coltrane, John-20, 21, 32, 40, 42, 47, 56, 65, 67, 68, 84, 87, 90, 112, 124, 129, 136, 145, 148, 158, 187, 194, 196, 201, 218, 227, 228, 231, 232, 236, 250, 279, 287, 295, 314, 319, 340, 343, 352, 375, 376, 381, 382, 388, 404, 405, 411, 438, 461, 467, 476, 478, 487, 510, 526, 529, 540, 546, 568, 582, 598, 601, 603, 604, 606, 609, 613, 615,616, 619, 621, 628, 633, 634, 645, 650, 653, 658, 657, 661, 676, 688, 699, 700, 715, 748, 760, 901, 762, 763, 771, 780, 783, 822, 834, 841, 855, 869, 874, 875, 881, 886, 891, 895, 896, 897, 898, 901, 907, 917, 969, 1024, 1028, 1041, 1054, 1055, 1073, 1083, 1085, 1086, 1097, 1105, 1107, 1110, 1112, 1116, 1123, 1158, 1245, 1253–1256, 1268, 1288, 1303, 1309, 1954 Columbia Records Inc.-383 Combs, Paul-130 Comini, Claudio-599 Connelly, Jennifer-1292 Conrad, Thomas-842 Conte, Bob-131 Contier, Arnaldo Daraya-843 Cook, Carla-1312

Index of Names279 Cook, Nicholas-21, 136 Cook, Richard-132, 133, 134, 135, 1261 Cooke, Mervyn-136, 137 Coolman, Todd-1066, 1146 Copland, Aaron-92 Corea, Chick-3, 151, 304, 418, 506, 583, 736, 919, 1016, 1068, 1264, 1267, 1273, 1283, 1284, 1329 Corso, Gregory-138 Coryell, Julie-139 Coryell, Larry-140, 520, 555, 689, 700 Cosby, Bill-1303 Cosby, David-386 Cosey, Pete-1268, 1271 Cotro, Vincent-141, 844, 907 Cowley, Julian-845 Crane, Hart-779, 1130 Crawford, Mark-846 Crawley, Rickey Alonzo-1067 Cream-467 Creely, Robert-845 Creighton, Randall J.-1068 Crisp, George-142 Crittin, Pierre-Jean-143, 144 Cross, Bill-145 Cross, Brian-847 Crouch, Stanley-146, 147, 148, 301, 866 Crow, Bill-149 Crumpacker, Bunny-150 Crumpacker, Chick-150 Csaba, Szász-694 Cugny, Laurent-110, 151, 152, 687, 848, 849, 1069 Cunningham, Lyn Diggs-153 Curie, Marie-106 Cuscuna, Michael-154–155, 704 Cushley, Joe-1257 D’Rozario, Rico-156 Dameron, Tadd-74, 130 Dance, Stanley-263 Dandridge, Dorothy-436 Daniels, Jim-157 Danielsson, Per-1157 Dargenpierre, J. C.-158 David, Keith-1247, 1248, 1249 Davies, Stephen-1129 Davis, Betty-532, 704, 873, 885, 924 Davis, Cheryl-1338

Davis, Clive-850 Davis, Eddie “Lockjaw”-710 Davis, Erin-1330 Davis, Frances-1331 Davis, Francis-159 Davis, Gregory-161 Davis, John S.-162 Davis, Josh-1191 Davis, Mark-1191 Davis, Miles-163–183, 1159–1187, 1258–1271, 1275–1281 Davis, Ossie-1248, 1249 Davis, Jr., Sammy-195, 325, 436 Davis, Stephen-184 Davis, Steve-825 Dawson, Fielding-185 De Abaitura, Matthew-368 De Curtis, Anthony-581, 582 De Heer, Rolf-1282 De Marinis, Paul-852 De Vito, Chris-65, 158, 194, 196, 279, 287, 606, 613, 771, 783 Dean, James-260 Dean, Roger T.-186 Dean, Roger T.-851 Debussy, Claude-441, 651, 723, 798, 843, 920, 1059, 1104, 1109 DeCarava, Roy-186 Deffaa, Chip-188, 189 DeFrancesco, Joey-190 DeFranco, Buddy-687 DeJohnette, Jack-418, 447, 492, 736, 964, 980, 1010, 1264, 1267, 1273, 1284, 1323, 1346 DeJohnette, Lydia-1323 Delbrouch, Christopher-191 Deleuze, Gilles-693, 1120 Dell, Pamela-192 Delph, Michael-193 DeLucia, Paco-689 DeMichael, Don-129, 194 Demory, Richard S.-511 Demsey, David-1055 Dennis, Noel-853, 974 Dericq, Lilian-1070 Deschamps, Hubert-1299 Desjardins, Marie-195 Desmond, Paul-295, 1129 Determeyer, Eddie-156 Deuck, Byron-854

280 DeVeaux, Scott-276, 277, 855 DeVisscher, Eric-856 Dewey, John-1096 Dexter, Gordon-700 Di Blasio, Denis-857 Di Lorenzo, G.-1188 Dibb, Mike-1283, 1284, 1315–1339 Dicaire, David-197 Dickey, Lisa-329 Dietrich, Marlene-324 Dimeola, Al-689, 1274 DjeDje, Jacqueline-506 Dobbi, Robert-236 Dobbins, Bill-198 Doctor, Jennifer R.-261 Dodd, Julian-199, 858 Doerschuk, Robert L. 200 Dolphy, Eric-112, 388, 881, 907, 1254 Dombrowski, Ralf-201 Donà, Messimo-202 Donner, Richard-1285 Doors, the-1298 Dorham, Kenny-1097, 1121 Dorough, Bob-203 Dorr, Michael K.-22, 200, 297, 477, 478, 553, 638, 709, 722, 748, 785, 786, 787 Dorsey, Tommy-249 Dorůžka, Lubomir-204 Drozdowski, Ted-205 Drummond, Tim-1292 DuBoff, Rob-1189, 1190, 1191 DuBois, W.E.B.-315 Duncan, Isadore-657 Dunphy, John J.-206 Dupont, Laurent-1071 Dupuis, Robert-207 Dutton, Jacqueline-208 Dvinge, Anne Christine-1072 Dyas, J. B.-1073 Dylan, Bob-61, 273, 381–475, 568, 570, 648, 789 Eady, Cornelius-209 Early, Gerald-23, 76, 105, 190, 210–214, 263, 316, 400, 491, 530, 602, 620, 729, 859, 1247, 1248, 1249 Eastwood, Clint-361 Ecklund, Peter-189 Eckstein, Billy-282, 666, 722

Index of Names Edmonds, Hank-1192, 1193, 1194 Edmondson, Jacqueline-215 Edstrom, Brent-1195 Egan, Raymond-1074 Eicholtz, Irene-174 Einiö, Paavo-216 Einstein, Albert-106 Eldridge, Roy-207, 462, 601, 643, 1121 Electric Flag, the-583 Eliot, T. S.-463 Ellington, Duke-7, 10, 16, 17, 30, 32, 53, 87, 112, 150, 187, 188, 208, 219, 228, 232, 257, 273, 285, 290, 307, 324, 335, 374, 376, 444, 452, 525, 526, 540, 569, 571, 582, 588, 589, 595, 598, 600, 601, 624, 628, 667, 699, 712, 726, 754, 755, 763, 772, 806, 812, 813, 822, 823, 830, 855, 862, 882, 890, 896, 911, 920, 936, 990, 994, 1035, 1077, 1095, 1099, 1107, 1118, 1246, 1251, 1309 Elliott, Nancy Miller-188 Ellis, Branford-1292 Ellis, Don-84, 831 Ellis, Walter M. 217 Ellison, Ralph-463, 726, 1130 Elsdon, Peter-261 Elton, Billy-1269 Emerson, Ralph Waldo-381, 512 Emmeneger, Claudia-658 Endress, Gudrun-860 Eno, Brian-487, 851 Enoch, Rolf-68 Ensminger, David-568 Ephland, John-47 Epstein, Brian-1291 Erdmann, Thomas-861 Erwe, Hans-Joachim-19, 20 Eshun, Kodwo-218 Eskew, Glenn T.-219 Evans, Bill, pianist, composer-180, 220, 233, 242, 272, 304, 313, 376, 436, 450, 494, 498, 552, 596, 642, 659, 801, 811, 814, 822, 842, 867, 876, 882, 887, 913, 934, 1011, 1043, 1060, 1071, 1085, 1102, 1116, 1123, 1129 Evans, Bill, saxophones-1272, 1279, 1325, 1340 Evans, Gil-3, 152, 177, 242, 263, 335, 355, 359, 378, 448, 454, 494, 513, 559, 563, 605, 629, 642, 655, 668, 680, 709, 722, 798, 799, 839, 866, 884, 891, 901, 920, 969, 992, 1062,

Index of Names281 1070, 1077, 1082, 1083, 1090, 1109, 1116, 1310, 1311, 1303 Evans, Richard-341 Everling, Bo-221 Ewen, David-222 Fanon, Frantz-795 Farina, Dennis-1301 Farmer, Art-762, 764, 1302 Farner, Christian-203 Farrington, Holly E.-862 Fatalot, Franck-143 Faulks, Sebastian-223 Fayette, Madame de la-1051 Feather, Leonard-103, 224, 225, 226, 1270 Fedele, Ivan-196, 1197 Feelings, Tom-175, 706 Feinstein, Sasha-227 Feinstein, Stephen-228 Feldman, Morton-1202 Feldman, Victor-1186 Fellezs, Kevin-229, 863, 1075 Fellini, Federico-273 Ferguson, Maynard-791 Fern, Jr., James Lloyd-1076 Ferrandez, Jacques-230 Ferrara, Lawrence-1101 Fidyk, Steve-1236 Films Media Group-1286, 1287 Filtgen, Gerd-231 Findley, Jamie-1198 Fine, Richard Samuel-1077 Finegan, Bill-839 Fischer, Bill-71 Fischer, Diego Lee-233 Fish, David Lee-232 Fisher, Larry-234 Fitterling, Thomas-236 Fitzgerald, Ella-10, 68, 81, 150, 242, 280, 436, 494, 569, 571, 1063, 1112, 1309 Fitzgerald, F. Scott-390 Fitzgerald, Kevin (aka DJ Organic)-1288 Folio, Cynthia-864 Ford, Phil-237 Ford, Robben-1303 Ford, William-238 Fordham, John-239 Forman, James “Mtume”-1263, 1268, 1271 Forsythe, John-1285

Forte, Allen-865 Fortune, Sonny-47 Fossati, Furio-482 Foster, Al-793, 1187, 1268, 1274, 1279 Foster, Frank-130, 127, 1272 Foucault, François-Marie-1078 Fox, Charles-240, 379 Frame, Peter-241 Franchino, Vittorio-242 Frandasen, Kjeld-337 Frankl, Ron-244 Franklin, Aretha-361, 383, 1257 Frankling, Ken-243 Franzo, Bishop-1256 Fraser, Al-280 Frederiksen, Steen-245 Freedland, David-246 Freeman, Budd-763 Freeman, Morgan-1308 Freeman, Philip-247, 705 Freo, Marco Del-179 Fresu, Pablo-234, 739 Freud, Sigmund-390 Friedl, Peter-571 Friedwald, Will-249 Friels, Colin-1282 Frisell, Bill-778 Fry, David-1290 Fujioka, Yasuhiro-196, 250 Fuller, Curtis-1112 Futterman, Steve-866 Future Song-1310 Fyffe, Jamie-867 Gabbard, Krin-251, 254, 745, 868 Gammond, Peter-255 Gardner, Barbara-256 Garland, Red-1102 Garner, Erroll-112, 710, 712 Garrett, Kenny-1259, 1273, 1274, 1277, 1278, 1281 Garrison, Jimmy-1254 Gart, Galen-256 Gates, Jr., Henry Louis-258, 259 Gatherer, Derek-869 Gautier, Dick-502 Gauttari, Felix-1120 Gavin, James-260 Gebhardt, Nicholas-261

282 Gelb, Gregg-1079 Gelbard, Jo-262, 320 Gelder, Cherie Van-156 Gennari, John-263 Gentile, Mickey-1199 George Gruntz Concert Jazz Band-1259 Gerber, Alain-264–268, 388 Gerin, William-829 Gerow, Maurice-701 Gershwin, George-16, 880, 892, 1117 Getz, Stan-17, 227, 286, 393, 404, 461, 476, 850, 864, 1082, 1112 Giarratano, Natalie A.-1080 Giddins, Gary-269–273, 301, 434, 866, 1248, 1249 Giel, Lex-278, 1200 Gieske, Tony-278, 279 Gil Evans Orchestra-1259, 1269 Gil, Gilberto-1122 Gillespie, Dizzy-2, 5, 10, 32, 53, 67, 123, 136, 150, 158, 207, 228, 232, 235, 257, 280, 282, 303, 308, 343, 349, 361, 393, 405, 407, 437, 458, 462, 479, 493, 505, 525, 527, 540, 569, 577, 610, 625, 634, 643, 654, 666, 668, 669, 710, 722, 748, 755, 764, 790, 827, 837, 850, 891, 911, 1061, 1077, 1097, 1099, 1116, 1121, 1125, 1256, 1293, 1302, 1303, 1304, 1309 Gilmore, Mikal-281 Ginell, Cary-282, 283 Ginsberg, Allen-49, 463, 657 Gioia, Ted-284, 285, 286, 1129 Gitler, Ira-224, 225, 263, 287 Gitte, Lose-288 Giuffre, Jimmy-286, 379, 764 Givan, Ben-870 Glasper, Robert-1252 Glass, Philip-688 Glasser, Joe-711 Gleason, Ralph-103, 289, 290, 354 Glick, S. D.-982, 983 Glissant, Edouard-698, 1122 Globokar, Vinko-880 Gluck, Bob-291 Gnaedig, Allain-770 Goaty, Frédéric-292, 293 Goldberg, Bill-294 Goldberg, Joe-295 Goldberger, Paul-123 Goldmark, Daniel-254

Index of Names Goldsby, John-871 Goldsher, Alan-51 Goldstein, Gil-1274, 1322 Golson, Benny-130, 296 Gomez, Eddie-450 Goodman, Benny-7, 68, 87, 107, 150, 232, 510, 540, 556, 600, 628 Goodman, Jr., George-297 Goodwin, Gordon-1201 Gopaul, Lina-1243 Gordon, Dexter-68, 710, 1097, 1246 Gordon, Lorraine-298 Gordon, Max-298, 299 Gordon, Tom-1134 Goss, Clay-300 Goss, Linda-300 Gottlieb, Robert-123, 183, 301 Gottlieb, William-341 Gould, Glen-383, 487 Gourse, Leslie-302, 303, 304, 444 Gracyk, Theodore-818, 872 Graham, Alexander Hale-1081 Grateful Dead-386, 467, 630, 638 Gravesen, Finn-305 Gray, Wardell-393 Greco, Juliette-57, 306, 324, 475, 494, 509 Green, Benny-379 Green, Stanley-307 Greenblatt, Dan-308 Greenblatt, Daniel-594 Greene, Nikki-873 Gregory, Andre-1308 Gregory, Hugh-309 Gregory, Sean-310 Grella, George-311 Gridley, Mark C.-312, 313, 874–877 Griffin, Farah Jasmine-212, 314, 315, 316, 695 Griffin, Johnny-710 Griffin, Mark-878 Grigson, Lionel-879 Groves, Maketa-317 Gruber, Hans-198 Grusin, Dave-811 Gryce, Gigi-379 Gualberto, Gianni M.-880 Guattari, Felix-693 Guillon, Roland-318, 319 Gumplpwicz, Philippe-881 Guns N’ Roses-61

Index of Names283 Guthrie, Woody-648 Gutterman, Scott-183, 320 Guy, Buddy-630 Guy, Shelley-321 Hacker, Carlotta-322 Hackett, Bobby-764 Haden, Charlie-582, 634, 1274 Haerle, Dan-1146 Hagsberg, Garry L.-883 Hahn, Ove-324 Haidet, Paul-882 Hakim, Omar-1295 Haley, Alex-325 Hall, Charles J.-326 Hall, Gery-327 Hall, Jim-596, 764, 1129 Hall, Randy-1312 Hall, Stuart-1243 Hamada, Yoh-ichi-250 Hamel, Peter Michael-1202 Hamilton, Andy-328 Hamilton, Chico-374 Hampton, Lionel-10, 268, 525, 636, 764 Hancock, Herbie-3, 47, 103, 104, 140, 218, 228, 233, 304, 329, 346, 408, 506, 553, 554, 583, 648, 668, 669, 703, 737, 740, 747, 774, 775, 832, 860, 921, 930, 931, 970, 972, 984, 1016, 1033, 1102, 1104, 1073, 1075, 1111, 1122, 1127, 1245, 1252, 1262, 1266, 1274, 1284, 1286, 1334 Handy, Chris-330 Harbison, Pat-1241 Hardy, Phil-331 Harker, Brian-332 Harper, Colin-333 Harper, William-1289 Harris, Barry-1293 Harris, Emmy Lou-648 Harris, Pat-334 Harrison, Jerry-1290 Harrison, M.-884 Harrison, Max-335, 336, 379 Harsløf, Olav-337 Hart, Lorenz-843 Harvey, John-338 Hasse, John Edward-339 Hata, Makoto-565 Haulet, Phillippe-85

Havers, Richard-340, 341 Hawes, Hampton-710 Hawkins, Coleman-63, 67, 129, 194, 219, 556, 700, 755, 763, 839, 1057, 1097, 1256 Hawkins, Screamin’ Jay-1115 Hayes, Brent-315, 695 Hayes, Jesse-885 Haygood, Wil-342 Haynes, Roy-356 Hazell, Ed-605 Headlam, Dave-886 Healy, Scott-887 Heath, Jimmy-343, 1125 Heath, Percy-833 Heble, Ajay-235, 344 Heckman, Don-345, 346, 434 Hegel, Georg Wilhem Frederich-90 Heider, Werner-1203 Heidkamp, Korad-347 Heile, Björn-261 Heineman, Alan-348 Heining, Duncan-349 Heister, Hanns-Werner-550 Hellhund, Herbert-350, 351, 888, 889, 1082 Helzer, Richard A.-890 Henderson, Eddie-47 Henderson, Fletcher-556, 601 Henderson, Joe-793 Henderson, Michael-1263, 1268, 1271 Hendricks, Jon-668, 1204 Hendriksen, Arne-831 Hendrix, Al-630 Hendrix, Jimi-69, 140, 247, 487, 521, 550, 554, 568, 576, 583, 622, 630, 638, 690, 723, 724, 753, 757, 784 Henrique, Waldemar-843 Hentoff, Nat-263, 352–358, 379, 612 Herbert, Trevor-186 Herman, Leonard-379 Hertz, Florence-437 Hervá, Antione-1205 Hicock, Larry-359 Hilberry, Conrad-193 Hilton, Simon-1291 Himes, Chester-795 Hindemith, Paul-1117 Hine, Darlene Clark-360 Hines, Candance G.-891 Hines, Earl-150, 556, 610, 666

284 Hino, Terumasa-1206 Hinton, Milt-361, 830 Hiraoka, Massaki-362 Hischke, John L.-661 Hitchcock, H. Wiley-363 Hoagland, Everett-364 Hobshawm, Eric-365 Hochstat-Greenberg, Janice Leslie-366 Hodeir, André-367, 592, 1086 Hodges, Johnny-194, 1256 Hodgkinson, Tom-368 Hodgson, Mark-1134 Hodson, Richard-369 Hoefer, George-370, 371 Hoff, Robert-875, 876, 877 Hoffman, Frank-372 Holbrook, Morris B.-373 Holiday, Billie-10, 15–17, 45, 67, 77, 123, 150, 187, 221, 227, 274, 275, 341, 361, 444, 526, 601, 628, 726, 763, 779, 1107, 1131, 1251, 1289 Holland, Dave-103, 151, 418, 736, 793, 1059, 1060, 1260, 1264, 1266, 1267, 1273, 1284, 1323, 1342 Holmes, Jeff-892, 893, 894 Holmes, Roger-1207 Holzman, Adam-1273, 1277, 1278, 1281, 1312 Hooker, John Lee-645, 1292 Hooper, Dennis-1292 Hooper, Les-1208 Hopkins, Lightnin’-568 Horn, Paul-374 Horn, Shirley-316, 1284, 1327 Horne, Lena-342 Horricks, Raymond-375, 376, 377, 378, 379, 895–898 Hovenga, Dick-380 Howard, Edgar-1293 Hubbard, Freddie-139, 710, 1116, 1302 Huber, Aubrey A.-899 Hughes, John-381 Hughes, Langston-138, 342, 686, 755, 779, 1130 Hull, Lynda-1080 Hultin, Randi-382 Humair, Daniel-1335 Hunstein, Don-383, 412, 913 Hunter, Dianne-900 Hutton, Courtney-384 Hyde, Stephen-385

Index of Names Iannarelli, Simone-1209 Iglesias Iglesias, Ivan-901, 1083 Inge, William-464 Irgens-Møller, Christer-1084 Irving III, Robert-1273, 1274, 1276, 1278, 1279, 1281, 1308, 1312 Isacoff, Sturat-1210, 1211, 1212 Isujimoto, Kazuaki-783 Iturralde, Pedro-901 Jackson, Blair-386 Jackson, Jean-Pierre-388 Jackson, Michael-1313 Jackson, Milt-338, 379, 833, 1112 Jackson, Travis-902 Jacobs, Jim-1294 Jagger, Mick-60, 422 Jakobeit, Brigitte-169 Jamal, Ahmad-147, 279, 389 James, Clive-390 James, Etta-394 James, Harry-1302 James, Henry-462 James, M.-903 James, Michael-103, 391, 392, 393 James, Rick-394 Jarrett, Keith-14, 47, 99, 103, 151, 233, 304, 492, 595, 760, 842, 1073, 1129, 1260, 1263, 1273, 1283, 1284, 1297, 1303, 1352 Jasbar, Helmut-1213 Jazz Messengers-99, 780 Jenkins, Willard-755 Jenson, Ingrid-395 Jepson, Jørgen Grunnet-396 Jerfino, Luca-397 Jisi, Chris-904 Jobim, Antonio Carlos-1122 Johnson, Andrea-189 Johnson, Budd-616, 1214, 1215, 1216, 1217 Johnson, Don-1292, 1300 Johnson, J. J.-263, 356, 379, 1112 Johnson, Jack-210, 1114, 1294 Johnson, James Weldon-46 Johnson, John R.-188 Johnson, Kenneth T.-398 Johnson, Robert-1257 Jones, Daryl-1274, 1276, 1278, 1279 Jones, Elvin-234, 1254, 1256

Index of Names285 Jones, Hank-1270 Jones, Jimmy-153 Jones, John Miller-593 Jones, Nalini-399 Jones, Philly Joe-263, 356, 444, 447, 709, 710, 1348 Jones, Quincy-187, 212, 379, 400, 457, 499, 1259, 1274, 1304, 1307, 1313 Jones, Ryan Patrick-905 Jones, Sam-1270 Joos, Herbert-401 Jordan, A. Van-402 Jordan, Duke-461, 629 Jösef, Szentgyörgyi-168 Josselyn, Jim-906 Jost, Ekkehard-403, 414, 907, 908 Jousse, Thierry-909 Jové, Joseph Ramon-404 Joyner, David-404, 910 Julien, Ivan-1218 Kahn, Ashley-57, 104, 159, 160, 210, 399, 406–412, 466, 523, 632, 645, 703, 704, 713, 757, 911, 912, 913 Kamien, Roger-413 Kampmann, Wolf-414 Kan, Sun-164 Kandinsky, Wassily-1287 Kania, Andrew-858, 914 Kant, Immanuel-90 Kapustin, Nikolai-1068 Karras, Oz-163 Kart, Larry-415, 416 Kassabian, Anahid-744 Kaufman, Alan-417 Kearns, Josie-193 Keepnews, Peter-418, 434, 736 Keil, Werner-19 Keim, Alexander-916 Kelley, Robin D. G.-419, 420 Kelly, Wynton-304, 912, 1014, 1102, 1254, 1268 Kenagy, Barry Dean-1086 Kenney, William Howland-421 Kent, Nick-422 Kenton, Stan-556, 600, 601, 790, 910, 1106, 1116 Kerman, Joseph-423 Kerman, Vivian-423

Kernfeld, Barry Dean-424, 42, 917 Kerouac, Jack-116, 463, 475, 726, 845 Kerrigan, Finola-573 Kerschbaumer, Franz-110, 426–430, 687, 918–923, 1087 Kersey, Ken-386 Keyes, Cheryl L.-924, 925 Khan, Amir-1108 King, B. B.-630 King, Colin-431 King, Jr., Martin Luther-324, 570, 1096 King, Nel-525 King, Wayne-1256 Kingman, Daniel-89 Kinyua, Kimani-432 Kirchner, Bill-48, 182, 270, 271, 286, 346, 433, 434, 520, 603, 721, 733 Kirchner, Volker Daid-1219 Kirk, Rahsaan-630 Kivy, Peter-1129 Kjellberg, Erik-926 Klarwein, Mati-704 Klaussen, Søren Harnow-927 Klinkowitz, Jerome-435 Klotz, Kelsey A. K.-1088 Klugh, Earl-1295 Knight, Arthur-436 Knight, Gladys-767 Knoblauch, Steven-928 Koenigswerter, Nadine-437 Koenigswerter, Nicade-437 Kofsky, Frank-438 Kohshin, Satoh-439 Komunyakka, Yusef-1080 Konitz, Lee-62, 286, 328, 393, 687, 778, 1062 Konrad, Jörg-440 Koral, Randall-522 Korn, Steve-929 Kosma, Joseph-1146 Kosmicki, Guillame-441 Koyama, Kiyoshi-783 Kragsbjerg, Torban-442 Kramer, Lawrence-254 Kriegel, Volker-401 Krieger, Kranz-930, 931 Kristić, Miloŝ-932 Kronos Quartet-885, 886 Krupa, Gene-10, 435, 790, 1077 Kruth, John-443

286 Kuehl, Linda-444 Kuhn, Laura-445 Kukkonen, Jaro-1089 Kuti, Fela-1115, 1280 Kuyper, Rudd-446 Kwarza, Johann-933 La Barbera, John-1220 La Faro, Scott-450, 596 La Tanneur, Hughes-460 La Verne, Andy-934 Lackowski, Rich-447 Lajoie, Steve-448, 1090 Lambert, Mary-1295 Lambrechts, Rémy-770 Lange, Art-185 Langer, Walter Richard-562 Larkin, Colin-449 Laroussaire, Jean-François-1091 Larsen, Peter-450 Larson, Tom-451 Laswell, Bill-518 Lavezzoli, Peter-452 Lawn, Richard-453 Le Corbusier-1071 Le Querrec, Guyle-458 Leander, Zarah-324 Lee, Spike-274, 795, 1296 Leedy, Paul D.-1101 Lees, Gene-301, 454, 616 Legrand, Michel-195, 1282 Lehman, Steve-935 Lehmkuhl, Tobias-455 Leloir, Jean-Pierre-1336 Lempert, Benjamin Richard-1092 Lennon, John-1291 Leonard, Herman-456, 457 Leowald, Hans-650 Leppert, Ralph-254 Lerch, Tobias-459 Lerner, Murray-1297, 1298 Leth, Jørgen-461 Leur, Walter Van de-936 Levey, Stan-1307 Levinas, Emmanuel-832 Levine, Mark-1221 Levinson, Peter J.-462 Levitt, Rod-1269 Levy, Rick-1290

Index of Names Lewis, Eric-1314 Lewis, George-1111 Lewis, Joe-210 Lewis, John-10, 379, 393, 513, 600, 601, 655, 768, 772, 799, 1117 Lhamon, W. T.-463–464 Lhevinne, Rosina-572 Liebman, Dave-47, 103, 234, 242, 408, 465, 466, 937, 938, 937, 938, 1268, 1271, 1284, 1297, 1316, 1343, 1344 Lincoln Center Jazz Orchestra-1314 Lincoln, Abbey-1247 Lindeman, Stephen D.-939 Lippegaus, Karl-467 Liston, Melba-755 Litweiler, John-468, 845 Lloyd, Charles-99, 921 Lobb, Margherita Spagnola-524 Lobo, Edo-843 Lock, Graham-469 Lohmann, Jan-470 Lombardi, Vince-859 Long, Daryl N.-471 Long, Pete-263 Lord, Tom-472 Lost Poets, the-630 Loupien, Serge-473 Loussier, Jacques-1117 Louth, Joseph Paul-941 Lovano, Joe-519 Lubat, Bernard-1122 Lucas, Reggie-1268, 1271 Lynette, Rachael-474 Lyra, Carlos-843 MacAdams, Lewis-475 Macero, Ted-218, 693 Mackey, Nathaniel-185 Madonna-1104 Madsen, Virginia-1292 Maggin, Donald L.-476 Magnasciutti, Fabio-599 Mahadjer-Kangarlow, Ingo-1093 Mahal, Taj-1245, 1292 Mahavishnu Orchestra-333, 583, 689 Maher, Jr., Paul-22, 76, 200, 297, 477, 478, 553, 638, 709, 722, 748, 785, 786, 787 Mailer, Norman-297, 1130 Makayama, Yasuki-544, 545, 546, 547

Index of Names287 Malcolm X-836, 1096 Malle, Louis-57, 208, 1124, 1299 Malone, Leonard-479 Malson, Lucien-480 Mandel, Howard-205, 481 Mann, Michael-1301, 1300 Manne, Shelly-286, 687 Manning, Sean-622 Mannucci, Michele-482 Mantooth, Frank-1222, 1223 Marantz, Bart-943, 944 Marcus, Griel-945 Maresco, Franco-483 Marjolijin, Jagen-57, 58 Marley, Bob-518 Marmande, Francis-509 Marmorstein, Gary-484 Marsalis, Wynton-207, 253, 422, 510, 540, 595, 615, 628, 643, 762, 781, 855, 882, 1023, 1247, 1248, 1249, 1302, 1309, 1314 Marsh, Graham-485 Marsh, Jerry-1204 Marsh, Warne-62, 328 Marshall, Eddie-1256 Marti, Jacky-486 Martin, Bill-487 Martin, Henry-488, 489, 946 Martin, Jr., Waldo E.-491 Martin, Marvin-490 Masotti, Roberto-492 Massarou, Marilena-176 Matheson, Carl-1046 Mathieson, Kenny-493 Mathison, Trevor-1243 Matsunobu, Koji-947 Matthews, Paul-948 Matthias, Paul-949 Matzner, Antonin-494 Mauro, Walter-495 Maxham, Robert-877 Maxile, Jr., Horace J.-496, 950 Maxon, Holly-361 Maxwell, Ian-951 Mazur, Marilyn-1273, 1277, 1281, 1310 Mazurek, Rob-831 Mazzola, Guerino-497 McCalla, James-498 McCann, Les-499 McCarthy, Albert-307

McCartney, Paul-60 McCreary, Joe “Foley”-1273, 1277, 1278, 1281 McCurdy, Ronald C.-500 McDuff, Brother Jack-51 McGee, Jeffery-942 McGhee, Howard-780 McGregor, Chummy-799 McInerney, Michael-952 McLaren, Joseph-343 McLaughlin, John-3, 151, 204, 333, 506, 583, 630, 689, 692, 921, 1075, 1091, 1128, 1284 McLaughlin, Michael-953 McLean Jackie-1347 McLellan, John-501 McLeod, Ken-954 McMichael, Robert K.-955 McMullen, Jim-502 McMurray, David-1312 McQueen, Steve-508 McRae, Barry-503 McRae, Carmen-710, 1309 McRae, Chris-956, 957, 958, 1094 Meadows, Eddie S.-504, 505, 506, 507, 959, 960 Mears, Patricia-508 Medioni, Frank-509 Meeder, Christopher-510 Meehan, Norman-961, 1095 Megill, David W.-701 Megill, Donald J.-511 Meili, Jürg Martin-1096 Meisel, Perry-512 Mellers, Wilfrid-513 Meltzer, Donald-650 Menist, Chris-28 Menuhin, Yehudi-245 Mercer, Johnny-219, 799, 1146 Mercer, Michelle-515 Merin, Enrico-516 Merker, Björn-743 Merleau-Ponty, Maurice-306 Merlin, Arnaud-56 Merlin, Enrico-718 Merod, Jim-962 Merrill, Helen-1274 Messiaen, Oliver-1202 Metheny, Pay-1111 Meucke, Mikesch W.-12 Meyer, Donald Carl-517 Meyer, Sheldon-535

288 Meyers, John Paul-963 Mezzrow, Mezz-10 Micallef, Ken-964 Michel, Ed-379 Michelano, Guido-483 Michelot, Pierre-1101, 1299, 1335 Middleton, Richard-518 Middleton, Tony-503 Mikkelborg, Palle-272, 1310, 1353, 1354 Miler, Michael Vincent-967 Miles, Jason-1295 Milhaud, Darius-1117 Milkowski, Bill-519, 520, 521, 965, 966 Miller, Jim-583 Miller, John-522 Miller, Karl Hagstrom-523 Miller, Marcus-1272, 1284, 1295, 1332 Miller, Michael Vincent-524 Millroth, Thomas-784 Mingus, Charles-32, 56, 62, 90, 98, 140, 221, 295, 301, 319, 379, 525, 584, 595, 598, 601, 625, 633, 653, 748, 779, 780, 864, 881, 890, 935, 948, 1035, 1083, 1100, 116, 1131 Minor, William-526, 527 Mirbeck, Jeanne-1337 Mitchell, Joni-1075, 1297 Mitterand, François-61 Modern Jazz Quartet-286, 295, 356, 584, 763, 1082 Molvaer, Nils Petter-831 Monceaux, Morgan-528 Monk, Thelonious-42, 64, 129, 221, 231, 236, 237, 280, 295, 298, 303, 319, 338, 340, 353, 358, 379, 388, 393, 405, 437, 443, 458, 493, 505, 592, 601, 603, 604, 609, 628, 633, 654, 658, 666, 676, 677, 710, 715, 755, 760, 763, 764, 780, 822, 833, 841, 858, 890, 891, 907, 1036, 1046, 1055, 1077, 1097, 1107, 1288, 1289, 1293 Monson, Ingrid-212, 529, 530 Montand, Yves-112 Montgomery, Wes-7, 611, 1112 Montouri, Alfonso-989 Moody, Bill-531 Moore, Fletcher-969 Moore, Jessica-532 Moorman, Dennie Lee-1097 Moreau, Jeanne-1299 Moreira, Airto-629, 847, 1273

Index of Names Morgan, Alun-379 Morgan, Lee-1302 Morgan, Robert C.-968 Morgan, Robert-533 Morgenstern, Dan-263, 301, 361, 444, 534, 535, 676 Morra, J. T.-983 Morrison, Toni-726 Morshroich, Schloss-536 Mortensen, Tore-539 Morthland, John-33 Morton, Brian-133, 537 Morton, Jelly Roll-600, 601, 763, 869 Moten, Fred-538, 971 Motian, Paul-596 Mouëllic, Gilles-972 Moulin, Jean-Paul Schroeder-85 Mour, Stanley I.-540, 541 Mozart, Wolfgang Amadeus-732 Mucci, Louis-1269 Mueller, Darren-1099 Mulligan, Gerry-68, 263, 286, 295, 349, 377, 379, 393, 431, 435, 513, 680, 700, 768, 799, 930, 1062, 1077, 1082, 1129 Murphy, Chris-542 Murray, Bill-285 Musser, Paul Thomas-1100 Mustazza, Leonard-249 Mynborg, Brite-833 Nagel, Hanneke-156 Naitho, Tadauki-543 Nalker, Tony-1236 Nam, Mu-Sŏng-548 Nanry, Charles-549 Nauck, Gisela-550 Navarro, Fats-268, 780, 1097 Needs, Kris-551 Nelson, Don-552 Nelson, Jon-1225 Nelson, Willie-648 Nettl, Bruno-674 Nettlebeck, Colin-208 New Visions Disk Jockey Show-553 Newman, Paul-508 Newton, Huey P.-1296 Nicholls, David-615 Nicholson, Stuart-554, 555 Nielsen, Steen-556, 561, 562, 563

Index of Names289 Nilsson, Brigit-324 Nirvana-61 Nisenson, Eric-557, 558, 559, 560 Nissola, Gianfranco-564 Njoroge, Njoroge-973 Nobs, Claude-1274 Noriyoshi, Koyama-565 Northern, Bob-1269 Norvo, Red-920 Nurmi, Mikko-566 O’Brien, Glenn-567 O’Brien, Timothy J.-568 O’Hara, Frank-779, 1130 O’Meally, Robert-315, 695 O’Neill, John-1226 O’Reilly, Daragh-573 Oakes, Steve-974 Obama, Barack-698 Obenhaus, Mark-1303 Oehring, Helmut-550 Okyay, Sevin-569 Olatunji, Babatunde-570, 841 Oliver, Joe King-601, 643, 1121 Oliver, Steger-571 Olmstead, Andrea-572 Olsen, Peter-975 Olson, Charles-845 Ono, Yoko-1291 Original Dixieland Jazz Band-697 Orr, Tamara-574 Ortenberg, Neil-417 Ory, Kid-10, 611 Overton, Ron-575 Owen, Frank-576 Owens, Thomas-578 Ozone, Makoto-526 Paetzold, Christopher-976 Paich, Marty-1106 Pajac, Frédéric-437 Palmer, Colin A.-579 Palmer, Earl-1292 Palmer, Rob-580 Palmer, Robert-581, 582, 583 Papademetriou, Sakis-584 Pardo, Arvi-174 Pareles, Jon-383 Parent, Emmanuel-585

Paringaux, Philippe-586, 587 Paris, Robert-379 Park, Jeff-588 Parker, Chan-610 Parker, Charlie-1, 2, 5, 10, 16, 30, 49, 53, 63, 68, 77, 86, 102, 113, 116, 123, 129, 136, 150, 183, 228, 232, 235, 265, 282, 303, 306, 307, 323, 341, 351, 356, 370, 392, 405, 407, 423, 434, 443, 460, 461, 476, 501, 510, 525, 540, 563, 577, 582, 588, 595, 600, 610, 625, 629, 654, 666, 686, 712, 722, 734, 748, 749, 755, 763, 765, 788, 790, 800, 827, 844, 845, 881, 882, 891, 902, 981, 987, 1034, 1057, 1097, 1112, 1251, 1256, 1258, 1288, 1293, 1303, 1309 Parker, Chris-591 Parker, Ted-977 Parra, Violeta-233 Parsons, Gram-648 Pastorius, Jaco-139, 634, 1116 Patekar, Pandit-1202 Patokar, Jure-171 Patterson, Jay-1308 Pauer, Fritz-589 Pavlić, Edward M.-590 PBS Television-1304 Peacock, Gary-47, 492, 778 Pécou, Thierry-1122 Peebles, Melvin Van-789 Pejrolo, Andrea-593, 978, 979, 1101 Penque, Romeo-1269 Pepper, Arthur Edward-286, 1106 Pepperell, David-591 Perchard, Tom-592 Percussion Paradise-1310 Perec, George-1051 Peremanti, Thierry-980 Perlman, Alan M.-594 Perry, David-595 Perry, Justin Clay-1102 Peterson, Oscar-150, 195, 616, 1068, 1097, 1116 Petrucciani, Michel-1274 Petruzzi, Joe-1282 Pettengill, Richard-21 Pettiford, Oscar-461 Pettinger, Peter-596 Peyrebelle, Jean-Pierre-1, 981 Pezzani, Saba-765 Pfau, Ulli-1305 P-Funk-487

290 Phelps, Roger P.-1101 Piaf, Edith-233 Piazza, Tom-220, 597 Piazzolla, Astor-233 Picasso, Pablo-320, 792 Pinkard, Maceo-1146 Pink Floyd-233 Piras, Marcello-598 Piumini, Roberto-599 Platte, Nathan-772 Plaxico, Lonnie-1314 Poitier, Sidney-436 Poledňák, Ivan-600 Polillo, Arrigo-601 Pollack, Jackson-49, 463, 475 Polston, J. E.-982, 983 Polston, James E.-1103 Pomerance, Murray-252 Pond, Steven Frederick-1104 Ponty-Jean-Luc-1274 Pople, Anthony-136 Portal, Bill-778 Portal, Michel-762 Porter, Bob-637 Porter, Christopher-984 Porter, Cole-793, 794, 1040 Porter, Eric-465, 602, 937 Porter, Lewis-196, 250, 603, 604, 605, 1055 Postif, François-606 Potash, Chris-521, 576 Potter, Tommy-629 Powell, Bud-319, 379, 393, 461, 601, 864, 1097, 1246 Powell, Elliott Hunter-1105 Powers, Matt-985 Prahlad, Anand-607 Prendergast, Mark J.-608 Presencer, Gerard-1134 Presley, Elvis-92, 281, 1126, 1290 Prévert, Jacques-1146 Price, Leontyne-572 Priestly, Brian-609, 610 Prince-127, 422, 1045, 1078, 1306 Pritz, Shelby-1307 Prouty, Kenneth E.-986, 987, 988 Puccini, Giacomo-559 Puser, Ronald E.-989 Putschögl, Gerhard-611

Index of Names Pynchon, Thomas-463 Quellette, Dan-612 Quersin, Benoît-613 Quinteto de Hot Club-404 Ra, Sun-90 Raab, Lawrence-614 Rachmaninoff, Sergei-1068 Radano, Ronald-615, 990 Raitt, Bonnie-1286 Ramsey, Douglas-616 Ramsey, Guthrie-991 Randel, Don Michael-617 Randle, Eddie-407, 421, 852 Rangasamy, Jacques-618 Rask, Perry Joel-1106 Ratliff, Ben-619 Ratzer, Karl-589 Raussert, Wilfred-593 Rauvolf, Josef-165 Ravel, Maurice-722, 1060, 1104 Reasinger, Clyde-1269 Redman, Don-920 Redman, Joshua-1247 Redmond, Eugene-620 Reed, Ishmael-621, 622 Reed, Lou-1126 Reeve, Christopher-1308 Reeves, Scott D.-623, 992 Rehak, Frank-1269 Reich, Howard-624 Reich, Steven-688, 766 Reid, Rufus-864 Reinhardt, Django-17, 68, 208, 589, 601, 848, 849 Reisner, Robert George-625, 626 Reisner, Robert-263 Return to Forever-583 Reynolds, Simon-576 Ribalta, Jordi Gubern-166 Rich, Buddy-374, 1106 Richard, Little-463, 1306 Richard, Tim-627 Richter, Stephan-628 Riddle, Nelson-335 Rietveld, Benjamin-1273, 1277, 1281 Riley, John-993

Index of Names291 Riley, Terry-688 Rizt, David-394 Roach, Max-268, 319, 356, 379, 447, 529, 570, 629, 648, 668, 669, 710, 755, 841, 883, 1245 Roberts, Jim-1236 Robinson, Sugar Ray-342 Roby, Steven-630 Rocco, Brian-631 Rocco, John-631 Rodete, Claduio-762 Rodgers, Roy-1292 Rodney, Red-103, 1062 Rogers, Mimi-1308 Rogers, Richard-572, 843 Rogers, Shorty-286, 1106 Rollins, Sonny-43, 63, 67, 135, 140, 220, 236, 242, 295, 319, 379, 408, 548, 557, 601, 632, 634, 648, 669, 710, 763, 780, 842, 961, 1057, 1112 Romano, Marcel-1335 Ronet, Maurice-1299 Roney, Wallace-1259 Rorty, Richard-1096 Rosar, William H.-994 Rosenthal, David H.-633 Ross, Annie-1309 Ross, Thomas Wynne-1108 Rosset, Barney-417 Roth, Philip-1130 Roust, Colin-772 Rowland, Mark-634 Roy, Mario-195 Roy, Michael-829 Royal, Ernie-1269 Rubbinaccio, H. Y.-983 Rudolph, Adam-1056 Rudyhar, Dane-1202 Ruf, Wolfgang-635 Ruff, Willie-636, 669 Run-DMC-1286 Ruppli, Michel-155, 637 Russell, Brian E.-835 Russell, George-348, 768, 812, 839, 1011, 1085, 1109 Russell, Melinda-674 Rutkoff, Peter M.-657, 995 Rycroft, Charles-650 Rypdal, Terje-1111

Saal, Hubert-638 Sacks, Leo-383 Sadettin, Davran-639 Sadie, Stanley-363, 640 Sadie-422 Saffar, Frédéric-996, 1109 Sagee, Alona-997, 1110 Saint-Paul, Jean-Michel-111 Salerni, Paul-998 Salewicz, Chris-69 Salinger, J. D.-1130 Salisbury, Linda J.-1112 Salvatore, Gianfranco-641 Sanborn, Dave-308 Sanders, Pharaoh-834 Sandke, Randall-642 Sandke, Randy-643 Sandner, Wolfgang-644 Sands, Julian-1295 Sandweiss, Lee Ann-730 Sanford, David-1113 Santa Cecilia, Carlos-999 Santana, Carlos-630, 645, 689, 1245, 1274, 1280, 1297 Santarrita, Marcos-177 Santoro, Gene-646–649, 1000 Sapen, Daniel-650 Sargeant, Winthrop-651 Sasao, Tshikazu-652 Satire, Eric-723 Satoh, Masahiko-526 Saul, Scott-653 Sauter, Eddie-839 Scelsi, Giacinto-1202 Schaal, Hans-Jürgen-1001 Schatzberg, Jerry-1307 Schauser, Andrew Jacob-1003 Scherman, Tony-634 Schewel, Amy-117 Schiedt, Duncan P.-654 Schmaler, Wolf-196 Schneider, Christoph-1227 Schneider, Maria-866 Schocket, Ellie-444 Schrijver, Over Jazz-391 Schuller, Gunther-84, 405, 655, 823, 910 Schwarz, David-744

292 Scofield, John-47, 205, 797, 1295, 1274, 1276, 1279, 1324 Scoppio, Frederico-656 Scott, Hazel-710 Scott, Tony-839 Scott, William B.-657 Scriabin, Alexander-1068 Sean, Oliver-658 Seeger, Pete-570 Segovia, Andreas-245 Seidel, Richard-292, 704 Seig, Matthew-1309 Seixas, Helosia-107 Sell, E. M.-983 Sewell, Marvin-134 Shadwick, Keith-659, 660 Shakur, Tupac-1096 Shankar, Ravi-374 Shanko, Timo-1228 Sharp, David E.-661 Shaw, Woody-1097 Shearing, George-2 Shepard, Lucius-662 Shepp, Archie-834, 881, 1065 Sheridan, Chris-663 Shipton, Alyn-664, 665, 666 Shoemaker, Deanna K.-1004 Shorter, Wayne-3, 139, 151, 191, 506, 515, 583, 634, 638, 703, 736, 747, 789, 897, 931, 960, 961, 1016, 1037, 1091, 1101, 1124, 1252, 1262, 1264–1267, 1303, 1304, 1310 Sidran, Ben-667, 668, 669 Siegel, Lawrence-744 Silos, Angel Pérez-670 Silver, Horace-47, 103, 263, 388, 763 Simmons, Herbert-672 Simone, Nina-499, 700, 710 Simons, David-671 Sinatra, Frank-249, 335, 374, 624, 761 Singer, Barry-298 Skea, Dan-1005 Slonimsky, Nicolas-1055 Slumstrup, Finn-337 Sly and the Family Stone-1104 Smith, Bessie-307, 761 Smith, Bruce-673 Smith, Chris-674 Smith, Christopher John-1115 Smith, Gerry-675

Index of Names Smith, Jabbo-189 Smith, Jeremy Allen-1114 Smith, Jeremy-1006 Smith, Jimmy-1245 Smith, Patti-487 Smith, Roger Guenveur-1296 Smitrovich, Bill-1301 Snitzer, Herb-676 Snyder, Randall-661 Solis, Gabriel-677, 1007 Sonic Youth-783 Soph, Ed-1146 Southern, Eileen-678 Sparrier, Walter-Wolfgang-550 Spaulding, Esperanza-1252 Spencer, Frederick-679 Spencer, Jon Michael-1008 Spielberg, Steven-1313 Spinola, Stanley J. 1116 Springfield, Buffalo-648 Springsteen, Bruce-648, 1286 Stanbridge, Alan-1009 Stearns, Marshall-754 Steely, Dan-452 Steers, Tamika Sakayi-1117 Steig, Jeremy-830 Stein Crease, Stephanie-680 Stein, Kevin-681 Steiner, Wendy-594 Stern, Chip-1010 Stern, Mike-1272 Steve Miller Band-638 Steven, Reich-766 Stevens, Wallace-779, 1130 Stevenson, Richard-682, 683, 684 Stewart, Rex-1302 Sting-422 Stitt, Sonny-700, 764 Stockhausen, Karlheinz-310, 559, 602, 608, 809, 880, 1002, 1049 Stockhausen, Mark-762 Stokes, W. Royal-685 Stokowski, Leopold-612 Stone, George-1229 Stone, Oliver-69 Stone, Sly-247, 583 Stout, Réne-873 Stovall, Tyler Edward-686 Strait, Kevin Michael Angelo-1118

Index of Names293 Straka, Manfred-687, 1011 Stravinsky, Igor-245, 757, 798, 823, 880, 1113, 1117 Strayhorn, Billy-335, 755, 841, 890 Streisand, Barbra-297, 361, 1313 Strickland, Edward-688 Stump, Peter-689 Sudo, Philip Toshio-690 Sukenick, Ronald-845 Sultanoff, Jeffery-489, 1012, 1230, 1231, 1232 Sutro, Dirk-691 Svorinich, Victor-692, 1013, 1119 Sweeney, Michael-1233, 1234 Swiboda, Marcel-693, 1120 Szwed, John F.-694, 695, 696 Tackley, Catherine-697 Talbot, Michael-518 Tamby, Jean-Luc-698, 1122 Tanner, Lee E.-699, 700 Tanner, Paul-701 Tate, Greg-702–708 Tatum, Art-150, 601, 748, 920, 1068 Taube, Evert-324 Taylor, Billy-263, 444, 1309 Taylor, Cecil-84, 90, 295, 388, 487, 615, 780, 834, 1065 Taylor, Mark-1235–1238 Taylor, Thomas-1014 Teachout, Terry-711 Teagarden, Jack-16 Ténot, Frank-379, 712 Terry, Clark-212, 529, 578, 713, 833, 1284, 1319 Thelander, Ulf-1016 Thibault, Matthieu-714 Thomas, Gary-797 Thomas, James C.-715 Thomas, Leon-710 Thomas, Philip Michael-1300 Thomas, Roger-716 Thompson, Bill-1017 Thompson, William-1018, 1019 Thomsen, Christian Braad-1310 Thoreau, Henry David-381 Thornhill, Claude-355, 377, 720, 791, 936, 1062 Thornton, Steve-1274, 1276 Tick, Judith-717 Tingen, Paul-717 Tirro, Frank-719, 720

Titus, Jason R.-1123 Tizol, Juan-1146 Tode, Matthias-1124 Toliver, Charles-710 Tomaro, Mike-1239, 1240 Tomasino, Anna-754 Tomatis, Alfred-1202 Tomlinson, Gary-423, 721, 1020 Tompkins, Les-722 Tooks, Lance-723 Toomer, Jean-315 Toop, David-724 Tosches, Nick-724 Townsend, Irving-912 Townsend, Petrr-726 Tretheway, Kenneth-727 Tristano, Lennie-10, 62, 551, 556, 687, 798, 1082, Troupe, Quincy-29, 164–180, 212, 251, 315, 728–731, 1023 Truffaut, Serge-1311 Trumbauer, Frankie-16 Tsujimoto, Kazuaki-783 Tucker, Mark-1021 Tucker, Sherrie-1022 Turk, Tommy-1112 Turner, Douglas-1023 Turner, Richard-1024 Tymoczko, Dmitir-732 Tyner, McCoy-669, 1254, 1256 Tyrrell, John-640 Ullman, Michael-605, 733 Underwood, Lee-374 Urtreger, René-1101, 1299, 1335 Vai, Ken-734 Valeiro, John-735 Van Gelder, Rudy-121, 1005 Van Maas, Sader-1025 Varese, Edgard-501 Vaughan, Sarah-10, 45, 243, 282, 569, 850, 1129, 1309 Vaughan, Stevie Ray-568 Veal, Michael-736, 1026, 1027 Velvet Underground-487, 723, 766 Vernon, James Farrell-125 Vian, Boris-208, 306, 712, 790 Villa-Lobos, Heitor-843

294 Villanueva, Patrick-1028 Vincent, Rickey-737 Vinci, Mark-1191 Violette, Banks-738 Viti, Luciano-739 Vogel, Vic-195 Vu, Cuong-831 Vuust, Peter-740 Wagner, Christian-1312 Wait, Tom-19 Walcott, Derek-795, 1080 Wald, Lasowski Aliocha-741 Walker, James-1295 Walker, John Verleye-1126 Walker, Rebecca-742 Wall, Jean-1299 Wallace, John-186 Wallace, Michele-708 Waller, Bob-412 Waller, Fats-16, 150, 556, 601 Wallin, Nils Lennart-743 Wallman, Johannes P.-1127 Walser, Robert-744, 745, 820, 1029 Ward, Geoffrey-746 Warren, Guy (Ghanaba Kofi)-841 Washburn, Dick-1241 Washington, Salim-314 Wasserberger, Igor-494 Waterman, Steve-1226 Waters, Keith-488, 747, 1030–1033, 1037 Waters, Muddy-92 Watkins, Julius-1269 Watrous, Peter-748, 866 Wayne, Chuck-642 Wayte, Lawrence A.-1128 Weather Report-191, 520, 554, 583, 615, 1091, 1128 Weber, Rudolf-19 Webster, Ben-1077, 1246 Wegele, Peter-1035 Weidemann, Erik-1036 Weight, Richard-749 Wein, George-243, 709, 750, 751, 752 Weinstein, Bob-1284, 1328 Weiskopf, Walt-1055 Weissbrod, Ellen-1313 Weissmüller, Peter-753 Wellman, Rickey-1273, 1277, 1281

Index of Names Werner, Craig-754 West, Cornel-258 Weston, Randy-710, 755, 841 Whitaker, Matthew C.-756 White, Christopher K.1129 White, Lenny-704, 757, 1128 Whitesell, Daniel-2 Whyton, Terry-758, 759 Wiedemann, Erik-760 Wierzbicke, James-772 Wilburn, Jr, Vince-1274, 1276, 1333 Wild, David-196 Wilen, Barney-592, 1299 Wilentz, Sean-761 Willener, Alfred-762 William, Scott-995 Williams, Kent J. 1037 Williams, Martin T.-763 Williams, Martin-263, 379, 764 Williams, Mary Lou-280, 301, 444, 648, 654 Williams, Richard-765–770, 1038 Williams, Tony-3, 408, 447, 506, 520, 551, 583, 634, 635, 709, 710, 740, 747, 757, 816, 817, 863, 878, 919, 975, 995, 1262, 1265, 1266, 1303 Williams, William Carlos-138 Wilmer, Valerie-771 Wilson, Brian-61 Wilson, Cassandra-315, 316, 1314 Wilson, Dana-1242 Wilson, Fo-1039 Wilson, John S.-772 Wilson, John-263 Wilson, Peter Niklas-773 Wilson, Stephen R. 1040 Wilson, Teddy-764, 1097 Windsor, Duke of-508 Winfrey, Oprah-1313 Winkler, Gerhard J.-589 Winnicott, Donald-650 Winter, Johnny-630 Woideck, Carl-145, 501, 1041, 1055 Wolfe, Stefan-839, 880 Wolff, Francis-774, 775 Womack, Craig S.-776 Wong, E. David-1042 Wood, Michael-1043 Wood, Naaman-1044 Woodward, Roger-1202 Woodworth, Griffin-1045

Index of Names295 Woolf, Virginia-512, 1080 Workman, Reggie-47, 1254 Wright, C. D.-1080 Wright, Charles-777 Wulff, Ingo-778 Xenais, Iannis-1202 Yaffe, David-779, 1130 Yamashito, Yosuke-526 Yanow, Scott-780, 781 Yasuki, Nakayama-170 Yi, Li Qi-164 Yoon, Joy-847 Young, Chester-798 Young, James O.-1046 Young, LeMonte-688 Young, Lester-7, 10, 16, 49, 129, 194, 285, 377, 444, 476, 582, 595, 600, 654, 726, 763, 764, 1097, 1258, 1348

Young, Rob-784 Yrlind, Rolf-221 Yudkin, Jeremy-782 Yui, Shoichi-783 Zach, Miriam-12 Zandt, Steve Van-1286 Zanetti, Geno-385 Zappa, Frank-520 Zawinul, Joe-151, 191, 304, 506, 583, 703, 921, 1091, 1128, 1185, 1284, 1314, 1349, 1350 Zbikowski, Lawrence-1048 Zenni, Stefani-483 Zepplin, Led-622 Zlabinger, Tom-1049 Zong, Woo Gemm-1050 Zorn, John-554 Zummo, Peter-1056 Zwerin, Michael-785–791

Index of Music Compositions 100 Greatest Artists of All Time-1131 10–500 B.C.-1100 4 Miles 2 Davis-1213 A Cool Mile-1143, 1188, 1199, 1192, 1214 A Gal in Calico-1135, 1136 A Tribute to Jack Johnson-154, 210, 271, 1114 Abgewandt (In Memoriam Miles Davis)-1219 Agharta-132, 544, 1113 Agitation-1066, 1137, 1138, 1142, 1228 Aida-1139, 1142, 1218 Airegin-1135, 1136, 1141, 1206, 1211, 1212, 1241 All Blues (Take 1)-1189 All Blues-806, 824, 826, 896, 942, 1047, 1086, 1131, 1133, 1135, 1136, 1137, 1139, 1142, 1144, 1147, 1148, 1156, 1191, 1195, 1198, 1200, 1218, 1221, 1223, 1228, 1234, 1236, 1238 All of Me-1139, 1211, 1212 All of You-1135, 1136, 1140, 1198, 1206 All the Things You Are-1125 Amandla-127 Amethyst-1192, 1193, 1194 April in Paris-1139 Ascenseur pour l’ Échafaud-57, 74, 208, 441, 592, 772, 903, 909, 978, 979, 988, 1015, 1038, 1124 Au Privave-1135, 1136 Aura-127, 132, 272, 316 Autumn Leaves-112, 431, 1031, 1134, 1140, 1146, 1206 Babes in Arms-1134 Back Home in Indiana-1190 Back Seat Betty-1139, 1142, 1218 Bags’ Groove-833, 1135, 1136, 1206 Basin Street Blues-1141 Bess, You Is My Woman Now-1090 Billie’s Bounce-1134, 1135, 1136 Birth of the Cool Theme-1230 Birth of the Cool: Scores from the Original Parts-1230

Birth of the Cool-1156 Bitches Brew-20, 89, 172, 291, 311, 497, 516, 521, 523, 545, 555, 586, 638, 692, 704, 705, 714, 721, 757, 828, 847, 896, 1010, 1026, 1093, 1119, 1128, 1134, 1138, 1139, 1142 Black Satin-1135, 1136, 1139, 1142, 1159, 1160 Blue in Green (Take 5)-1189 Blue in Green-313, 867, 934, 1043, 867 Blue Train-1112 Blues by Five-1200 Blues for Pablo-1090 Blues no. 2–1090-1142 Bluing-1161 Boogie Stop Shuffle-1100 Boplicity-115, 355, 564, 1139, 1142, 1156, 1208, 1231, 1133, 1134, 1195, 1200, 1230 Brown Hornet-1142 Budo-1135, 1136, 1142, 1200, 1218, 1230 But Not for Me-1135, 1136, 1139 Bye Bye Blackbird-430, 854, 923, 1135, 1136, 1139, 1140, 1198 Circle in the Round-1142, 1156 Circle-1137, 1139, 1142, 1195, 1200, 1228 Collectors’ Items-1132 Come and Get It-1139 Complete Miles Davis Interpretations-1199 Complete Miles Davis-1192 Compulsion-1132, 1156, 1162 Cool Sounds-1143, 1188, 1192, 1194, 1199 Country Son-1138, 1228 Deception-1142, 1230, 1232 Decoy-127, 553 Denial-1163 Diane-1135, 1136 Die Jazzmethode für Trompete: vom ersten Ton bis Miles Davis-1226 Dig-1133, 1135, 1136, 1142, 1145, 1164, 1195, 1200, 1206, 1211, 1212, 1241 Django-1206 Donna Lee: For Jazz Ensemble-1190 297

298 Doo Bop-127, 951 Down-1142 Doxy-1135, 1136, 1206, 1211, 1212 Dr. Jekyll-838, 1063, 1086 Drad Dog-1142 Dream of Miles: Brass Quintet, Percussion1225 Dual Mr. Tillman Anthony-1139, 1218 E.S.P.-1134, 1135, 1136, 1156, 1200, 1206 Easy Living-1140 Eighty-One-1138, 1139, 1142, 1144, 1156, 1195, 1200, 1221, 1228 Elegia per Clarnetto in si bem, e Pianoforte: In Memoriam Miles Davis-1155 Elegy for Miles Davis: Slow Movement of Concerto for Trumpet and Wind Orchestra-1153 Ella in Berlin-1112 Embraceable You-1139 F, blues-1086 Fat Time-1156 Filles de Kilimanjaro-272, 348, 521, 642, 721, 747, 1138, 1142, 1218, 1228 Flamenco Sketches (Take 1, Alternate Take)-1189 Flamenco Sketches (Take 6)-1189 Flamenco Sketches-517, 793, 829, 844, 887, 896, 976, 990, 1047, 1058, 1086, 1058, 1086, 1133, 1139, 1142, 1156, 1191, 1195, 1200, 1228, 1133, 1137, 1139, 1142, 1156, 1191, 1195, 1200 Footprints-1135, 1136, 1141 For Miles: For Chamber Ensemble-1149 For Minors Only-1125 Forever Sonny-1125 Four: SSAA With Rhythm Section-1204 Four-906, 983, 993, 1103, 1133, 1135, 1136, 1138, 1142, 1145, 1146, 1195, 1198, 1200, 1206, 1211, 1212, 1218, 1235, 1236 Fran Dance-1142 Freddie Freeloader (complete Wynton Kelly solo)-1189 Freddie Freeloader (Take 4)-1189 Freddie Freeloader for Tenor Saxophone Solo-1158 Freddie Freeloader-796, 840, 912, 1133, 1134, 1135, 1136, 1137, 1139, 1142, 1144, 1148,

Index of Music Compositions 1156, 1191, 1195, 1198, 1200, 1206, 1207, 1218, 1221, 1223 Freedom Jazz Dance-1150 Frelon Brun-1218 Friday Miles-1165 Garnet-1192, 1193, 1194 Genius of Modern Music-1112 Get Up With It-619 Giant Steps-1112, 1079 Gingerbread Boy-1125 Go Ahead John-1218 Godchild-1206, 1230 Great Expectations-1185 Green Haze-1135, 1136, 1137, 1142, 1228 Groovin’ High-1211, 1212 Haitian Fight Song-1100 Half Nelson-1133, 1137, 1142, 1195, 1228, 1236 Head Hunters-1104 Helen Butte-1166 High: In Memoriam “Miles Davis” per Tromba in si Bemolle (1996)-1197 High: In Memoriam “Miles Davis” (1996)-1196 Highlights From the Plugged Nickel-619 Hommage à Miles Davis [Concerto pour Trompette]-1205 How Deep Is the Ocean (How High is the Sky)-1140 How High the Moon-1112 I Could Write a Book-1140, 1198 I Didn’t-1167 I Fall in Love Too Easily-963 I Have a Dream-1127 I Know-1168 I Remember . . . (Louis and Clifford and Miles and Dizzy)-1242 I See Your Face Before Me-1140 I Waited for You-1135, 1136, 1211, 1212 I’ll Remember April-1135, 1136, 1206, 1211, 1212, 1141 Ife-1142 In a Silent Way/It’s About That Time-1159 In a Silent Way-80, 125, 132, 638, 714, 721, 896, 928, 949, 1013, 1026, 1059, 1159 In Person Friday Night at the Blackhawk-132 In Person Saturday Night at the Blackhawk-132 In the Style of Miles Davis-1157

Index of Music Compositions299 Interludio II-1209 Interludio-1209 Iris-1200 Israel-1139, 1206, 1230 It Could Happen to You-1135, 1136, 1140, 1206 It Gets Better-1139 It Never Entered My Mind-1141, 1206 It’s About That Time-1142, 1200 It’s Only a Paper Moon-1135, 1136, 1139 Jack Rabbit-117 Jazz at the Philharmonic-1112 Jazz at the Plaza-1086 Jazz Guitar of Wes Montgomery-1112 Jazz Improvisation: Transcriptions of Miles Davis’ Trumpet Solos for All Instrumental Musicians-1206 Jazz Piano Solos-1133 Jazz Trumpet 2 Featuring Miles Davis-1156 Jean Pierre-1156 Jeru-125, 1077, 1134, 1136 Joe Henderson: So Near, So Far-793 Joost at the Roost-1230 Joshua-1144, 1206 K.C. Blues-1135, 1136 Kind of Blue-3, 50, 113, 122, 132, 220, 271, 409, 410, 412, 552, 558, 566, 580, 581, 619, 633, 642, 659, 663, 697, 719, 765, 766, 796, 801, 804, 805, 812, 829, 844, 861, 872, 893, 894, 898, 941, 942, 950, 952, 974, 985, 997, 1008, 1019, 1047, 1058, 1079, 1110, 1112, 1123 Lament-1141 Lazy Susan-1142 Lester Leaps In-1112, 1142, 1200 Live Around the World-27 Live at Montreaux-132, 400 Live/Evil-828 Love for Sale-794, 876, 1040, 1139, 1148 Love Me or Leave Me-1140 Lover Man-1112 Maiysha-1139 Masqualero-1066 Midnite Blue-1139 Miles [Milestones]-1135, 1136 Miles Ahead-23, 58, 103, 115, 132, 505, 564, 619, 1135, 1136, 1142, 1169, 1200, 1218, 1241

Miles Away-1143, 1188, 1192, 1194, 1199, 1215 Miles Beyond-1074 Miles Cools Off II-1188, 1143, 1216 Miles Davis [A Step-by-Step Breakdown of the Styles and Techniques of a Jazz Innovator]-1134 Miles Davis for Solo Guitar-1198 Miles Davis Omnibook for B flat Instruments: Transcribed Exactly From His Recorded Solos-1136 Miles Davis Omnibook for Bass Clef Instruments: Transcribed Exactly From His Recorded Solos-1135 Miles Davis Originals, Volume 1–1137 Miles Davis Originals, Volume 2–1138 Miles Davis Standards, Volume 1–1140 Miles Davis Standards, Volume 2–1141 Miles Davis With John Coltrane and Sonny Stitt in Stockholm-621 Miles Davis: Eight Classic Jazz Originals for All Instrumentalists-1145 Miles Davis: Kind of Blue-1189, 1191 Miles Davis: The Real Fake Book-1142 Miles Davis-1195 Miles in the Sky-271, 747 Miles Runs the Voodoo Down-103, 115, 253, 413, 692, 1138, 1139, 1200, 1228 Miles Smiles-747 Miles Sounds Off-1143, 1192, 1194, 1199 Miles’ Theme-1206 Miles-1133, 1137, 1138, 1142, 1195, 1200, 1228 Milestone for Miles Davis-1202 Milestones (Fast Version)-1221 Milestones (new)-1144 Milestones (old)-1145 Milestones (Slow Version)-1221 Milestones-132, 198, 271, 296, 361, 403, 429, 430, 663, 680, 849, 907, 950, 1086, 1086, 1133, 1137, 1139, 1142, 1148, 1152, 1154, 1195, 1198, 1218, 1222, 1224, 1228, 1236, 1238, 1240 Mood-1142 Moon Dreams-799, 1230 Moon-1192, 1193, 1194 More of Miles Davis for All Instruments1193 Moritat-1112 Move-1200, 1230

300 Mr. Freedom (Mr. Freedom X.)-1170 Ms. Morrisine-1156 Music of Miles Davis-1139 My Funny Valentine (from Cookin’)-1200, 1206 My Funny Valentine (from the album, My Funny Valentine)-1206 My Funny Valentine (from The Complete Concert 1964)-1200 My Funny Valentine-261, 815, 819, 930, 1009, 1129, 1129, 1134, 1135, 1136, 1139, 1140, 1148 My Old Flame-1140 My Ship-1140 Naima-1112 Nardis-1100, 1133, 1139, 1142, 1144, 1148, 1195, 1198, 1200, 1221, 1223, 1229, 1236 Nature Boy-1141, 1206 Nefertiti-132, 1198 New Picture-1125 New Rhumba-1090 New York Girl-1171 Nice People-1125 No Blues-1138, 1228 No Line-1172 Old Devil Moon-1140 Oleo-241, 1135, 1136, 1141, 1206, 1211, 1212 On Green Dolphin Street-1135, 1136 On the Corner-1013, 1173 One and One-1174 One Finger Snap-1127 Opal-1192, 1193, 1194 Orbits-1030 Out of the Blue-1175 Pangaea-544, 564 Perdido-1146 Petits Machins-1138, 1142, 1200, 1228 Pfrancing-1142, 1200, 1206 Piano Interpretations-1143 Pinocchio-1030 Play It Cool-1143, 1188, 1192, 1194, 1199 Polka Dots and Moonbeams-1112 Porgy and Bess-103, 132, 271, 361, 436, 680, 884, 891, 1021 Postludio III-1209

Index of Music Compositions Prelude (Part I)-1113 Prelude, Op. 53–1068 Preludio-1209 Red Tango-1100 Rhythm-1146 Right Off-1139 Rock Salt: Rocker-1230 Rouge-1230 ’Round About Midnight-854, 1071 ’Round Midnight-303, 425, 431, 677, 1046, 1134, 1139, 1141, 1148 Rubi-1192, 1193, 1194 S’posin’-1140 Salt Peanuts-1206 Sanctuary-125 Satin Doll-1112 Saturday Miles-1176 Saxophone Colossus-1112 Serpent’s Tooth-1145, 1177, 1241 Seven Steps to Heaven-139, 1133, 1135, 1136, 1138, 1142, 1144, 1156, 1186, 1195, 1198, 1200, 1201, 1206, 1221, 1222, 1228, 1236, 1238 Shhh/Peaceful-1142, 1159 Shhh-1156 Shout-1218, 1137, 1139, 1142, 1156, 1200, 1206, 1228 Side Car-1142 Sieben Variationen und Choral über ein Thema von Miles Davis: für Bratsche und Orgel (1993)-1227 Siesta-127, 1295 Sign o’ the Times-1078 Sippin’ at Bells-1135, 1136, 1142, 1200 Sketch I-1209 Sketch II-1209 Sketch III-1209 Sketches of Spain-361, 371, 680, 818, 884, 900, 999 Sketches Orks: Transcribed From Original Recordings-1194 Slats-1063 Smooch-1178 So What (ensemble version)-1156 So What (Fast Version)-1221 So What (from At Carnegie Hall)-1200 So What (from Kind of Blue)-1200

Index of Music Compositions301 So What (Slow Version)-1221 So What (Take 3)-1189 So What-21, 26, 79, 277, 566, 623, 814, 840, 846, 871, 889, 893, 894, 904, 928, 943, 944, 1003, 1058, 1086, 1123, 1133, 1134, 1135, 1136, 1137, 1138, 1139, 1142, 1144, 1148, 1150, 1151, 1156, 1191, 1195, 1198, 1200, 1206, 1218, 1220, 1222, 1228, 1233, 1236, 1237, 1238 Solar Flare-1146 Solar-9, 642, 916, 1133, 1135, 1136, 1137, 1142, 1145, 1195, 1198, 1200, 1228, 1236, 1239, 1241 Solos for Jazz Trumpet: Classic Jazz Solos as Played by Louis Armstrong, Dizzy Gillespie, Miles Davis, Lee Morgan, Freddie Hubbard-1210 Someday My Prince Will Come (Alternate Take)-1141 Someday My Prince Will Come (Master Take)-1141 Someday My Prince Will Come-1135, 1136 Somethin’ Else-1112, 1133, 1142, 1195 Song No. 2–1142 Sorcerer-747, 931, 1037 Spanish Key-1138, 1139, 1142, 1200, 1228 St. Louis Blues-1063 Stablemates-1135, 1136 Stan Getz Plays-1112 Star People-127, 942 Stella by Starlight-864, 865, 940, 946, 1066, 1066, 1112, 1134, 1135, 1136, 1139, 1141, 1148, 1200, 1206, 1211, 1212 Steps for Miles: Klavier Solo: In Memoriam Miles Davis-1203 Straight No Chaser-858, 1086, 1112, 1150 Streamin’ With the Miles Davis Quintet-132 Stuff-1135, 1136, 1139, 1142, 1156, 1200, 1206 Summertime-892, 1135, 1136 Sweet Georgia Brown-1146 Sweet Sue-1206 Swing Spring-1142, 1179, 1200 Take Five-1079 Teo’s Bag-1142 That’s Right-1156 The 13th Floor-1125 The Best of Miles Davis-1148

The Blue Room-1140 The Complete Live at the Plugged Nickel-132, 619, 946, 961 The Cool Sounds of Miles Davis: Small Ensembles-1217 The Far East Suite-526 The Jazz Style of Miles Davis: A Musical and Historical Perspective-1150 The Magic of Miles Davis: Melodies, Chords, Transposed Parts for All Instruments-1144 The Magnificent Charlie Parker-1112 The Maids of Cadiz-1156 The Man I Love-139, 1036 The Man With the Horn-127, 271 The Maze-1137 The Miles Davis Story-1284 The Music of Miles Davis: A Study and Analysis of Compositions and Solo Transcriptions From the Great Jazz Composer and Improviser-1200 The Original Cool Sounds of Miles Davis-1888 The Pleasure Is Mine-1127, 1135, 1136, 1142, 1200 The Shape of Jazz-1079 The Sound of Miles Davis-955 The Surrey With the Fringe on Top-1135, 1136, 1140 The Theme-1133, 1135, 1136, 1137, 1145, 1195, 1228, 1241 The Trombone Master-1112 The Voice of the Sxophone-1125 Theme-1142 There Is No Greater Love-1140, 1198 Thinkin’ One Thing and Doin’ Another-1180 Thisness-1142 Three “Miles” Sketches [In Memory of Miles Davis]-1209 Thursday Miles-1181 Time After Time-961, 1007, 1187 Time Out-1079 Tout de Suite-1142, 1218 Toys-1127 Trane’s Blues-136, 1135 Tune Up (from Blue Haze)-1200 Tune Up (from Cookin’)-1200 Tune Up!: In All 12 Keys-1146 Tune Up-1133, 1135, 1136, 1137, 1142, 1145, 1146, 1150, 1195, 1200, 1206, 1211, 1212, 1236, 1241 Tutu-127, 141, 277, 408, 553, 564, 851, 1156 Two Bass Hit-874–875

302 Uni (U ‘N’ I)-1139 Ursula-1218

Index of Music Compositions

Venus De Milo-1230 Vierd Blues-1142, 1145, 1182, 1200, 1241 Vom Klang des Lebens: Tagebuch-Etüden für Klavier-Of the Sounds of Life: Diary-Etudes for Piano (1992–2006)-1202 Vonetta-1037 Vote for Miles-1183

Wednesday Miles-1184 Well You Needn’t (It’s Over Now)-1135, 1136, 1140 What Is It-1142 What’s New?-1141 When I Fall in Love-1140, 1198 Will o’ the Wisp-1090 Will You Still Be Mine-1141 Woody ‘n You-1140, 1135, 1136 Work Song-1100

Walkin’-870, 942, 973, 997, 1110, 1206, 1135, 1136 Wall to Wall-1125 Waltz for Debby-867 Water on the Pond-1142 We Want Miles-127, 564

Yesterdays-1135, 1136, 1141, 1139 You Don’t Know What Love Is-1206 You Or Me-1125 You’re Under Arrest-127, 132, 797, 1007

Subject Index A Tribute to Jack Johnson-154, 210, 271, 1114 African Music-841, 921, 953, 976, 987, 1008, 1104, 1105 Agharta-132, 544, 1113 Agitation-1066 Ahmad Jamal-147, 279, 389 All Blues-806, 824, 826, 896, 942, 1047, 1086 Amandla-127 Analytical, Critical and Interpretative, Historical, and Theoretical Studies-2–6, 12, 16, 17, 23, 26–28, 30, 32, 39, 46, 52, 53, 56–58, 63, 64, 70, 72, 74, 77, 79, 80, 81, 83, 84, 88, 90, 91, 93, 98, 104, 105, 107, 109, 111, 113, 115, 116, 117, 120, 121, 123, 124, 126, 127, 128, 130, 131, 145, 146, 147, 148, 153, 156, 159, 160, 191, 197, 199, 202, 208, 210, 211, 212, 213, 218, 222, 229, 234, 237, 239, 247, 249, 251, 253, 256, 257, 264, 269– 275, 277, 278, 281, 284, 285, 289, 290, 291, 296, 298–301, 304, 305, 310, 311, 312, 314, 315, 316, 318, 319, 324, 330, 332, 339, 341, 344, 345, 347, 349, 352, 354, 358, 360, 362, 365, 367, 371, 381, 386, 390, 393, 395, 397, 399, 400, 403, 405–413, 415, 416, 418–421, 423, 425–431, 434, 436, 440, 441, 448, 451, 453, 454, 459, 463, 464, 466, 469, 475, 481, 484, 486, 487, 488, 491, 493, 498, 505, 506, 508, 510–512, 514, 515, 518, 524, 526, 529, 530, 534, 535, 537, 539, 548–550, 556, 558, 559, 567, 571, 572, 573, 576, 578, 582, 586, 587, 589, 592, 593, 594, 597, 598, 600, 604, 605, 608, 611, 615, 616, 618, 619, 620, 622, 629, 631, 632, 638, 641, 643, 646, 647, 650, 653, 657, 658, 661, 664, 665, 667–669, 671, 674, 677, 679, 685, 686, 688, 690, 691, 692, 693, 695, 697, 698, 701, 703, 713, 714, 716, 719, 720, 721, 724, 726, 729, 732–736, 738, 740–749, 752, 754, 759–761, 762–768, 776, 779, 780, 782, 784, 787–789, 791, 795, 796, 797, 802–810, 813, 816–818, 820, 821–825, 827, 828, 831–835, 836, 839, 840, 841, 842, 843, 846, 848–859, 862–865, 867, 868, 869,

872, 873, 877, 879, 881, 883, 886, 888, 890, 897, 899–902, 905, 906, 908, 910–932, 934, 936, 939–947, 949, 950–978, 985–993, 995, 996, 997–999, 1002–1006, 1008–1014, 1017–1022, 1025–1034, 1036, 1037, 1039, 1040, 1042–1050, 1051–1079, 1081–1130 Arrangements, Lead Sheets, Tribute Compositions-1131–1243 Arrangements-1131–1133, 1144–1148, 1151, 1152, 1154, 1192, 1193, 1199, 1201, 1204, 1207, 1208, 1214–1217, 1120, 1223, 1224, 1229–1230, 1233, 1235, 1237, 1239, 1240 Art Blakey-14, 221, 242, 265, 295, 319, 340, 356, 379, 529, 556, 600, 700, 710, 780, 926 Ascenseur pour l’ Échafaud-57, 74, 208, 441, 592, 772, 903, 909, 978, 979, 988, 1015, 1038 Asian Music-602, 947, 998, 1105 Aura-127, 132, 272, 316 Autobiographies-51, 164–171, 173–179, 180, 182, 183, 251, 262, 329, 343, 636, 717, 730, 862, 958, 986, 1093, 1044 Autumn Leaves-112, 431, 1031 Avant-garde-136, 475, 487, 491, 602, 784, 834, 921, 955, 1065, 1085, 1092 Bags’ Groove-833 Bebop-1, 4, 56, 111, 113, 136, 160, 197, 282, 304, 323, 405, 427, 430, 440, 459, 462, 475, 476, 493, 505, 510, 577, 591, 651, 666, 776, 780, 793, 810, 839, 840, 844, 845, 888, 902, 926, 942, 972, 978, 995, 1058, 1062, 1086, 1087 Bess, You Is My Woman Now-1090 Betty Davis-532, 704, 873, 885, 924 Bill Evans, pianist and composer-180, 220, 233, 242, 304, 313, 378, 450, 498, 552, 596, 642, 659, 801, 811, 814, 822, 842, 867, 876, 882, 887, 913, 934, 1011, 1043, 1060, 1085, 1116, 1123 Billie Holiday-10, 15–17, 45, 67, 77, 123, 150, 187, 221, 227, 341, 361, 444, 601, 628, 726, 763, 779, 1107 303

304 Biographies, Biographical Profiles-8, 10, 13, 14, 22, 25, 31, 34, 41, 45, 47, 48, 54, 55, 62, 63, 67–69, 87, 91, 95, 97, 99–103, 106, 115, 124, 125, 126, 127, 130, 131, 132, 135, 137, 140, 141–144, 150, 152, 161, 184, 189, 192, 195, 202, 204, 207, 216, 219, 221, 226, 228, 230, 231, 235, 236, 241, 242, 244, 245, 248, 249, 250, 258, 259, 260, 264, 265, 266, 268, 280, 282, 283, 293, 295, 302, 303, 306, 307, 311, 323, 328, 333, 336 342, 348, 370, 374–381, 387, 388, 391–394, 404, 415, 422, 435, 442, 443, 446, 447, 452, 455, 458, 462, 465, 467, 471, 473, 474, 476, 480, 482, 483, 490, 492, 494, 500, 502, 503, 509, 517, 519, 521, 525, 527, 528, 540–542, 544, 546, 556, 557, 560–566, 568–571, 574, 577, 580, 584, 585, 595, 596, 599, 601, 608–610, 612, 625, 626, 628, 630, 633, 639, 643–645–649, 652, 655, 656, 659, 666, 675, 680, 686, 689, 694, 696, 712, 715, 718, 727, 739, 753, 755, 756, 758, 764, 769, 878, 898, 1015, 1064 Birth of the Cool-3, 125, 132, 172, 288, 355, 377, 380, 433, 475, 489, 567, 799, 936, 1000, 1012, 1062 Bitches Brew-20, 89, 172, 291, 311, 497, 516, 521, 523, 545, 555, 586, 638, 692, 704, 705, 714, 721, 757, 828, 847, 896, 1010, 1026, 1093, 1119, 1128 Blue in Green-313, 867, 934, 1043 Blue Note-340, 485, 774, 775, 1245 Blues of Pablo-1090 Blues-6, 41, 112, 116, 144, 205, 247, 251, 257, 266, 308, 315, 318, 365, 405, 427, 448, 469, 512, 556, 564, 566, 568, 600, 602, 617, 621, 624, 630, 648, 649, 660, 689, 721, 806, 807, 824, 826, 870, 888, 891, 896, 912, 942, 990, 997, 1045, 1047, 1048, 1059, 1063, 1078, 1096, 1088, 1090, 1100 Books, Chapters, Reference Sources, and Other Selected Readings 1–791 Boplicity-115, 355, 564 Boris Vian-208, 307, 712, 790 Bye, Bye Blackbird-430, 854, 923 Charles Mingus-32, 56, 62, 90, 98, 140, 221, 295, 301, 319, 379, 525, 584, 595, 598, 601, 625, 633, 653, 748, 779, 780, 864, 881, 890, 935, 948, 1035, 1100 Charlie Parker-113, 323, 460, 610, 625, 827, 981, 987, 1034, 1057, 1097, 1112

Subject Index Chet Baker-17, 30, 68, 219, 221, 260, 251, 550, 634, 648, 687, 700, 739, 789, 802, 815, 930, 1034, 1077, 1082, 1116 Chick Corea-3, 151, 304, 418, 506, 583, 736, 919, 1016 Claude Thornhill-355, 377, 720, 791, 936, 1062 Clifford Brown-3, 207, 268, 356, 494, 643, 1097, 1121 Cole Porter-794, 1040 Columbia Records-22, 23, 58, 108, 220, 292, 383, 412, 418, 484, 581, 658, 697, 750, 761, 828, 1006 Concerts and Performances-1253–1256, 1258–1281 Conference and Symposium Publications-403, 613, 658, 743, 751, 967 Cool Jazz-3, 197, 367, 431, 455, 567, 687, 719, 720, 768, 798, 945, 999, 1082, 1088 Copyright Law-642, 794, 891, 1040, 1090 Dave Liebman-47, 103, 234, 242, 408, 465, 937, 938 Decoy-127, 553 Discographies-66, 82, 120, 132, 133, 154, 155, 201, 250, 294, 292, 396, 450, 470, 472, 547, 619, 637, 663, 735 Dissertations and Studies-1051–1130 Dizzy Gillespie-2, 5, 10, 32, 53, 67, 123, 136, 150, 158, 207, 228, 232, 235, 257, 280, 282, 303, 308, 343, 349, 361, 393, 405, 407, 437, 458, 462, 479, 493, 505, 525, 527, 540, 569, 710, 722, 748, 755, 764, 790, 827, 837, 850, 891, 911, 1061, 1097, 1099, 1116, 1121, 1125 Django Reinhardt-17, 68, 208, 589, 601, 848, 849 Documentaries, Motion Pictures, and Special Programing-1243–1249, 1251, 1252, 1257, 1282, 1283, 1284–1314 Doo Bop-127, 951 Dr. Jekyll-838, 1063, 1086 Duke Ellington-7, 10, 16, 17, 30, 32, 53, 87, 112, 150, 187, 188, 208, 219, 228, 232, 257, 273, 285, 290, 307, 324, 335, 374, 376, 444, 452, 525, 526, 540, 569, 571, 582, 589, 595, 598, 600, 601, 624, 628, 667, 699, 712, 726, 755, 763, 772, 806, 813, 822, 830, 855, 862, 882, 896, 911, 920, 936, 990, 994, 1035, 1095, 1099, 1107

Subject Index305 E.S.P.-277, 429, 747 Electronic Music and Instrumentation-3, 58, 99, 151, 191, 200, 218, 233, 247, 291, 506, 583, 608, 638, 693, 707, 908, 965, 1002, 1026, 1027, 1093, 1111 Ella Fitzgerald-10, 68, 81, 150, 228, 242, 280, 436, 494, 569, 571, 601, 930, 1063, 1112 Ethnomusicology-593, 674, 947, 951, 953, 976 F, blues-1086 Filles de Kilimanjaro-272, 348, 521, 642, 721, 747 Film Studies-19, 74, 252, 254, 261, 373, 441, 469, 592, 738, 772, 785, 808, 811, 868, 903, 909, 988, 994, 1035, 1038, 1101, 1124 Flamenco Sketches-517, 793, 829, 844, 887, 896, 976, 990, 1047, 1058, 1086 Four-906, 983, 993, 1103 Freddie Freeloader-796, 840, 912 Free Jazz-1, 53, 90, 136, 197, 201, 405, 476, 497, 571, 616, 736, 844, 881, 907, 908, 919, 927, 972, 981, 997, 1109, 1065 Funk Music-48, 58, 115, 229, 272, 532, 602, 648, 703, 737, 792, 860, 873, 885, 921, 924, 1075, 111, 1115 George Russell, modal jazz influences-812, 839, 1011, 1085, 1109 Gerry Mulligan-68, 263, 386, 295, 349, 377, 379, 393, 431, 435, 513, 680, 700, 768, 799, 930, 1062, 1077, 1082, 1129 Get Up With It-619 Gil Evans-3, 152, 335, 359, 378, 448, 680, 799, 839, 866, 884, 891, 969, 992, 1090, 1109, 1311 Herbie Hancock-3, 47, 103, 104, 140, 218, 228, 304, 329, 346, 408, 506, 553, 554, 583, 648, 668, 669, 703, 737, 740, 747, 774, 775, 832, 860, 930, 931, 970, 972, 984, 1016, 1033, 1102, 1104, 1111, 1122, 1127 Highlights From the Plugged Nickel-619 I Fall in Love Too Easily-963 Ian Carr Interviews and Audio Tapes-1315– 1339, 1340–1354 Ife-1056 Improvisation-1, 9, 21, 43–44, 49, 71, 140, 235, 278, 308, 310, 349–351, 369, 428, 442, 513, 557, 594, 611, 623, 627, 674, 762, 809, 810, 819, 821, 832, 837, 838, 842, 844, 845, 864,

865, 874–877, 879, 882, 888, 892, 893, 894, 915, 917, 918, 922, 931–933, 935, 941, 946, 947, 959, 960, 961, 970, 972, 978, 981, 987, 988, 997, 1003, 1030, 1033, 1041, 1050, 1052, 1057, 1061, 1065, 1066, 1076, 1086, 1097, 1106, 1112, 1115, 1124, 1125, 1127 In a Silent Way-80, 125, 132, 638, 714, 721, 896, 928, 949, 1013, 1026, 1059 In Person Friday Night at the Blackhawk-132 In Person Saturday Night at the Blackhawk-132 Interviews-7, 29, 60, 61, 65, 76, 93, 129, 139, 194, 200, 263, 279, 287, 297, 325, 327, 334, 346, 353, 356, 357, 382, 389, 400, 434, 438, 444, 477, 478, 501, 552, 553, 606, 634, 646, 647, 667–669, 709, 710, 722, 748, 750, 771, 778, 783, 786, 847, 860, 885, 937, 938, 948, 979, 980, 984, 994, 1001, 1023, 1250 Jack DeJohnette-418, 447, 492, 736, 964, 980, 1010 Jazz and Art-618, 651, 776, 792, 823, 830, 882, 967 Jazz at the Plaza-1086 Jazz in Europe-75, 110, 112, 337, 461, 592, 687, 800, 975, 1246 Jazz-Rock Fusion-3, 12, 51, 72, 111, 139, 151, 191, 197, 229, 247, 312, 520, 523, 554, 555, 576, 583, 602, 631, 641, 670, 705, 707, 718, 780, 908, 921, 963, 965, 966, 1006, 1013, 1016, 1026, 1027, 1048, 1075, 1084, 1089, 1091, 1093, 1098, 1101, 1111–1114, 1119, 1128 Jeru-125, 1077 Jimi Hendrix-69, 140, 247, 487, 521, 550, 554, 568, 576, 583, 622, 630, 638, 690, 724, 753, 757, 784 Jimmy Cobb-103, 412 Jimmy Heath-343, 1125 Joe Zawinul-151, 191, 304, 506, 583, 703, 921, 1091, 1128 John Coltrane, Miles Davis Collaborations, and Influences-40, 42, 65, 145, 148, 158, 194, 196, 231, 232, 314, 375, 382, 438, 461, 467, 546, 603, 609, 613, 621, 658, 771, 834, 874–875, 895, 897, 898, 907, 917, 969, 1024, 1028, 1041, 1054, 1055, 1085, 1086, 1097, 1105, 1112, 1123 John McLaughlin-3, 151, 204, 333, 506, 583, 630, 689, 692, 921, 1128 Journal Articles-792–1050

306 Julian Cannonball Adderley-263, 283, 663, 905, 915, 933, 1052, 1067, 1086, 1099, 1123 Karlheinz Stockhausen-310, 559, 602, 608, 809, 880, 1002, 1049 Keith Jarrett-14, 47, 99, 103, 151, 233, 304, 492, 595, 760, 1073, 1129, 1283 Kind of Blue-3, 50, 113, 122, 132, 220, 271, 409, 410, 412, 552, 558, 566, 580, 581, 619, 633, 642, 659, 663, 697, 719, 765, 766, 796, 801, 804, 805, 812, 829, 844, 861, 872, 893, 894, 898, 941, 942, 950, 952, 974, 985, 997, 1008, 1019, 1047, 1058, 1079, 1110 Larry Coryell-140, 520, 555, 689, 700 Latin Jazz, influences-2, 629, 1011 Lead Sheets-1159–1187, 1188, 1236 Literary and Poetic Writings-11, 15, 18, 24, 33, 35–38, 59, 73, 78, 85, 86, 118, 138, 146, 147, 148, 157, 185, 193, 203, 206, 209, 211, 214, 217, 223, 227, 267, 317, 321, 338, 364, 368, 384, 385, 402, 417, 432, 495, 522, 531, 532, 538, 551, 575, 588, 590, 591, 614, 621, 624, 662, 672, 673, 682–684, 702, 706, 707, 708, 711, 723, 725, 728, 730, 731, 769 770, 777, 790, 791, 975, 1023, 1080, 1091 Live Around the World-27 Live at Montreaux-132, 400 Live/Evil-828 Louis Armstrong-10, 16, 17, 53, 63, 67, 68, 81, 87, 88, 189, 207, 228, 232, 253, 275, 301, 324, 343, 361, 390, 436, 437, 444, 462, 494, 510, 527, 540, 569, 582, 595, 600, 601, 628, 643, 648, 654, 666, 676, 699, 711, 713, 726, 758, 763, 764, 781, 805, 837, 855, 953, 959, 990, 1057, 1061, 1097, 1121 Love for Sale-794, 876, 1040 Masqualero-1066 Michael Zwerin-785–791 Mike Dibb Collection (The Miles Davis Story Interview Tapes)-1315–1339 Miles Ahead-23, 58, 103, 115, 132, 505, 564, 619 Miles Davis Quintet/Sextet, Ensembles-66, 104, 132, 145, 147, 291, 346, 350, 408, 418, 425, 467, 510, 590, 612, 650, 736, 740, 747, 780, 806, 834, 874–876, 884, 888, 970, 1019, 1030, 1037, 1065, 1066, 1071, 1102 Miles Davis With John Coltrane and Sonny Stitt in Stockholm-621

Subject Index Miles in the Sky-271, 747 Miles Runs the Voodoo Down-103, 115, 253, 413, 692 Miles Smiles-747 Milestones-132, 198, 271, 296, 361, 403, 429, 430, 663, 680, 849, 907, 950, 1086 Modal Jazz-198, 276, 428, 468, 804, 805, 812, 848, 849, 887, 907, 918, 919, 922, 978, 979, 1011, 1018, 1019, 1028, 1058, 1085, 1101, 1109, 1110, 1123 Moon Dreams-799 Music and Architecture-12, 736, 1071 My Funny Valentine-261, 815, 819, 930, 1009, 1129 Nefertiti-132 New Rhumba-1090 On the Corner-1013 Orbits, Pinocchio-1030 Ornette Coleman-1, 19, 20, 32, 53, 56, 84, 90, 110, 187, 201, 242, 291, 295, 388, 476, 481, 494, 582, 595, 598, 601, 615, 628, 634, 710, 763, 747, 771, 780, 803, 823, 834, 840, 844, 845, 881, 935, 972, 981, 1055, 1065, 1095 Pablo Picasso-320, 792 Palle Mikkelborg-272, 1354 Pangaea-544, 564 Paul Chambers-566, 580, 871, 904, 123 Photographs and Artistic Works-108, 120, 163, 181, 187, 188, 240, 243, 320, 361, 379, 383, 401, 437, 439, 456, 457, 485, 498, 533, 536, 543, 654, 667, 676, 699–700, 774, 775, 786, 968 Popular Music-20, 80, 233, 246, 255, 257, 281, 309, 318, 331, 347, 403, 487, 518, 520, 521, 718, 737, 754, 784, 803, 860, 939, 951, 1007, 1045, 1048, 1078, 1105, 1107, 1110, 1116 Porgy and Bess-103, 132, 271, 361, 436, 680, 884, 891, 1021 Prestige Records-22, 147, 510, 637 Prince-127, 1045, 1078, 1306 Red Garland-1102 Reference Works-92, 94, 96, 114, 119, 134, 136, 162, 186, 205, 215, 224, 225, 246, 255, 286, 322, 326, 331, 363, 366, 372, 398, 405, 414, 424, 445, 449, 496, 504, 507, 579, 607, 617, 635, 640, 648, 660, 678

Subject Index307 Rock Music-3, 12, 48, 53, 58, 60, 61, 72, 74, 80, 111, 136, 139, 151, 172, 210, 229, 233, 241, 277, 281, 309, 312, 333, 347, 403, 422, 467, 487, 512, 521, 523, 532, 550, 554, 555, 583, 586, 587, 602, 617, 631, 648, 649, 670, 689, 714, 732, 784, 818, 841, 873, 908, 914, 919, 921, 924, 952, 1007, 1016, 1075, 1089, 1091, 1114, 1119, 1128 Ron Carter-47, 104, 105, 139, 212, 408, 612, 710, 740, 747, 977 ’Round About Midnight-1071 Round Midnight-303, 425, 431, 677, 1046 Rudy Van Gelder-121, 1005 Sanctuary-125 Sarah Vaughan-10, 45, 243, 569, 850, 1129 Scientific Studies-829, 982, 983, 1042, 1103 Siesta-127, 1295 Sketches of Spain-361, 371, 680, 818, 884, 900, 999 So What-21, 26, 79, 277, 566, 623, 814, 840, 846, 871, 889, 893, 894, 904, 928, 943, 944, 1003, 1058, 1086, 1123 Solar-9, 642, 916 Sonny Rollins-43, 63, 67, 135, 140, 220, 236, 242, 297, 319, 379, 408, 548, 557, 601, 632, 634, 648, 669, 710, 763, 780, 842, 961, 1057, 1112 Sorcerer-747, 931, 1037 Star People-127, 942 Stella by Starlight-864, 865, 940, 946, 1066 Straight No Chaser-858, 1086 Streamin’ With the Miles Davis Quintet-132 Studio Recordings-429, 747, 799, 861, 870, 951, 963, 985, 1005 Summertime-892 Tadd Dameron-74, 130 The Complete Live at the Plugged Nickel-132, 619, 946, 961

The Man I Love-1036 The Man With the Horn-127, 271 The Miles Davis Story-1284 The Sound of Miles Davis-955 Thelonious Monk-42, 64, 129, 221, 231, 236, 237, 280, 295, 298, 303, 338, 340, 353, 358, 379, 388, 393, 405, 437, 443, 458, 493, 505, 592, 601, 603, 604, 609, 628, 633, 654, 658, 666, 676, 677, 710, 715, 755, 760, 763, 764, 780, 833, 858, 1036, 1046, 1055, 1097, 1107 Time After Time-961, 1007 Tony Williams-3, 408, 447, 506, 520, 551, 583, 634, 709, 710, 740, 747, 757, 816, 817, 863, 878, 919, 975, 995 Transcriptions-9, 125, 278, 308, 430, 448, 692, 811, 816, 871, 889, 912, 916, 923, 930, 943, 944, 1031, 1112, 1125, 1134–1145, 1148, 1150, 1156, 1156–1158, 1189–1191, 1194, 1195, 1198, 1200, 1206, 1210–1212, 1218, 1221, 1222, 1228, 1232, 1234, 1241 Tribute Compositions-1149, 1153, 1155, 1196, 1197, 1202, 1203, 1205, 1209, 1213, 1219, 1225, 1226, 1227, 1238, 1241, 1242 Tutu-127, 141, 277, 408, 553, 564, 851 Two Bass Hit-874–875 Vonetta-1037 Walkin’-870, 942, 973, 997, 1110 Wayne Shorter-3, 139, 151, 191, 506, 515, 583, 634, 638, 703, 736, 747, 789, 897, 931, 960, 961, 1016, 1037, 1091, 1101, 1124 We Want Miles-127, 564 Will o’ the Wisp-1090 Wynton Kelly-304, 912, 1014, 1102 Wynton Marsalis-208, 253, 422, 510, 540, 595, 615, 628, 643, 762, 781, 855, 882, 1023 You’re Under Arrest-127, 132, 797, 1007