Mentions of Miles Davis
22 mentions
Statements by others that mention Miles Davis, drawn from interviews, books, and other sources.
'Miles said he learned silence from my playing. That is an honor.'
On Miles Davis's well-documented admiration for Jamal's playing. Miles often directed his band members to listen to Ahmad Jamal.
said by Ahmad Jamal'Miles taught me how to turn a mistake into an opportunity'
During his time with the Miles Davis Quintet (1963–68). Based on the well-known episode where Miles turned Herbie's 'wrong' chord into part of the music.
said by Herbie Hancock"Miles told us: there are no wrong notes. It's what you do with them next that matters."
Hancock recalled this lesson from the Second Great Quintet years in his memoir.
God gave Miles the title of Head Clinician at this laboratory.
Describing the Miles Davis Quintet as a laboratory and Davis's role in it.
said by Ron CarterI think playing with Miles, with Dave Holland, Chick Corea and Wayne was a very exciting period. We always couldn't wait to get on the bandstand to see what kind of mischief we could get into.
Recalling his two-to-three years in the Miles Davis band, 1968-70.
said by Jack DeJohnette
about Dave Holland
about Chick CoreaMiles had some sketches and bass patterns. He'd ask me, "play a groove, play this," and he'd count off a tempo and if that wasn't it he'd say, "No, that's not it!" and he'd say to try something else.
On how Miles Davis directed him in the studio during the 1969 Bitches Brew sessions.
He was a unique genius, a master improviser, 100% original composer but an original that had come through the most incredible tradition of the music and kept moving forward, just as Miles Davis did.
Answering a question about whether jazz has lost its great personalities, describing Wayne Shorter.
about Wayne ShorterI was just trying to realise Miles Davis' vision for what he wanted to do, as we all were and that was primarily in my mind when we did the recording.
Asked whether he anticipated the impact of Bitches Brew while recording it.
Miles had directions that he was looking to move in. But he looked very much into the musicians to fill in those spaces.
Describing how Miles Davis led his band during Holland's two years in the group.
I'd started on a project with Chick Corea and Barry Altschul. We'd been playing as a trio at times when Miles wasn't working.
Explaining how leaving Miles Davis led to the trio that became Circle when Anthony Braxton joined.
That shows what a good guy Mike is. But I really think Miles liked to get two guys on the same instrument and have them compete in the band.
Recalling how he joined Miles Davis's band in November 1982 alongside Mike Stern, creating a two-guitar front line.
said by John ScofieldHe was a brilliant strategist at getting the music out there, but still playing what he considered great, and important jazz music, because he loved that.
On Miles Davis as a star who transcended jazz.
He was a great composer, and simplicity was his thing; he had the balls to write songs like 'So What' and the second 'Milestones' and 'Jean Pierre,' which was in our band's book when we played with Miles.
Assessing Miles Davis as a composer, in the context of covering one of his tunes.
All musicians who loved jazz loved Miles. He could be very difficult and mercurial and all that but he was also very funny.
Looking back on his three years in Miles Davis's band, 1982-85.
He was a genius arranger. So everything that Miles touched, of course, sounds like Miles.
On Miles Davis's genius as an arranger of other people's material.
Tony was the one who called me up for the gig. He said, "Miles wants you to come to Baltimore. Herbie can't make it."
Corea recalls how Tony Williams's phone call brought him into Miles Davis's band, replacing Herbie Hancock.
When Dave and I saw that Miles was wanting to go in a different direction rhythmically and so forth, there was the parting of the ways.
Corea on why he and Dave Holland left Miles Davis, which led to the free-improvisation group Circle.
Chick and Dave would go to a lot of frenetic places. Then, when Miles came back, everything would galvanize, come back to a center.
DeJohnette on how Corea and Holland ranged wildly on the bandstand until Miles returned and pulled the music back to a center.
You don't compare my playing to Miles Davis or Louis Armstrong. They grew up playing in blues bands.
In 1991, looking back on early reviews that said he played without soul.
said by Wynton MarsalisDuring the course of the evening conversation after the concert, Miles and Red Garland and Paul had no way to get to the train station from the concert. I had a 1950 Ford, and so I piled them in my car and took them to the train station.
As a senior at Eastman, Carter drove the Miles Davis band to the train station after a concert in Rochester.
about Paul Chambers
about Red GarlandWhen I played with Miles, he would play a line and I would play the line back. He never told me to do that.
On how the call-and-response with Miles Davis emerged during his five-and-a-half years in the band.
said by Kenny GarrettI always told people that I understood Miles when I was in his band, but I understand him even more now.
Reflecting on how his understanding of Miles Davis deepened after leaving the band.