The O’Zone | MILES100 Part 3: Discipline and Redemption
Sweet Science
The trumpet is a heavy weight
when the blood is thin with powder and pills.
Those years the only rhythm was the needle’s pulse,
a lethargic, dark jazz that made the music go quiet—
just women bringing coke, bringing numbness,
While the horn sat quiet in a velvet coffin.
But Sugar Ray moved like light,
and Miles, reaching for the floor,
saw the ring was the only mirror left.
Bobby McQuillen stood at the ropes,
A gatekeeper of breath:
“Get clean, or don’t get in”
So he traded the spoon for the speed bag.
At Gleason’s, the air smelled of old leather and sweat,
a different kind of basement club.
He leaned into the discipline of the jab,
sparring with Duran,
finding the stamina to hold a note
until it bled.
The stage became a twelve-round fight.
In the dressing room, he shadow-boxes the silence,
weaving through the ghosts of his own addiction.
Lacing the shoes–a size too small—
tugging the strings until the pain is a tether,
anchoring his feet to the bandstand.
Music is the blessing that burns,
the curse that demands he never stop.
Every day it gets better,
but every day is a weigh-in.
Firmly in place, grounded by the ache,
he raises the brass like a gloved fist
And hits the air where it hurts.
The Attitude of a Champion
In 1953, Miles Davis was a heroin addict and recognizing that he turned to boxing as a way to beat this low point in his life.
He once noted, “I’m still a drug addict. If I use drugs, it’s like being an alcoholic but every day, it gets better every day.” He viewed his life as a constant battle between his humanity and the relentless drive of his music.
Miles idolized Sugar Ray Robinson, and used boxing as a way to get back in shape while adopting the arrogant but focused attitude of a champion. He acknowledged that by 1954, Robinson was the most important thing in his life besides music.
It was a pivotal moment, when he aimed to emulate the champ to change his life. For Miles Davis, the boxing ring wasn’t just a place to get clean; it was the blueprint for his entire public persona. He famously said, “Boxing’s got style like music’s got style,” and spent his career modeling his visual aesthetic and stage presence after his idol. To say the least, Miles was always ahead of the times in style and music. I don’t recall ever seeing Miles look sloppy…a true role model, and his bands were always a jazz finishing school.
“For me, music is my life, and musicians I have known and loved and grown from have become my family,” he once shared.
Impressive musicians consistently came through his groups, and in turn they all became leaders in their own right. Both musically and aesthetically, once you were in one of his groups you were noticed.
The Breakthrough: Birth of the Cool Sessions
In 1949-1950, some informal musical gatherings were taking place in the Manhattan basement apartment of arranger Gil Evans. It was an arrangers’ collective looking to distill the lush, low vibrato sound of the Claude Thornhill Orchestra into a smaller nine piece ensemble. Known originally as the Miles Davis Nonet, he was assembling the musicians and acting as bandleader.
He was the most prominent soloist, as well as the figure with enough clout to front the project. Miles signed the contract with Capitol Records, but at the time, the project was conceptualized as a series of singles as opposed to a full LP. An album’s worth of material was eventually released in 1957 as Birth of the Cool.
The arrangements were mostly handled by three key figures. Miles didn’t do any arrangements, as he largely concentrated on soloing and bandleader duties. Baritone saxophonist Gerry Mulligan contributed six arrangements and three compositions, John Lewis (pianist for the Modern Jazz Quartet) handled three arrangements and arranger Gil Evans wrote two arrangements.
This was from the outset a very different thing musically. Miles could hang with Bird playing high velocity, but be-bop was Bird’s thing. Miles Davis had other things in mind.
Gil Evans heard Miles playing a contended piece of music (“Donna Lee”, a tune Miles wrote but Charlie Parker claimed as his composition), and wanted to work on an arrangement of the song for what was then called the Claude Thornhill Orchestra. This was a major turning point in Miles' career. He was no longer Dizzy Gillespie’s replacement with Bird. Miles was a jazz superstar in waiting… but he was not about waiting. These sessions effectively launched the “cool jazz” movement.
Relaxed, complex arrangements (some critics complained the music was “over-thought”) and orchestral textures were hallmarks of this sound.
Unlike the standard jazz quintet, the nonet included some previously-wildly unconventional instruments like the French horn and tuba to achieve a lush “chamber-like” quality.
The Nonet: March 9,1950
Miles Davis: Trumpet
Lee Konitz: Alto Saxophone
Gerry Mulligan: Baritone Saxophone & arranger
Bill Barber: Tuba
J.J. Johnson: Trombone
Gunther Schuller: French Horn
John Lewis: Piano & arranger
Al McKibbon: Bass
Max Roach: Drums
This album shifted the jazz aesthetic towards what became known as Third Stream, either a mix of classical and jazz music or just as often a bridge between the two forms. The sessions were also known for featuring a racially diverse group of musicians, challenging contemporary social norms in the jazz world. In other words, “cool jazz”.
The Cool
In ‘49 the air changed
The “Birth” wasn’t a scream
Kind of a whisper
A collective exhale
that turned fever
Into the cool.
A strange geometry of brass
the tuba and the french horn
the chill, the quiet corner of the party
where the light is blue
and the voices murmuring like a breeze.
The Legend of the Voice
Sometime between late 1954 and early 1955, Miles began suffering from chronic hoarseness due to non-cancerous polyps on his larynx. In October 1955, he underwent a procedure to remove the growths.
Two days after the operation, violating a ten day order of total silence, he engaged in a legendary argument that permanently damaged his vocal cords.
Stories vary about who the argument was with, but Miles said it was a record executive. Miles would struggle with vocal issues until the end of his life. But once the voice manifested itself, Miles leaned into it. Suddenly, it was easy to imitate Miles Davis.
His voice dropped right in to all things Miles Iconic. Only a handful of people are easily recognized by their profile and his voice added to that mystique.
Miles and Movies
In addition to creating iconic sounds dedicated to wax, Miles’ mystique was further enhanced by his contributions to the celluloid world. He scored multiple films and even had the occasional on-screen role.
Ascenseur pour l'échafaud (Elevator to the Gallows) (1958)
Role: Composer and Performer
A landmark in film scoring, Davis and his quintet improvised this haunting, atmospheric jazz soundtrack in a single night while watching loops of the film. It is one of his most iconic works outside of studio albums he made.
Jack Johnson (1970)
Role: Composer and Performer
Davis cited this as an important project due to his love of boxing and his admiration for Jack Johnson. The soundtrack has eclipsed the documentary and stands as a major example of jazz fusion done right.
Imagine (1972), Miles made a brief cameo appearance as himself in John Lennon’s experimental film.
Miami Vice (TV Series) “Junk Love”, aired 11/8/1985
Role: Guest Star
Miles made his acting debut as “Ivory Jones”, a smooth, enigmatic pimp. In that show, they used a lot of musicians to make guest appearances. Miles was particularly memorable in that he gave a subtle, understated performance (as opposed to just playing himself).
Siesta (1987)
Role: Composer and Performer
Davis collaborated with Marcus Miller for this Spanish-influenced score. Indicative of his late ‘80s creative direction.
Scrooged (1988)
Role: Cameo as a street musician in Bill Murray’s comedy adaptation of a Christmas Carol.
Dave Sanborn also appeared in the film as a musician in the band with Miles.
The Hot Spot (1990)
Role: Performed music for the film’s score along with John Lee Hooker and Taj Mahal. The closest thing to a Blues album Miles ever made.
Dingo (1991)
Role: Actor, Composer, and Performer
In his first major acting role, Miles played “Billy Cross,” a legendary jazz trumpeter who inspires an Australian youth who ultimately grows up to jam with his hero. He co-composed the award-winning score with Michel Legrand; it was Miles’ final completed album before his death.
Next week, we finish our series Miles 100, by taking a closer look at the perennial classic Kind of Blue and his first great Quintet. I’ll also share my thoughts about the concerts where I saw Miles… and much more.
But, until then… roll the end credits!
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