Miles Davis - Doo Bop - 1992.rarl
Davis made several line-up changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another mainstream success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams.[3] After adding saxophonist Wayne Shorter to his new quintet in 1964,[3] Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P (1965) and Miles Smiles (1967),[5] before transitioning into his electric period. During the 1970s, he radically experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing line-up of musicians, including keyboardist Joe Zawinul, drummer Al Foster, and guitarist John McLaughlin.[6] This period, beginning with Davis' 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz.[7] His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.[8]
Miles Davis - Doo Bop - 1992.rarl
Miles Dewey Davis III was born on May 26, 1926 into an affluent middle class African-American family in Alton, Illinois, fifteen miles north of St. Louis.[12][13] He had an older sister, Dorothy Mae (b. 1925), and a younger brother, Vernon (b. 1929). His father, Miles Dewey Davis II of Arkansas, was a successful dental surgeon who earned three college degrees, and his mother, Cleota Mae Davis (née Henry), also of Arkansas, was a music teacher and violinist.[14][13] They owned a 200-acre estate near Pine Bluff, Arkansas that housed a profitable pig farm where Davis and his siblings would ride horses, fish, and hunt.[15][14] In 1927, the family moved to East St. Louis, Illinois, living on the second floor of a commercial building in a predominantly white neighborhood behind a dental office. By 1941, his parents divorced.[16] From 1932 to 1934, Davis attended John Robinson Elementary School, an all-black institution,[13] followed by Crispus Attucks School, where he performed well in mathematics, music, and sports.[14] As a youngster Davis developed his earliest appreciation for music, citing the blues, big bands, and gospel music.[15]
Much post-bop was recorded for Blue Note Records. Key albums include Speak No Evil by Shorter; The Real McCoy by McCoy Tyner; Maiden Voyage by Hancock; Miles Smiles by Davis; and Search for the New Land by Lee Morgan(an artist who is not typically associated with the post-bop genre).Most post-bop artists worked in other genres as well, with aparticularly strong overlap with the later hard bop.
The first jazz standard composed by a non-Latino to use an overt African 12/8 cross-rhythm was Wayne Shorter's "Footprints" (1967).[160] On the version recorded on Miles Smiles by Miles Davis, the bass switches to a 4/4 tresillo figure at 2:20. "Footprints" is not, however, a Latin jazz tune: African rhythmic structures are accessed directly by Ron Carter (bass) and Tony Williams (drums) via the rhythmic sensibilities of swing.Throughout the piece, the four beats, whether sounded or not, aremaintained as the temporal referent. In the example below, the mainbeats are indicated by slashed noteheads, which do not indicate bassnotes.