When most people think of jazz trumpet, they think of Miles Davis. With a career lasting from the 1940s until his death in 1991, his unique sound and innovative albums made him one of the most iconic musicians of the 20th century. But what is it about his playing that has made him such a legend? Let’s dive deep into the music of Miles to find out.

He Never Stopped Innovating.

In 1944, Miles Davis moved to New York from his native St. Louis. He was 18. His original plan was to study classical trumpet at Juilliard, but he soon dropped out and became a full-time jazz musician. For the next four-plus decades, he continuously found himself at the forefront of major stylistic shifts in jazz, including:

  • ‍Bebop. Miles got his start playing Harlem clubs with Charlie Parker and Dizzy Gillespie, the inventors of the ‘bebop’ style of playing. Along with other New York musicians of the era, they were known for adding complexity and upbeat tempos to jazz, which was mostly known as dance music at the time.
  • Cool Jazz. In the 1950s, Miles stood apart from the bebop masters by having a more subdued style that focused on melody rather than rapid strings of notes. This style became heavily influential on West Coast musicians like Chet Baker and Paul Desmond.
  • The Avant-Garde. In the 1960s, Miles hired a new band of younger musicians, who developed a looser, highly improvisational style that has influenced many modern jazz musicians.
  • Fusion. In the 1970s, Miles started listening to rock music and incorporating electric instruments into his band. While certain jazz audiences were turned off by such a massive shift, the transition brought Miles to a whole new level of fame. This period extended well into the 1980s, when Miles started covering Michael Jackson and Cyndi Lauper and used synthesizers in his band.

He Was a Master of Taste.

While many trumpet players are renowned for their flashy technique, Miles took a different route. He often stuck to simple melodies, long notes, and other musical devices that made his solos linger in the listeners’ ear. In this video of his classic tune “So What,” you can really hear him take his time, leaving space between each crystal-clear idea.

He Was Also a Master of Tone.

Miles had one of the most iconic trumpet tones in jazz, dark and smooth and with almost no vibrato. He also frequently used a harmon mute, which added to his smoky, subdued style and became one of the most iconic sounds of 1950s jazz. Check out 1957’s “Bye Bye Blackbird” for a quintessential example of harmon-muted Miles.

And Don’t Sleep on His Technique!

While Miles’s signature sound isn’t the flashiest, he still had an incredible command of the trumpet. This was especially evident in the 1960s, when his style became a bit more fiery and experimental. This live video from 1967 is a showcase for his range as well as some ripping chromatic lines.

But even when he decided to show off his technique, Miles always served the music. In this other excerpt from the same concert, Miles nails some quite formidable notes at a soft dynamic—an impressive feat for any trumpeter. But nothing feels out of place in the tender, subtle ballad he and the band are playing.

‍On The Bandstand

Miles Davis is, without question, one of the most singular trumpet soloists in history. But equally important is his career as a bandleader. Jazz legends from Thelonious Monk to John Coltrane to Wayne Shorter to Herbie Hancock passed through Miles’s bands, and the way he musically inspired and interacted with these other musicians is just as influential as his own playing. Jazz, like most music, is a collaborative art form, and nobody embodied this collaborative sense more than Miles.

Recommended Listening!

Want to know where to start with Miles? With a discography spanning so many eras and styles, it’s worth checking out everything. But here are a few essential records to put on first:

‘Round About Midnight (1957): An album of jazz standards that perfectly exemplifies Miles’s sound. John Coltrane sounds great too.

Kind of Blue (1959): Perhaps the most famous jazz album of all time, and for good reason. A great example of Miles’s signature melodic style, enchanting minimalist compositions, and a legendary band.

Porgy and Bess (1959): A brilliant showcase for Miles’s playing, with songs from Gershwin’s acclaimed opera arranged for an orchestra by the great Gil Evans.

E.S.P. (1965): The first release by the adventurous 1960s quintet, and a particularly strong feature for the great saxophonist Wayne Shorter.

‍A Tribute to Jack Johnson (1971): Most people think of Bitches Brew (1970) as Miles’s first real “fusion” album. But this record, named after the early twentieth-century boxer, really feels like his most direct merger of jazz improvisation with blues-y rock and roll.

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