Miles Davis, a.k.a. “the Prince of Darkness” or “the Picasso of Jazz," is one of the central figures in modern music history. During a career that spanned five decades, he is known to release at least 60 studio albums, 39 live albums, and countless other recordings. He is credited with leading at least five different stages in music: hard bop, cool jazz, orchestral jazz, modal improvisation, and fusion.

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From Soul to Psychedelia: The Influence of Betty Mabry & Sly Stone

By the end of the 1960s, his marriage to the model and songwriter Betty Mabry exposes him to popular rock, soul, and funk musicians. Inspired by the sounds of James Brown, Sly and the Family Stone, and electric rock bands, he begins to blend these influences with his signature improvisational style, melding styles into his own phrasing. This period starts with In a Silent Way (1969) and ends with Agharta (1975).

Bitches Brew, released in 1970, represents a major shift, achieving platinum status (and setting the stage for bands like Weather Report and Return to Forever), heavily influencing the entire jazz fusion genre, and creating a blueprint for future fusion artists through the use of electric instruments and extended improvisations. Miles Davis continues in this exploratory style for several years, with Live-Evil (1971; my favorite album from this period) and the soundtrack A Tribute to Jack Johnson (1971; huge respect for this album!) being notable highlights. On the Corner (1972) follows, further solidifying this period of his career.​

A Tribute to Jack Johnson: Powerhouse Riffs and Boxing Legends

🥊 A Tribute to Jack Johnson is a studio album and soundtrack released in February 1971, recorded for Bill Cayton's documentary (the film is nominated for an Oscar) of the same name on boxer Jack Johnson. Johnson's mastery as a boxer, his love for fast cars, jazz, fashion, and beautiful women, along with his political and racial standpoint, resonate with Miles Davis. He assembles a powerhouse lineup: guitarists John McLaughlin and Sonny Sharrock, keyboardists Herbie Hancock and Chick Corea, bass clarinetist Bennie Maupin, bassists Michael Henderson and Dave Holland, drummers Jack DeJohnette and Billy Cobham, soprano saxophonist Steve Grossman, and of course, Davis himself on trumpet. The result reflects this diverse instrumentation. The album’s opening track, 'Right Off,' is constructed from several takes and includes a riff based on Sly and the Family Stone's 'Sing a Simple Song.' The second track, 'Yesternow,' features a modified bassline from James Brown's 'Say It Loud—I'm Black and I'm Proud.'

John McLaughlin later remarks “Miles considered this the best of his jazz-rock work.”
 

Live-Evil and the Trippy Vision of Mati Klarwein

🌟 The second album released in 1971 is Live-Evil. This album shows a transformation in Miles Davis’ ensemble, with the group shifting towards a funk-oriented sound while still hanging onto the adventurous style of Bitches Brew. Live-Evil is a blend of live and studio recordings, with parts of the album featuring music from sessions at the Cellar Door in 1970. These performances are edited and pieced together in the studio by producer Teo Macero. Keith Jarrett and Jack DeJohnette feature on the album as well.​

The album’s cover art is drawn by Mati Klarwein (who is also the creator of the iconic cover for Bitches Brew); it certainly reflects the the album’s surreal mood. 💥
Originally intended as a spiritual successor to Bitches Brew, Live-Evil ultimately becomes a unique entity, blending jazz, rock, and funk—a “crazy psychedelic mix” entirely new and futuristic.

'What I Say' from Live-Evil stands out as my personal favorite. This track is a clear mix of jazz and funk, reflecting the core of Miles Davis’s urge to keep reshaping his sound.

Gülben - 08/2024

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📌Official site

📖 Marco Sebastiano Alessi writes for SoundOfLife

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