Miles Davis: The Definitive Biography
Carr, Ian
Sold by BooksRun, Philadelphia, PA, U.S.A.
AbeBooks Seller since 2 February 2016
Used - Soft cover
Condition: Used - Very good
Ships within U.S.A.
Quantity: 1 available
Add to basketSold by BooksRun, Philadelphia, PA, U.S.A.
AbeBooks Seller since 2 February 2016
Condition: Used - Very good
Quantity: 1 available
Add to basketIt's a well-cared-for item that has seen limited use. The item may show minor signs of wear. All the text is legible, with all pages included. It may have slight markings and/or highlighting.
Seller Inventory # 1560252413-11-1
Miles Davis has become a byword for cool. You can be sneered at for liking all sorts of modern music, but no one will ever have a go at you for liking Miles Davis. Musically he has become almost beyond criticism. Even his most inaccessible works are reckoned to be streets ahead of anyone else's. What's more, he reinvented himself as a jazz trumpeter so many times in his 45 -year career that he is almost beyond categorisation. From his early bebop days with Charlie Parker, through a period with John Coltrane, from the minimalism of Kind of Blue to the orchestral Porgy and Bess, from jazz fusion of the 1970s to the virtual rap-jazz of the late 1980s, Davis was the master of eclecticism.
This might be a problem for a lesser biographer. Fortunately, Ian Carr is as in control of his material as Davis. Carr is both an accomplished jazz trumpeter and writer and is able to unpick the music without coming on like some muso-anorak. Moreover, he is not so in awe of his subject that he loses the ability to think objectively about it.
Davis is no straightforward character. He was born into a wealthy middle-class family and studied at the Juillard School of Music, before dropping out to play jazz. He had two lengthy periods of drug addiction, was notoriously reticent with the press and enjoyed a peculiarly ambivalent relationship with his fans; some times he would play inspired five-hour sets, at others he would stand with his back to the audience for the whole show. In short, he was a mass of contradictions and Carr never fudges the difficult issues.
This book was good when it was first published in 1982. Now that it has been revised and updated to take account of Davis's final decade it is even better. Miles Davis is the seminal jazz musician of the last 50 years; this is the seminal book. --John Crace
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