Otis Singleton
Miles Davis, an American jazz musician, had a career that spanned several decades and during which he played with a number of different musicians. In the late 1960s, Davis began experimenting with electric instruments, marking the beginning of his electric period. During this time, several pianists joined Davis's group, including Herbie Hancock, Chick Corea, and others.
| Characteristics | Values |
|---|---|
| Pianist | Herbie Hancock |
| Chick Corea | |
| Bill Evans | |
| Red Garland | |
| Wynton Kelly | |
| John Lewis | |
| Joe Zawinul |
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What You'll Learn
Herbie Hancock joins Miles Davis Quintet
In 1964, Miles Davis assembled a new band of younger musicians, including Herbie Hancock, which became known as his second great quintet. Hancock joined Davis on piano, alongside Ron Carter on bass, Tony Williams on drums, and Wayne Shorter on tenor saxophone. This new quintet was characterised by a light, free sound and a repertoire that extended from the blues to avant-garde and free jazz.
Davis' horn playing also changed during this period, as he increased the spacing of notes to create more suspense in the music. The group's performance style was often referred to by Davis as "time, no changes", incorporating elements of free jazz without completely surrendering to the approach. This allowed the five musicians to simultaneously contribute as equals, rather than following the established pattern of having the group leader and then backing musicians perform unrelated solos.
Hancock's time with the quintet resulted in several influential recordings, including E.S.P. (1965), Miles Smiles (1966), and Nefertiti (1967). By the time of Miles in the Sky and Filles de Kilimanjaro (both 1968), Davis began experimenting with electronic instruments, marking the beginning of his electric period.
Hancock would continue to contribute to subsequent sessions with Miles, appearing on Jack Johnson, On the Corner, and Get Up with It. He was part of the quintet's transition into jazz fusion music, with their collaborations on "Bitches Brew" in 1970.
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Chick Corea joins the 'Lost Quintet'
The Lost Quintet, also known as Miles Davis' second quintet, was formed in the late 1960s. This was a period of transition for Davis, as he began experimenting with electronic instruments and jazz fusion. The Lost Quintet was an integral part of this transition, with their performances paving the way for electric jazz.
Following the dissolution of his 1960s quintet, Davis retained saxophonist Wayne Shorter and recruited a younger group of musicians, including keyboardist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette. This new quintet became known as the Lost Quintet because, despite their collaborations on future projects, they never recorded a full studio album together.
Chick Corea joined the Lost Quintet as the pianist. Corea had previously worked with Miles Davis on the 1968 album "Miles in the Sky", which tentatively introduced electric bass, electric piano, and electric guitar on some tracks. This album pointed to the fusion phase of Davis' career, which Corea would continue to be a part of as a member of the Lost Quintet.
The Lost Quintet's performances were characterised by a light, free sound and a repertoire that extended from the blues to avant-garde and free jazz. They incorporated elements of free jazz without completely surrendering to the approach, allowing the musicians to contribute as equals rather than always following the established pattern of unrelated solos.
The Lost Quintet's collaborations with Davis on future projects included the groundbreaking "Bitches Brew", released in 1970. This album deepened the electronic elements and rock rhythms of Davis' music, completing his transition into electric jazz.
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Bill Evans' impressionistic approach
In 1958, pianist Bill Evans joined Miles Davis's sextet, which recorded the best-selling jazz album of all time, Kind of Blue, in 1959. Evans's impressionistic approach to the piano was characterised by his introspective lyricism and subtle, Western classical flourishes. He is credited with influencing the harmonic language of jazz piano, employing innovative chord voicings, unconventional substitutions, modulations, and the exclusion of roots in his chords. Evans's harmony was influenced by impressionist composers such as Claude Debussy and Maurice Ravel, and his compositions often featured thorough reharmonisations.
Evans's extensive use of impressionist harmony and block chords, as well as his trademark rhythmically independent "singing" melodic lines, continue to influence jazz pianists today. His interactive approach to trio and small-group performances was also influential, with Evans himself noting the importance of self-expression and the need to focus on small pieces, rather than approaching a problem in its entirety. Evans's favourite keys to play in were A and E, and he valued Bach's music for helping him gain good touch and finger independence.
Evans's time with the Miles Davis sextet was short-lived, as he left in late 1959 to form his own trio with bassist Scott LaFaro and drummer Paul Motian. However, his ideas greatly influenced Davis, and the band began to find a new, smoother groove. Adderley, a bandmate of Davis's, recalled that "When he started to use Bill, Miles changed his style from very hard to a softer approach." Evans's replacement, Wynton Kelly, brought a swinging style that contrasted with Evans's delicacy.
Bill Evans continued to perform and record until his death in 1980, leaving behind a legacy as one of the most important pianists in modern jazz.
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Miles Davis' transition to jazz fusion
Miles Davis's transition to jazz fusion was a process that took place over several years, with the musician experimenting with different sounds, styles, and collaborators.
Davis's first forays into fusion can be traced back to his 1967 album "Miles Smiles", where his quintet began to play their concerts in continuous sets, with each tune flowing into the next, and only the melody indicating any change. This approach continued until his hiatus in 1975. "Miles in the Sky" and "Filles de Kilimanjaro" further explored fusion, introducing electric bass, electric piano, and electric guitar on some tracks. The latter album included a funky performance by George Benson on "Paraphernalia", marking the first appearance of a guitar on a Davis release.
In 1969, Davis released two albums that are considered landmarks in the development of fusion: "In a Silent Way" and "Bitches Brew". "In a Silent Way" featured electronic instruments such as electric piano, organ, and guitar, and is considered the start of Davis's "electric period". "Bitches Brew" built on this, with largely improvisational compositions that combined jazz and rock, setting the template for all "fusion" music that followed.
Davis continued to experiment with rock, funk, African rhythms, and emerging electronic music technology in the 1970s, collaborating with a rotating cast of musicians including keyboardist Joe Zawinul, drummer Al Foster, bassist Michael Henderson, and guitarist John McLaughlin. This period, from "In a Silent Way" in 1969 to "Agharta" in 1975, was the most controversial in Davis's career, alienating some in the jazz world. However, his million-selling "Bitches Brew" helped spark a resurgence in the genre's commercial popularity, with jazz fusion gaining traction as the decade progressed.
Davis's exploration of fusion continued to influence his later work, with the musician collaborating with new groups of musicians and incorporating new sounds and styles. His influence extended beyond the world of jazz, impacting rock, funk, soul, and hip-hop.
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Electric guitarists in Miles Davis' bands
Miles Davis was an American jazz musician and composer who made several lineup changes to his bands throughout his career. During the 1970s, he experimented with rock, funk, African rhythms, and emerging electronic music technology, collaborating with an ever-changing lineup of musicians. This period, which began with his 1969 studio album In a Silent Way and ended with the 1975 concert recording Agharta, was the most controversial in his career.
Davis's bands during this period featured electric guitarists, including John McLaughlin, who played on In a Silent Way, and Pete Cosey, who joined the Miles Davis band in 1973 and played on Agharta, Pangaea, and Dark Magus. Cosey's fiercely flanged and distorted guitar invited comparisons to Jimi Hendrix.
In the mid-1980s, Davis resumed touring with a lineup that included guitarist John Scofield, with whom he worked closely on the album Star People (1983). In 1983, Davis brought in producer, composer, and keyboardist Robert Irving III, with whom he played a series of European performances with a seven-piece band that included Scofield.
In March 1970, Davis began to perform as the opening act for rock bands, allowing Columbia to market his album Bitches Brew to a wider audience. He shared a bill with the Steve Miller Band and Neil Young with Crazy Horse. In 1978, Davis asked fusion guitarist Larry Coryell to participate in sessions with keyboardists Masabumi Kikuchi and George Pavlis, bassist T. M. Stevens, and drummer Al Foster.
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Frequently asked questions
Red Garland was the pianist in the First Great Quintet.
Bill Evans replaced Red Garland in the First Great Quintet.
Herbie Hancock was the pianist in the Second Great Quintet.
Chick Corea was the pianist in the Lost Quintet.
Chick Corea was the pianist in Miles Davis' electric group.
