miles davis - This is Jazz - текст песни, слова, перевод, видео

Davis, son of a dentist Dr. Miles Dewey Davis Jr. And the music teachers of Cleota May (Henry) Davis, grew up in the family of dark-skinned representatives of the middle class in St. Louis, where the family moved shortly after his birth. He became interested in music as a child, and from the age of 12 he learned to play the pipe. Still studying at High School, he played in local bars, and at the age of 16 he gave concerts already outside the city where he lived. At 17, he became a member of the Eddie Randle's Blue Devils group. His star caught fire in 1944, when he was invited to the Billy Eckstine Big-band, which toured in St. Louis. The Dizzzy Gillespie trumpet and the Charlie Parker, the creators of the Bibop style, which was distinguished by quick and inventive solo batches, as well as dynamic rhythmic variations, played in Benda. Surprisingly, Miles Davis fit into their company very organically, although his slow, viscous style has never been able to compete with such speeds. However, Bibop was a completely new style, and Miles Davis had no choice but to play it. He did this until departure from the Middle West to New York in September 1944 to study at Institute of Musical Art (known as more as Julian). Soon he already played in clubs with Parker, and in 1945 he abandoned the idea of getting an academic education in favor of a career of a practicing jazz musician. He joined the Benny Carter ensemble, with whom he made his first notes. In 1946-147 he played with Eckstine, in 1947-1948- with Parker. In 1947, he made the first entry as the leader of the group, where Parker, John Lewis, the Nelson Boyd bassist and the Max Roach bassist played with him. In the summer of 1948, he organized a zone with an unusual wind section. In addition to himself, she turned on alt and baritone-saxa, thrombone, Valtorn and tube. In September, this background played for two weeks in Royal Roost in New York, relying on the arrangements of Evans. Having concluded a contract with Capitol, in January 1949, this back was recorded the first of three sessions, which at first did not attract wide attention. However, the strange, relaxed sound of the ensemble, where Kai Winding, Lee Konitz, Gerry Mulligan, John Lewis, J. Johnson and Kenny Clarke played, had a great impact on the development of kul-jazz on the west coast. In February 1957, Blue Note brought all these records in a disk, published under the name "Birth of the Cool".

In 1949, Miles Davis organized a new team, who performed at the festival in Paris in May of the same year, together with the pianist of Tadd Dameron. The creative progress of the trumpeter was greatly slowed by addiction to heroin, especially strong in the early 50s. After a series of sporadic records and performances, in January 1951 he began more stable work on the Prestige Label, which lasted several years. A strong impression was made by Round Midnight on Newport Jazz Festival in July 1955. The subsequent prestigious contract with Columbia forced Miles Davis to collect a new band, this time Quintet, with the John Coltrane saxophonist, Red Garland pianist, Paul Chambers bassist and Philly Joe Joe Joe Drummer. All year Miles Davis had to work a lot on both contracts, as a result of which “The New Miles Davis Quintet”, “Cookin”, “Workin”, “Relaxin” and “Steamin” appeared. In May 1957, Miles Davis again cooperates with the Bill on its second disk for Columbia, Miles Ahe AD. He plays here on a blizzard, developing the ideas of "Birth of the Cool" in an almost academic manner. published in 1958, this album later entered the Grammy Hall of Fame. In December 1957, Miles Davis is again in Paris, where he records the music for Louis Maly "L'ASCenseUR POUR I'ECH AFAUD "(" Esset on the Scaffold "). Jazz Track, an album with music to this film, brought him in 1960 the Grammy nomination for the best jazz performance, the best solo and the best combo