I've read 'Miles: The Autobiography by Miles Davis with Quincy Troupe' and came to the conclusion that Miles was a tremendous talent, a hot-tempered, impatient man, something of a racist in word, not so much a racist in deed, a decent, caring person and, most importantly and not surprisingly, a human being.
And this, which I just found on FaceBook, reaffirms the conclusion I reached. . . and I think is, quite frankly . . . inspirational.
My latest solo offering, No Frills, is now available at - No Frills
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
. . . tell her it's the law, "God's" word has now evolved, suspend her for non-performance. Problem solved.
(from http://www.nbcnews.com/news/us-news/clerk-who-denied-gay-marriage-licenses-has-been-divorced-multiple-n420216)
(Kim Davis') ". . . act of resistance has rocked her small Appalachia community 60 miles east of Lexington and made headlines (and continues to) nationwide, fed by a video of her denying a marriage license to David V. Moore and his partner of 17 years, David Ermold. The Tuesday confrontation sparked a protest inside the Rowan County Courthouse, with supporters of the couple and of Davis shouting over each other. A similar scene unfolded Wednesday, when a second same-sex couple asked for a marriage license. . .Davis, who worked as deputy clerk for 27 years before she was elected clerk in November, said in a written statement through her lawyers that she was committed to her job, but that issuing the license would violate "God's definition of marriage" and imperil her religious freedom. . . "I have no animosity toward anyone and harbor no ill will," said Davis, 49. "To me this has never been a gay or lesbian issue. It is about marriage and God's Word." . . She refuses to resign. . . A federal judge has summoned Davis and her deputies to a hearing on Thursday. Same-sex couples who have sued Davis for marriage licenses have asked that she be held in contempt and fined, but not thrown in jail. . . "
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak. Please Visit http://www.ohomusic.com
My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music is now available at - Just More Music by Ray Jozwiak
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
William John Evans, known as Bill Evans (August 16,
1929–September 15, 1980)
His use of impressionist harmony, inventive interpretation of
traditional jazz repertoire, and trademark rhythmically independent,
"singing" melodic lines influenced a generation of pianists. He is
considered by some to be the most influential post-World
War II jazz pianist.
Evans had a distinct playing style in which his neck would often be
stooped very low, and his face parallel to the piano.
Evans's first professional job was with sax player Herbie Fields's
band, based in Chicago. During the summer of 1950, the band did a
three-month tour backing Billie Holiday, including East Coast appearances at
Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at
Washington D.C.'s Howard Theater. In addition to Fields and Evans, the
band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon
its return to Chicago, Evans and Aton worked as a duo in Chicago clubs,
often backing singer Lurlean Hunter.
Shortly thereafter, Evans received his draft notice and entered the
U.S. Army. After his army service, Evans returned to New York and worked at
nightclubs with jazz clarinetist Tony Scott and other leading players.
Later, he took postgraduate studies in composition at the Mannes College of
Music, where he also mentored younger music students.
Working in New York in the 1950s, Evans gained recognition as a
sideman in traditional and so-called Third Stream jazz groups. During this period he
had the opportunity to record in many different contexts with some of
the best jazz musicians of the time. Seminal recordings made with
composer/theoretician George Russell, including
"Concerto for Billy the Kid" and "All About Rosie," are notable for
Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver
Nelson, Tony Scott, and Art
Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original
version of "Waltz for Debby," for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans
by a demo tape guitarist Mundell
Lowe played to him over the phone.
In 1958, Evans was hired by Miles
Davis, becoming the only white member of Davis's famed sextet.
Though his time with the band was brief (no more than eight months), it
was one of the most fruitful collaborations in the history of jazz, as
Evans's introspective approach to improvisation deeply influenced
Davis's style.
At the turn of the decade, Evans led a trio with bassist Scott
LaFaro and drummer Paul
Motian. This group was to become one of the most acclaimed piano
trios — and jazz bands in general — of all time. With this group,
Evans's focus settled on traditional jazz standards and original
compositions, with an added emphasis on interplay among the band members
that often bordered on collective
improvisation, blurring the line between soloist and accompanist.
The collaboration between Evans and the young LaFaro was particularly
fruitful, as the two achieved a remarkable level of musical empathy. The
trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard,
and Waltz for Debby, all
recorded in 1961. The last two albums are live recordings from the same
recording date, and are routinely named among the greatest jazz
recordings of all time. In 2005, the full sets were collected on the
three-CD set The Complete
Village Vanguard Recordings, 1961. There is also a lesser-known
recording of this trio, Live at Birdland, taken from radio
broadcasts in early 1960, though the sound quality is poor.
(from Wikipedia.com)
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(Quotes from Miles Davis. . . )
"I've changed music four or five times. What have you done of any importance other than be white?"
Davis attended a reception in honor of Ray Charles at Ronald Reagan's White House in 1987. This was his reply to a Washington society lady seated next to him who had asked him what he had done to be invited.
"If somebody told me I only had an hour to live, I'd spend it choking a white man. I'd do it nice and slow." During an interview, after growing aggravated about questions on the subject of race.
"A legend is an old man with a cane known for what he used to do. I'm still doing it." On being called a legend.
"Jazz is like blues with a shot of heroin"
"Who's that motherfucker? He can't play shit!"
on Cecil Taylor
"You a motherfucker." a compliment to Chick Corea, who thought he was about to be fired.
"He plays like somebody is standing on his foot." on Eric Dolphy
"He could very well be the Duke Ellington of Rock 'n' Roll." on Prince
"Why'd you put that white bitch on there?"
To George Avakian after seeing the cover chosen by Columbia for Miles Ahead.
"You can't play anything on a horn that Louis hasn't played." and "I love Pops" (Louis' nickname)
on Louis Armstrong in a Playboy magazine interview.
"I’ll play it and tell you what it is later." During a recording session for Prestige, on the album "Relaxin' with the Miles Davis Quintet" (1956).
"Listen baby, when I say later, I mean it! Later!" After being approached by a relentless interviewer.
"There are no wrong notes." My ego only needs a good rhythm section.
On being asked what he looked for in musicians. "When you are creating your own shit, man, even the sky ain't the limit."
"Try taking the fucking horn out of your mouth." Davis was questioning the increasing length of John Coltrane solos, and Trane answered "I don't know how to stop."
"Don't play what's there, play what's not there.
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