Professional Documents
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THE LAST
KING OF
AMERICA:
HOW MILES DAVIS INVENTED MODERNITY
panache of swashbuckler.
II
several ways:
III
Yeah, you have to come up through those ranks. They can always do that; but you dont hear anybody
doing that old shit with me. You know, some guys are still playing all that shit we did years ago, things I
did with Bird and stuff; theyre still using those clichs and calling it jazz. Black guys as well as white
guys. I hear it over and over againshit Ive even forgotten. Miles Davis, 1972 vii
times.
1909-1950, p. 145
ii
iii
iv
vi
vii
of a star bandleader.
Evans.
(moves microphone)
you.
(laughs)
German-accented remark)
IT: Yeah.
IT: Right.
aesthetic.
FREDDIE FREELOADER
studio sequence 2
Sound of finger-snapping
IT: What?
though . . . Take 2.
paper is heard.
sical flavor.
on the album.
click sounds . . .
talkback.
Dik-dik-du-gong . . . dit-dit . . .
minute,
the
bandleader
informs
John
Finger snaps
IT: Take 2
stranger.
their teamwork more evident than in the rampup to the final take of Blue in Green. Evans
tune.
FLAMENCO SKETCHES
studio sequence 2
IT: Take 2.
IT: OK.
MD: (to CA) Hey when you raise up off the stool
early.
me?
IT: Yeah!
Unidentified: unintelligible
General laughter.
IT: Right, 6!
PC wipes bass.
At 11:36, All Blues was the longest performance on Kind of Blue. After struggling a bit
with Flamenco Sketches at the start of the
session, recording two nine-and-a-half minute
Flamenco Sketches was one of two highly
Take 6.
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PHOTOGRAPHY: cover, pages 6, 11: Chuck Stewart; pages 5, 12-13, 15: Don Hunstein/Sony
Archives; page 7: Vernon Smith; page 9: Beuford Smith/Cesaire; page 10: Vincent Lopez, New
York Journal American Collection, Harry Ransom Humanities Research Center, University of
Texas; pages 14, 16, 18-19: Teo Macero Collection: Music Division, The New York Public
Library for the Performing Arts, Astor, Lenox and Tilden Foundations