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The Miles Davis Lost Quintet and Other Revolutionary Ensembles$
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Bob Gluck

Print publication date: 2015

Print ISBN-13: 9780226180762

Published to Chicago Scholarship Online: May 2016

DOI: 10.7208/chicago/9780226303390.001.0001

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PRINTED FROM CHICAGO SCHOLARSHIP ONLINE (www.chicago.universitypressscholarship.com). (c) Copyright University of Chicago Press, 2019. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in CHSO for personal use.date: 19 September 2019

Miles Goes Electric

Miles Goes Electric

Chapter:
(p.7) 1 Miles Goes Electric
Source:
The Miles Davis Lost Quintet and Other Revolutionary Ensembles
Author(s):

Bob Gluck

Publisher:
University of Chicago Press
DOI:10.7208/chicago/9780226303390.003.0002

By 1969, a time of societal and culture change, protest, and exploration, jazz trumpeter Miles Davis had assimilated the innovations of Ornette Coleman and John Coltrane, in particular Coleman’s democratic principle. This was his use of collective intuition to guide musical form, what Chick Corea refers to as Davis’s “vaporizing themes and just going places.” Davis was simultaneously interested in connecting with younger Black audiences by strengthening the groove and rhythm within his music. His so-called “Lost” Quintet, the successor band to Davis’s 1960s Quintet, sought to balance the experimentation of Coleman and Coltrane with a deepened sense of the groove. With Wayne Shorter remaining from the Quintet, Davis constructed a new rhythm section capable of discovering this balance. In their first year, pianist Chick Corea, bassist Dave Holland, and drummer Jack DeJohnette begin to build new musical relationships and together chart an exciting, new course.

Keywords:   Miles Davis, jazz, electric, Chick Corea, Dave Holland, Jack DeJohnette, Wayne Shorter, jazz fusion, Ornette Coleman

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