A sanctuary is any place of safety. There are two main categories of sanctuaries: Human and Non-Human (plants and animals).

Human Sanctuary

Religious Sanctuary

A religious sanctuary can be a sacred place (such as such as a Church, Temple, or Mosque) or a consecrated area of a church or temple around its tabernacle or altar.

==== Sanctuary as a sacred place ==== #Sanctuary as a sacred place: #:In Europe, Christian churches were sometimes built on land considered as a particularly 'holy spot', perhaps where a miracle or martyrdom had taken place or where a holy person was buried. Examples are St. Peter's Basilica in Rome and St. Albans Cathedral in England, which commemorate the martyrdom of Saint Peter (the first Pope) and Saint Alban (the first Christian martyr in Britain), respectively. The place, and therefore the church built there, was considered to have been sanctified (made holy) by what happened there. In modern times, the Roman Catholic Church has continued this practice by placing in the altar of each church, when it is consecrated for use, a box (the ''sepulcrum'') containing relics of a saint. The relics box is removed when the church is taken out of use as a church. In the Eastern Orthodox Church, the antimension on the altar serves a similar function. It is a cloth icon of Christ's body taken down from the cross, and typically has the relics of a saint sewn into it. In addition, it is signed by the parish's bishop, and represents his authorization and blessing for the Eucharist to be celebrated on that altar. #Sanctuary as an Altar #: #:The area around the altar is also considered holy because of the physical presence of God in the Eucharist, both during the Mass and in the tabernacle on the altar the rest of the time. So that people can tell when Jesus is there (in the tabernacle), the sanctuary lamp is lit, indicating that anyone approaching the altar should genuflect (bow by bending the knee and inclining the head), to show respect for Him. In the Eastern Orthodox Church, Eastern Catholic Churches of Byzantine rite and Coptic Orthodox Churches, the sanctuary is separated from the nave (where the people pray) by an iconostasis, literally a wall of icons, with three doors in it. In other Oriental Orthodox traditions, a sanctuary curtain is used. In Anglican/Episcopal churches, the term "sanctuary" also describes only the area enclosed by the altar rail. In most Protestant churches, the term ''sanctuary'' denotes the entire worship area while the term ''chancel'' is used to refer to the area around the altar-table. In many traditions, such as the Anglican Church, the Lutheran Church, the Roman Catholic Church and the United Methodist Church, altar rails sometimes mark the edge of the sanctuary or chancel. #: #: #:The area around the altar came to be called the "sanctuary," and that terminology does not apply to Christian churches alone: King Solomon's temple, built in about 950 BC, had a sanctuary ("Holy of Holies") where the tabernacle ("Ark of the Covenant") was, and the term applies to the corresponding part of any house of worship. In most modern synagogues, the main room for prayer is known as the sanctuary, to contrast it with smaller rooms dedicated to various other services and functions. (There is a raised bimah in the sanctuary, from which services are conducted, which is where the ark holding the Torah may reside; some synagogues, however, have a separate bimah and ark-platform.)

Legal Sanctuary

When referring to prosecution of crimes, sanctuary can mean one of the following:

#''Church Sanctuary'': A sacred place, such as a church, in which fugitives formerly were immune to arrest (recognized by English law from the fourth to the seventeenth century). #: #: #''Political Sanctuary'': Immunity to arrest afforded by a sovereign authority. The United Nations has expanded the definition of "political" to include race, nationality, religion, political opinions and membership and/or participation in any particular social group or social activities. People seeking political sanctuary typically do so by asking a sovereign authority for asylum. :*Right of asylum :*: :*: :*: :*:Many ancient people recognized a religious "right of asylum", protecting criminals (or those accused of crime) from legal action and from exile to some extent. This principle was adopted by the early Christian church, and various rules developed for what the person had to do to qualify for protection and just how much protection it was. :*: :*:In England, King Ethelbert made the first laws regulating sanctuary in about AD 600. By Norman times, there had come to be two kinds of sanctuary: All churches had the lower-level kind, but only the churches the king licensed had the broader version. The medieval system of asylum was finally abolished entirely in England by James I in 1623. :*: :*Relating to political asylum :*: :*:During the Wars of the Roses, when the Lancastrians or Yorkists would suddenly get the upper hand by winning a battle, some adherents of the losing side might find themselves surrounded by adherents of the winning side and unable to return to their own side, so they would rush to sanctuary at the nearest church until it was safe to leave it. A prime example is Queen Elizabeth Woodville, consort of Edward IV of England. :*: :*:In 1470, when the Lancastrians briefly restored Henry VI to the throne, Edward's queen was living in London with several young daughters. She moved with them into Westminster for sanctuary, living there in royal comfort until Edward was restored to the throne in 1471 and giving birth to their first son Edward during that time. When King Edward died in 1483, Elizabeth (who was highly unpopular with even the Yorkists and probably did need protection) took her five daughters and youngest son (Richard, Duke of York; Prince Edward had his own household by then) and again moved into sanctuary at Westminster. She had all the comforts of home; she brought so much furniture and so many chests that the workmen had to knock holes in some of the walls to get everything in fast enough to suit her.

Hardship Sanctuary

When referring to a shelter from danger or hardship, sanctuary can mean one of the following: #''Shelter Sanctuary'': A place offering protection and safety; a shelter, typically used by displaced persons, refugees, and homeless people. #: #''Humanitarian Sanctuary'': A source of help, relief, or comfort in times of trouble typically used by victims of war and disaster. #: #''Institutional Sanctuary'': An institution for the care of people, especially those with physical or mental impairments, who require organized supervision or assistance. #:

Sanctuary movement in modern times

Sanctuary of refugees from Central American civil wars was a movement in the 1980s. Part of a broader anti-war movement positioned against U.S. foreign policy in Central America, by 1987 440 sites in the United States had been declared "sanctuary cities" open to migrants from these civil wars in the Central America region.

These sites included university campuses and cities. From the 1980s continuing into the 2000s, there also have been instances of churches providing "sanctuary" for short periods to migrants facing deportation in Germany, France, Belgium, the Netherlands, Norway, Switzerland, Australia, the United States, and Canada, among other nations. In 2007, Iranian refugee Shahla Valadi was granted asylum in Norway after spending seven years in church sanctuary after the initial denial of asylum. Norwegian authorities will not, as a rule, enter churches to deport illegal immigrants. From 1983 to 2003 Canada experienced 36 sanctuary incidents. The "New Sanctuary Movement" organization estimates that at least 600,000 people in the United States have at least one family member in danger of deportation.

Non-Human Sanctuary

Animal Sanctuary

An animal sanctuary is a facility where animals are brought to live and be protected for the rest of their lives.[1] Unlike animal shelters, sanctuaries do not seek to place animals with individuals or groups, instead maintaining each animal until his or her natural death.

Plant Sanctuary

Plant sanctuaries are areas set aside to maintain functioning natural ecosystems, to act as refuges for species and to maintain ecological processes that cannot survive in most intensely managed landscapes and seascapes. Protected areas act as benchmarks against which we understand human interactions with the natural world. Today they are often the only hope we have of stopping many threatened or endemic species from becoming extinct.

See also

Animal sanctuary

Elvira Arellano

La Iglesia de Nuestra Señora Reina de los Angeles

Shrine

References

Further reading

J. Charles Cox (1911). ''The Sanctuaries and Sanctuary Seekers of Medieval England''.

John Bellamy (1973). ''Crime and Public Order in England in the Later Middle Ages''.

Richard Kaeuper (1982). "Right of asylum". ''Dictionary of the Middle Ages''. v.1 pp.632-633. ISBN 0-684-16760-3

External links

Sanctuary Movement history on New Standards

Category:Social institutions

cs:Poutní místo de:Heiligtum eo:Sanktejo fa:بست fy:Hillichdom hu:Szentély io:Santuario nl:Heiligdom pl:Miejsce święte ru:Святилище sk:Pútnické miesto sh:Utočište

Lucy Saunders (American, b. 1957) writes about craft beer, and about cooking with beer and pairing food with beer. Her articles appear in many newspapers and magazines. She is the author of five cookbooks including ''Cooking with Beer'', ''Grilling with Beer'', and ''The Best of American Beer & Food'' She is one of three women who contributed to an international collection of essays, ''Beer Hunter, Whisky Chaser'' in honor of Michael Jackson (writer), the famous British author of articles and books about single malt whisky and beer. Saunders has studied baking and pastry at the Cooking and Hospitality Institute of Chicago. Saunders conducts classes on pairing beer and cheese throughout the United States, including Wisconsin Her books have been discussed in the Atlanta Journal Constitution, and Fort Worth Star Telegram. She has presented guided tastings for the American Homebrewers Association at annual conferences in Milwaukee in 1993, in Chicago in 2003, and in Denver in 2007. She also has conducted tastings for the Craft Brewers’ Conference, The American Cheese Society, and at many local and regional festivals. Saunders’ website, beercook.com, won a silver medal for Best Food Writing on the Internet from the Association of Food Journalists in October, 2002. Saunders is also the craft beer contributor on the Lake Effect Show of WUWM the public radio affiliate in Milwaukee.

References

External links

Lucy Saunders has several websites on beer and food:

http://beercook.com,

http://grillingwithbeer.com

http://bestofamericanbeerandfood.com

Category:1957 births Category:Living people Category:Beer journalism

Name	Gabriella Cilmi
Background	solo_singer
Birth name	Gabriella Lucia Cilmi
Birth date	October 10, 1991
Origin	Melbourne, Australia
Genre	Pop, funk rock, crossover jazz, vocal jazz
Occupation	Singer-songwriter, record producer
Years active	2005–present
Label	Warner MusicIsland Records (UK)XenomaniaUniversal Republic (USA)
Website	http://www.gabriellacilmi.com }}

Gabriella Lucia Cilmi ( (born 10 October 1991) is an Australian singer-songwriter.

In 2008, Cilmi was awarded six ARIA awards including Single of the Year and Best Female Artist. Her debut album, ''Lessons to Be Learned'' was released in 2008, and was a worldwide success. Most recently, she has released a second studio album, ''Ten''.

Early life

Cilmi was born in the Melbourne suburb of Dandenong. Of Italian heritage, she moved to London with her family when she was 15, where she currently lives with her parents Paula and Joe (whose origins are in Crotone, Calabria, Italy) and her brother Joseph.

At an early age, Cilmi developed an interest in a wide range of musical styles, including Nina Simone, Led Zeppelin, Janis Joplin, The Sweet, T. Rex and Cat Stevens. She has also cited Suzi Quatro as a particular influence. Despite her natural aptitude and vocal talent, Cilmi was told that she lacked the discipline necessary to pursue a singing career. Idolising Janis Joplin, during this time she sang with a band (Foucault) performing cover songs by Led Zeppelin, Jet, Silverchair and others. Cilmi recorded original songs with writer/producers Barbara and Adrian Hannan of The SongStore.

In 2004, Cilmi captured the attention of Warner Music executive Michael Parisi while giving an impromptu rendition of the Rolling Stones' song "Jumpin' Jack Flash" at the Lygon Street Festa, a community festival in Melbourne. At the age of 13, Cilmi travelled to the US and UK with Adrian Hannan and was offered four major US deals. She eventually signed a contract with Island Records UK.

Musical career

2005–2009: ''Lessons to Be Learned''

The tracks "Don't Tell Me" and "Sorry", co-written with Barbara and Adrian Hannan, appeared on the soundtrack of 2005 Australian film ''Hating Alison Ashley''. Cilmi shares a manager (Cassandra Gracey), writer/producers (Xenomania) and UK record label (Island) with the Sugababes, and supported former Sugababe Mutya Buena at the Jazz Café in London in 2007. She made her UK TV debut in December 2007 when she sang her single "Sweet About Me" on ''Later... with Jools Holland''. The same month, Cilmi's song "Sanctuary" featured in the film ''St Trinian's'' and on its soundtrack. Cilmi recorded the theme to UK TV series ''Echo Beach'', which aired in early 2008 on ITV1; it is a cover of "Echo Beach" by Martha and the Muffins. In February 2008, she supported the Parisian band Nouvelle Vague on their UK tour.

Cilmi's first album, ''Lessons to Be Learned'', was written and recorded with hit production team Xenomania and was released in March 2008 in the UK. Cilmi has been compared to Amy Winehouse. The first single, "Sweet About Me", debuted on the UK Singles Chart that month and climbed to number six three months later, in June. It reached number seventeen on the Irish Singles Chart, and peaked at number one on the Australian ARIA Singles Chart. The song was used in a worldwide advertising campaign for the deodorant Sure/Rexona. Cilmi's second UK single, "Save the Lies", was not as successful as "Sweet About Me", peaking at number thirty-three in the UK. In Australia, the second single from the album was "Don't Wanna Go to Bed Now", which reached number twenty-eight. The subsequent single, "Sanctuary", was issued in November 2008 and failed to chart.

From March to May 2008, Cilmi supported the Sugababes on their UK Change Tour. She opened for James Blunt on his June 2008 Australian tour, and participated in the October 2008 MTV Greece concert alongside R.E.M. and Kaiser Chiefs. Also in 2008, Cilmi won six ARIA Awards in Australia, taking Best Female Artist, Breakthrough Artist: Single ("Sweet About Me"), Breakthrough Artist: Album (''Lessons to Be Learned''), Best Pop Release (''Lessons to Be Learned''), Highest Selling Single ("Sweet About Me"), and Single of the Year ("Sweet About Me"). Cilmi covered a Connie Francis song, "Warm This Winter", for Co-operative's Christmas 2008 advertising campaign; released as a single, it reached number twenty-two on the UK Singles Chart. In January 2009, Cilmi was nominated in the International Female category at the BRIT Awards and sang in the Rod Laver Arena before the 2009 Australian Open Men's Final.

Cilmi performed at the Melbourne Cricket Ground in March 2009 for Sound Relief, a multi-venue rock music concert in support of relief for the Victorian bushfire crisis. The event was held simultaneously with a concert at the Sydney Cricket Ground. All the proceeds from the Melbourne Concert will go to the Red Cross Victorian Bushfire relief. Cilmi made her U.S. television debut in March 2009 and performed on the Pyramid (main) stage at the Glastonbury Festival in June 2009. The following August, she won Grand Prix at Sopot International Song Festival, an international song contest in Poland.

2010: ''Ten''

Cilmi debuted a new single, "On a Mission", in January 2010. It was released in February 2010 in Australia, reaching number sixteen, and the following month in the UK, where it peaked at number nine. This preceded Cilmi's second studio album, ''Ten'', which was released in March 2010. According to Cilmi, the album features "lots of uptempo funk and disco-inspired numbers designed to make people groove" as well as "some more sexy tracks". One song incorporates a type of yodel into it.

While producing the album, Cilmi worked with Greg Kurstin, The Invisible Men and Dallas Austin, as well as Xenomania on the song "Hearts Don't Lie" which she likens to a Bee Gees song. The track "Love Me 'Cause You Want To" is the song she is most proud of due to the fact it was produced with her band. It features production from Xenomania, Dallas Austin and Greg Kurstin, and bears an electropop sound in contrast to her first album. ''Ten'' was not as successful as ''Lessons to Be Learned'', reaching number seventeen in Australia and number twenty-eight in the UK. The second single, "Hearts Don't Lie", was released in June 2010 in the UK. The third single, "Defender", was released in August 2010 accompanied by a B-side track, "Magic Carpet Ride". Cilmi supported British artist Leona Lewis on the UK leg of her 2010 ''The Labyrinth'' Tour.

2011–present: Third album

By October 2010, Cilmi had begun work on her third studio album. She has been quoted as saying: "It's totally exciting because I am spending a bit more time with this record. I want to see what works. I really love Dolly Parton, roots music, Tricky and Enya, so anything could happen."

Vocal ability

Cilmi has a Contralto vocal range and has been compared to that of Anastacia and Amy Winehouse for her vocal style. Cilmi also discovered her sound was partly caused by a back problem known as Hollow Back or Lordosis which affects the way in which she uses her diaphragm muscles when singing, producing a more throaty sound.

Of her voice Caroline Sullivan of The Guardian complimented her voice stating it was 'precociously blistering' and 'Her zest and powerful, black-like voice can't be faulted'.

Take40 commented further 'a voice that sounds like it fell from the heavens' further noting her abilities as a 'vocal powerhouse' and being a 'brilliant and unique vocal talent'.

Trivia

Gabriella Cilmi is mentioned by Ed Sheeran in the song You Need Me, I Don't Need You, Sheeran using Cilmi as an example of a young singer-songwriter.

Discography

''Lessons to Be Learned'' (2008)

''Ten'' (2010)

Tours

;Headline

2008 – Lessons to Be Learnt Tour

;As supporting act

2008 – Sugababes – Change Tour (Selected Dates)

2010 – Leona Lewis – The Labyrinth (UK Dates Only)

Awards and nominations

! Year	! Type	! Award	! Result
		Breakthrough Single
Breakthrough Album
Highest Selling Single
Best Pop release
Best Female Artist
Single Of The Year
Q Awards	Breakthrough Artist
MTV Europe Music Awards	Breakthrough Artist
		Best International Female Artist
	Best International Newcomer
	Best Performer
2010		Most Popular Australian Single ("On A Mission")

Television appearances

''Hating Alison Ashley'' (2005) Performer of "Don't Tell Me" and "Sorry

''Later... with Jools Holland'' (1 episode, "#30.7", 2007) .... Herself

''Echo Beach'' (unknown episodes, 2008) Soundtrack

''This Morning'' (1 episode, "14 February 2008", 2008) .... Herself and Singer

''Saturday Disney'' (1 episode, "Mothers, Muck, Music and Manners!", 2008) .... Herself

''The National Lottery: Big 7'' (2008) (TV) .... Herself

''Wetten, dass..?'' (1 episode, "4 October 2008") .... Herself

''Today Show'' (1 episode, "27 October 2008" .... Herself

''GMTV'' (1 episode, "29 October 2008" .... Herself and Singer

''Australian Idol'' (1 episode, "Top 7 Verdict", 2008) .... Herself

''Never Mind the Buzzcocks'' (1 episode, "#22.6", 2008) .... Herself

''Star Academy'' (1 episode, "31 October 2008", 2008) .... Herself

''The Xtra Factor'' (2 episodes, "#5.17" and "#5.18") .... Herself

''Loose Women'' (1 episode, "#14.48", 2008) .... Herself and performer

''City Homicide'' (1 episode) .... as ''Claudette Wyms''

''TV total'' (1 episode, "11 November 2008", 2008) .... Herself

''Hollyoaks'' (1 episode, #1.2367, 2008) "Sweet About Me"

''Other People's Breast Milk'' (2008) (TV) Performer of "Sweet About Me"

''Lipstick Jungle'' (1 episode, "Chapter Nine: Help!", 2008) Performer of "Sweet About Me"

''90210'' (1 episode, That Which We Destroy", 2008) "Save the Lies" (uncredited)

''Divas II'' (2008) (TV) .... Herself and performer of "Sweet About Me" (uncredited)

''Top of the Pops'' (2008) (TV New Years Special) .... Performer of "Sweet About Me"

''The L Word'' (1 episode, "Long Night's Journey Into Day", 2009) "Awkward Game" (uncredited)

''The Paul O'Grady Show'' (2009) (TV) .... Performer with Enrique Iglesias

''Loose Women'' (2009) (TV) .... Performer] with Enrique Iglesias

''Late Night with Jimmy Fallon'' (24 March 2009) ... Herself

''Let's Dance for Sport Relief'' (27 February 2010) .... Performer

''GMTV'' (11 March 2010) .... Performer

''The Alan Titchmarsh Show'' (22 March 2010) .... Performer

''Popstars: Girls forever'' (9 September 2010) ... Performer/Vocal coach

Other appearances

In May 2010, Cilmi posed topless for ''FHM'' magazine.

References

Sources

''Gabriella Cilmi poised to make a big splash'' Jack Foley, Indie London, March 2008

External links

Official website

Official Australian website

Gabriella Cilmi interview by Pete Lewis, 'Blues & Soul' August 2008

BBC profile

Gabriella Cilmi ilikemusic Interview

CD Times gig review

FemaleFirst article

GenerationQ article

Category:1991 births Category:Living people Category:Australian female singers Category:Australian child singers Category:Australian jazz singers Category:Women in jazz Category:Australian soul singers Category:Australian singers of Italian descent Category:People of Calabrian descent Category:Australian singer-songwriters Category:Singers from Melbourne Category:ARIA Award winners Category:Island Records artists

ca:Gabriella Cilmi cs:Gabriella Cilmi cy:Gabriella Cilmi da:Gabriella Cilmi de:Gabriella Cilmi es:Gabriella Cilmi fa:گابریلا چیلمی fr:Gabriella Cilmi hr:Gabriella Cilmi it:Gabriella Cilmi lt:Gabriella Cilmi hu:Gabriella Cilmi nl:Gabriella Cilmi ja:ガブリエラ・チルミ no:Gabriella Cilmi pl:Gabriella Cilmi pt:Gabriella Cilmi ro:Gabriella Cilmi ru:Чилми, Габриэлла scn:Gabriella Cilmi sk:Gabriella Cilmi sr:Габријела Чилми fi:Gabriella Cilmi sv:Gabriella Cilmi tr:Gabriella Cilmi

Birth name	Frank Ticheli
Birth date	January 21, 1958
Birth place	Monroe, Louisiana, U.S.
Occupation	Composer
Years active	1991–present }}

Frank Ticheli (born January 21, 1958 in Monroe, Louisiana) is an American composer of orchestral, choral, chamber, and concert band works. He lives in Los Angeles, California, where he is a Professor of Composition at the University of Southern California. A number of his works are particularly notable, as they have become standards in concert band repertoire.

Biography

He graduated from L.V. Berkner High School in Richardson, Texas and earned a Bachelor of Music in Composition from Southern Methodist University, where he studied with Donald Erb and Jack Waldenmaier. He went on to receive his master's and doctoral degrees in composition from the University of Michigan, where he studied with William Albright, Leslie Bassett, George Wilson, and William Bolcom.

Subsequently, Ticheli was an Assistant Professor of Music at Trinity University in San Antonio, Texas. There, he served on the board of directors of the Texas Composers Forum and was a member of the advisory committee for the San Antonio Symphony's "Music of the Americas" project. From 1991 to 1998, Ticheli was composer-in-residence with the Pacific Symphony Orchestra in Orange County, California. Currently, he is a Professor of Composition at the University of Southern California's Thornton School of Music.

He has been the recipient of numerous awards, including the Charles Ives Scholarship, the Goddard Lieberson Fellowship, National Band Association/Revelli Memorial Prize, the A. Austin Harding Award, and First Prize in the Texas Sesquicentennial Orchestral Composition Competition, the Britten-on-the-Bay Choral Composition Contest, and the Virginia CBDNA Symposium for New Band Music. In addition to these awards, Ticheli has been named a national honorary member of Phi Mu Alpha and Kappa Kappa Psi.

Grants and commissions include his selection as a recipient of a Chamber Music America Grant to compose a work for the Philadelphia-based saxophone quartet Prism. He has also received commissions and grants from the American Music Center, Pacific Symphony, Pacific Chorale, Worldwide Concurrent Premieres, Inc., Prince George's Philharmonic Orchestra, Adrian Symphony, City of San Antonio, Stephen F. Austin State University, University of Michigan, Trinity University, and the Indiana Bandmasters Association. His work, Angels in the Architecture, for concert band with soprano soloist, was commissioned by Kingsway International and received its premiere performance in July 2008 by a massed band of young musicians from Australia and the U.S. at the Sydney Opera House.

Recent works include CONSTELLATION, a three-movement choral work, RIFFS FOR STEVEN, a work for solo drumset and orchestra featuring drummer Peter Erskine, and a clarinet concerto for soloist Håken Rosengren, premiered by the Lithuanian National Orchestra and first performed in America by the Round Top Festival Orchestra, JoAnn Falletta, conductor.

Works

Ticheli's works are published by Manhattan Beach Music, Encore Music Publishers, Helicon Music, and PP Music Publishers and are recorded by Koch International Classics, Klavier, Albany, and Mark Records. They include the following.

For orchestra

Riffs for Steven

An American Elegy

Angels in the Architecture

Shooting Stars

Symphony No. 1

Blue Shades

Radiant Voices

On Time's Stream

Postcard

Pacific Fanfare

Images of a Storm

For solo with orchestra

Concerto for Clarinet and Orchestra

Symphony No. 1 ( with solo tenor in last movement only)

An American Dream (with solo soprano)

Playing With Fire (for seven-piece jazz band and orchestra)

Concerto for Trumpet and Orchestra

For chorus

Constellation: Three Poems of Sara Teasdale

*Earth Song

The Song Within

There Will Be Rest

For concert band/wind ensemble

Concerto for Clarinet and Wind Ensemble

Amen!

Angels in the Architecture

The Tyger

Symphony No. 1 (transcribed by Gary Green)

Wild Nights!

Nitro

Sanctuary

Abracadabra

Joy Revisited

Joy

Symphony No. 2

Ave Maria

A Shaker Gift Song

Pacific Fanfare

Loch Lomond

Simple Gifts: Four Shaker Songs

An American Elegy

Vesuvius

Shenandoah

Blue Shades

Sun Dance

Cajun Folk Songs II

Postcard

Gaian Visions

Amazing Grace

Cajun Folk Songs

Fortress

Portrait of a Clown

Music for Winds & Percussion

Concertino for Trombone and Band

For chamber ensemble

Out of the Blue

Songs of Tagore

Back Burner

Here We Stand

Concertino for Trombone

The First Voice

String Quartet

Fantasy

Two Songs of Loss

Humouresque

Poltergeists

No Time

Three Movements

Trio for Brass

References

External links

"An Interview with Frank Ticheli", ''Band Director''

The Music of Frank Ticheli Frank Ticheli's official website by Manhattan Beach Music

Composition Faculty The Thornton School of Music's faculty biographies

"Frank_Ticheli", ''Wind Repertory Project''

Composer's Collection: Frank Ticheli

Category:1958 births Category:Living people Category:American composers Category:Musicians from Dallas, Texas Category:Texas classical music Category:People from Monroe, Louisiana Category:Southern Methodist University alumni Category:University of Michigan alumni Category:Thornton School of Music faculty

nl:Frank Ticheli ja:フランク・ティケリ

name	Miles Davis
background	non_vocal_instrumentalist
birth name	Miles Dewey Davis III
birth date	May 26, 1926
birth place	Alton, Illinois, United States
death date	September 28, 1991
death place	Santa Monica, California, United States
instrument	Trumpet, flugelhorn, piano, organ
genre	Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap
occupation	Bandleader, composer, trumpeter, artist
years active	1944–1975, 1980–1991
label	Capitol Jazz/EMI, Columbia/CBS, Warner Bros.
associated acts	Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans
website	}}

Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Widely considered one of the most influential musicians of the 20th century, Miles Davis was, with his musical groups, at the forefront of several major developments in jazz music, including bebop, cool jazz, hard bop, modal jazz, and jazz fusion.

Biography

Early life (1926–44)

Miles Dewey Davis was born on May 26, 1926, to an affluent African American family in Alton, Illinois. His father, Dr. Miles Henry Davis, was a dentist. In 1927 the family moved to East St. Louis, Illinois. They also owned a substantial ranch in northern Arkansas, where Davis learned to ride horses as a boy.

Davis' mother, Cleota Mae (Henry) Davis, wanted her son to learn the piano; she was a capable blues pianist but kept this fact hidden from her son. His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. Davis later suggested that his father's instrument choice was made largely to irk his wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis' knuckles every time he started using heavy vibrato. Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything." Clark Terry was another important early influence.

By age 16, Davis was a member of the music society and playing professionally when not at school. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis' mother insisted that he finish his final year of high school. He graduated from East St. Louis Lincoln High School in 1944.

In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick. Even after this experience, once Eckstine's band left town, Davis' parents were still keen for him to continue formal academic studies.

New York and the bebop years begin (1944–48)

In the fall of 1944, following graduation from high school, Davis moved to New York City to study at the Juilliard School of Music.

Upon arriving in New York, he spent most of his first weeks in town trying to get in contact with Charlie Parker, despite being advised against doing so by several people he met during his quest, including saxophonist Coleman Hawkins.

Finally locating his idol, Davis became one of the cadre of musicians who held nightly jam sessions at two of Harlem's nightclubs, Minton's Playhouse and Monroe's. The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. J. Johnson. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.

Davis dropped out of Juilliard, after asking permission from his father. In his autobiography, Davis criticized the Juilliard classes for centering too much on the classical European and "white" repertoire. However, he also acknowledged that, while greatly improving his trumpet playing technique, Juilliard helped give him a grounding in music theory that would prove valuable in later years.

Davis began playing professionally, performing in several 52nd Street clubs with Coleman Hawkins and Eddie "Lockjaw" Davis. In 1945, he entered a recording studio for the first time, as a member of Herbie Fields's group. This was the first of many recordings to which Davis contributed in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers. In these early years, recording sessions where Davis was the leader were the exception rather than the rule; his next date as leader would not come until 1947.

Around 1945, Dizzy Gillespie parted ways with Parker, and Davis was hired as Gillespie's replacement in his quintet, which also featured Max Roach on drums, Al Haig (replaced later by Sir Charles Thompson and Duke Jordan) on piano, and Curley Russell (later replaced by Tommy Potter and Leonard Gaskin) on bass.

With Parker's quintet, Davis went into the studio several times, already showing hints of the style for which he would become known. On an oft-quoted take of Parker's signature song, "Now's the Time", Davis takes a melodic solo, whose unbop-like quality anticipates the "cool jazz" period that would follow. The Parker quintet also toured widely. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine's California tour, which eventually brought him back to New York. In 1948, Parker returned to New York, and Davis rejoined his group.

The relationships within the quintet, however, were growing tense. Parker's erratic behavior (attributable to his well-known drug addiction) and artistic choices (both Davis and Roach objected to having Duke Jordan as a pianist and would have preferred Bud Powell) became sources of friction. In December 1948, disputes over money (Davis claims he was not being paid) began to strain their relationship even further. Davis finally left the group following a confrontation with Parker at the Royal Roost.

For Davis, his departure from Parker's group marked the beginning of a period in which he worked mainly as a freelancer and as a sideman in some of the most important combos on the New York jazz scene.

Birth of the Cool (1948–49)

In 1948 Davis grew close to the Canadian composer and arranger Gil Evans. Evans' basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. Evans had been the arranger for the Claude Thornhill orchestra, and it was the sound of this group, as well as Duke Ellington's example, that suggested the creation of an unusual line-up: a nonet including a French horn and a tuba (this accounts for the "tuba band" moniker that was to be associated with the combo).

Davis took an active role in the project, so much so that it soon became "his project". The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.

The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. The sign announcing the performance gave a surprising prominence to the role of the arrangers: "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". It was, in fact, so unusual that Davis had to persuade the Roost's manager, Ralph Watkins, to allow the sign to be worded in this way; he prevailed only with the help of Monte Kay, the club's artistic director.

The nonet was active until the end of 1949, along the way undergoing several changes in personnel: Roach and Davis were constantly featured, along with Mulligan, tuba player Bill Barber, and alto saxophonist Lee Konitz, who had been preferred to Sonny Stitt (whose playing was considered too bop-oriented). Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass. Singer Kenny Hagood was added for one track during the recording

The presence of white musicians in the group angered some black jazz players, many of whom were unemployed at the time, but Davis rebuffed their criticisms.

A contract with Capitol Records granted the nonet several recording sessions between January 1949 and April 1950. The material they recorded was released in 1956 on an album whose title, ''Birth of the Cool,'' gave its name to the "cool jazz" movement that developed at the same time and partly shared the musical direction begun by Davis' group.

For his part, Davis was fully aware of the importance of the project, which he pursued to the point of turning down a job with Duke Ellington's orchestra.

The importance of the nonet experience would become clear to critics and the larger public only in later years, but, at least commercially, the nonet was not a success. The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. This was bitterly noted by Davis, who claimed the invention of the cool style and resented the success that was later enjoyed—in large part because of the media's attention—by white "cool jazz" musicians (Mulligan and Dave Brubeck in particular).

This experience also marked the beginning of the lifelong friendship between Davis and Gil Evans, an alliance that would bear important results in the years to follow.

Hard bop and the "Blue Period" (1950–54)

The first half of the 1950s was, for Davis, a period of great personal difficulty. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland. While in Paris, Davis began a relationship with French actress and singer Juliette Gréco.

Many of his new and old friends (Davis, in his autobiography, mentions Clarke) tried to persuade him to stay in France, but Davis decided to return to New York. Back in the States, he began to feel deeply depressed. The depression was due in part to his separation from Gréco, in part to his feeling underappreciated by the critics (who were hailing Davis' former collaborators as leaders of the cool jazz movement), and in part to the unraveling of his liaison with a former St. Louis schoolmate who was living with him in New York and with whom he had two children.

These are the factors to which Davis traces a heroin habit that deeply affected him for the next four years. Though Davis denies it in his autobiography, it is also likely that the environment in which he was living played a role. Most of Davis' associates at the time, some of them perhaps in imitation of Charlie Parker, had drug addictions of their own (among them, sax players Sonny Rollins and Dexter Gordon, trumpeters Fats Navarro and Freddie Webster, and drummer Art Blakey). For the next four years, Davis supported his habit partly with his music and partly by living the life of a hustler. By 1953, his drug addiction was beginning to impair his ability to perform. Heroin had killed some of his friends (Navarro and Freddie Webster). He himself had been arrested for drug possession while on tour in Los Angeles, and his drug habit had been made public in a devastating interview that Cab Calloway gave to ''Down Beat''.

Realizing his precarious condition, Davis tried several times to end his drug addiction, finally succeeding in 1954 after returning to his father's home in St. Louis for several months and literally locking himself in a room until he had gone through a painful withdrawal. During this period he avoided New York and played mostly in Detroit and other midwestern towns, where drugs were then harder to come by. A widely-related story, attributed to Richard (Prophet) Jennings was that Davis, while in Detroit playing at the Blue Bird club as a guest soloist in Billy Mitchell's house band along with Tommy Flanagan, Elvin Jones, Betty Carter, Yusef Lateef, Barry Harris, Thad Jones, Curtis Fuller and Donald Byrd stumbled into Baker's Keyboard Lounge out of the rain, soaking wet and carrying his trumpet in a paper bag under his coat, walked to the bandstand and interrupted Max Roach and Clifford Brown in the midst of performing Sweet Georgia Brown by beginning to play My Funny Valentine, and then, after finishing the song, stumbled back into the rainy night. Davis was supposedly embarrassed into getting clean by this incident. In his autobiography, Davis disputed this account, stating that Roach had requested that Davis play with him that night, and that the details of the incident, such as carrying his horn in a paper bag and interrupting Roach and Brown, were fictional and that his decision to quit heroin was unrelated to the incident.

Despite all the personal turmoil, the 1950–54 period was actually quite fruitful for Davis artistically. He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.

In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis' style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that grew to be his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. This sound was to become so characteristic that the use of the Harmon mute by any jazz trumpet player since immediately conjures up Miles Davis.

The most important Prestige recordings of this period (''Dig'', ''Blue Haze'', ''Bags' Groove'', ''Miles Davis and the Modern Jazz Giants'', and ''Walkin''') originated mostly from recording sessions in 1951 and 1954, after Davis' recovery from his addiction. Also of importance are his five Blue Note recordings, collected in the ''Miles Davis Volume 1'' album.

With these recordings, Davis assumed a central position in what is known as hard bop. In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation. Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues. A few critics go as far as to call ''Walkin''' the album that created hard bop, but the point is debatable, given the number of musicians who were working along similar lines at the same time (and of course many of them recorded or played with Davis).

Also in this period Davis gained a reputation for being distant, cold, and withdrawn and for having a quick temper. Among the several factors that contributed to this reputation were his contempt for the critics and specialized press and some well-publicized confrontations with the public and with fellow musicians. (One occasion, in which he had a near fight with Thelonious Monk during the recording of ''Bags' Groove'', received wide exposure in the specialized press.)

The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice, earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.

First great quintet and sextet (1955–58)

Back in New York and in better health, in 1955 Davis attended the Newport Jazz Festival, where his performance (and especially his solo on "'Round Midnight") was greatly admired and prompted the critics to hail the "return of Miles Davis". At the same time, Davis recruited the players for a formation that became known as his "first great quintet": John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums.

None of these musicians, with the exception of Davis, had received a great deal of exposure before that time; Chambers, in particular, was very young (19 at the time), a Detroit player who had been on the New York scene for only about a year, working with the bands of Bennie Green, Paul Quinichette, George Wallington, J. J. Johnson, and Kai Winding. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges. Davis hired Coltrane as a replacement for Sonny Rollins, after unsuccessfully trying to recruit alto saxophonist Julian "Cannonball" Adderley.

The repertoire included many bebop mainstays, standards from the Great American Songbook and the pre-bop era, and some traditional tunes. The prevailing style of the group was a development of the Davis experience in the previous years—Davis playing long, legato, and essentially melodic lines, while Coltrane, who during these years emerged as a leading figure on the musical scene, contrasted by playing high-energy solos.

With the new formation also came a new recording contract. In Newport, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received '''Round About Midnight''. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956. Prestige released these recordings in the following years as four albums: ''Relaxin' with the Miles Davis Quintet,'' ''Steamin' with the Miles Davis Quintet,'' ''Workin' with the Miles Davis Quintet,'' and ''Cookin' with the Miles Davis Quintet''. While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album. The records became almost instant classics and were instrumental in establishing Davis' quintet as one of the best on the jazz scene.

The quintet was disbanded for the first time in 1957, following a series of personal problems that Davis blames on the drug addiction of the other musicians. Davis played some gigs at the ''Cafe Bohemia'' with a short-lived formation that included Sonny Rollins and drummer Art Taylor, and then traveled to France, where he recorded the score to Louis Malle's film ''Ascenseur pour l'échafaud''. With the aid of French session musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke, he recorded the entire soundtrack with an innovative procedure, without relying on written material: starting from sparse indication of the harmony and a general feel of a given piece, the group played by watching the movie on a screen in front of them and improvising.

Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones. With the quintet re-formed as a sextet, Davis recorded ''Milestones'', an album anticipating the new directions he was preparing to give to his music.

Almost immediately after the recording of ''Milestones,'' Davis fired Garland and, shortly afterward, Jones, again for behavioral problems; he replaced them with Bill Evans——a young white pianist with a strong classical background——and drummer Jimmy Cobb. With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record (''1958 Miles'', also known as ''58 Sessions''). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis. But after only eight months on the road with the group, he was burned out and left. He was soon replaced by Wynton Kelly, a player who brought to the sextet a swinging, bluesy approach that contrasted with Evans' more delicate playing.

Recordings with Gil Evans (1957–63)

In the late 1950s and early 1960s, Davis recorded a series of albums with Gil Evans, often playing flugelhorn as well as trumpet. The first, ''Miles Ahead'' (1957), showcased his playing with a jazz big band and a horn section arranged by Evans. Songs included Dave Brubeck's "The Duke," as well as Léo Delibes's "The Maids of Cadiz," the first piece of European classical music Davis had recorded. Another distinctive feature of the album was the orchestral passages that Evans had devised as transitions between the different tracks, which were joined together with the innovative use of editing in the post-production phase, turning each side of the album into a seamless piece of music.

In 1958, Davis and Evans were back in the studio to record ''Porgy and Bess,'' an arrangement of pieces from George Gershwin's opera of the same name. The lineup included three members of the sextet: Paul Chambers, Philly Joe Jones, and Julian "Cannonball" Adderley. Davis called the album one of his favorites.

''Sketches of Spain'' (1959–1960) featured songs by contemporary Spanish composer Joaquin Rodrigo and also Manuel de Falla, as well as Gil Evans originals with a Spanish flavor. ''Miles Davis at Carnegie Hall'' (1961) includes Rodrigo's ''Concierto de Aranjuez,'' along with other compositions recorded in concert with an orchestra under Evans' direction.

Sessions with Davis and Evans in 1962 resulted in the album ''Quiet Nights,'' a short collection of bossa novas that was released against the wishes of both artists: Evans stated it was only half an album, and blamed the record company; Davis blamed producer Teo Macero, whom he didn't speak to for more than two years. This was the last time Evans and Davis made a full album together; despite the professional separation, however, Davis noted later that "my best friend is Gil Evans."

''Kind of Blue'' (1959–64)

In March and April 1959, Davis re-entered the studio with his working sextet to record what is widely considered his ''magnum opus'', ''Kind of Blue.'' He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans' piano style. Both Davis and Evans were personally acquainted with the ideas of pianist George Russell regarding modal jazz, Davis from discussions with Russell and others before the ''Birth of the Cool'' sessions, and Evans from study with Russell in 1956. Davis, however, had neglected to inform current pianist Kelly of Evans' role in the recordings; Kelly subsequently played only on the track "Freddie Freeloader" and was not present at the April dates for the album. "So What" and "All Blues" had been played by the sextet at performances prior to the recording sessions, but for the other three compositions, Davis and Evans prepared skeletal harmonic frameworks that the other musicians saw for the first time on the day of recording, to allow a fresher approach to their improvisations. The resulting album has proven to be both highly popular and enormously influential. According to the RIAA, ''Kind of Blue'' is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold). .In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.

The trumpet Davis used on the recording is currently displayed in the music building on the campus of the University of North Carolina at Greensboro. It was donated to the school by Arthur "Buddy" Gist, who met Davis in 1949 and became a close friend. The gift was the reason why the jazz program at UNCG is named the "Miles Davis Jazz Studies Program."

In 1959, the Miles Davis Quintet was appearing at the famous Birdland nightclub in New York City. After finishing a 27 minute recording for the armed services, Davis took a break outside the club. As he was escorting an attractive blonde woman across the sidewalk to a taxi, Davis was told by Patrolman Gerald Kilduff to "move on." Davis explained that he worked at the nightclub and refused to move. The officer said that he would arrest Davis and grabbed him as Davis protected himself. Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation. Two nearby detectives held the crowd back as a third detective, Don Rolker, approached Davis from behind and beat him about the head. Davis was then arrested and taken to jail where he was charged with feloniously assaulting an officer. He was then taken to St. Clary Hospital where he received five stitches for a wound on his head. Davis attempted to pursue the case in the courts, before eventually dropping the proceedings in a plea bargain in order to recover his suspended Cabaret Card, enabling him to return to work in New York clubs.

Davis persuaded Coltrane to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis' 1961 album ''Someday My Prince Will Come.'' After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley. The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco. Stitt's playing with the group is found on a recording made in Olympia, Paris (where Davis and Coltrane had played a few months before) and the ''Live in Stockholm'' album.

In 1963, Davis' longtime rhythm section of Kelly, Chambers, and Cobb departed. He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963. A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of ''Seven Steps to Heaven.''

The rhythm players melded together quickly as a section and with the horns. The group's rapid evolution can be traced through the ''Seven Steps to Heaven'' album, ''In Europe'' (July 1963), ''My Funny Valentine'' (February 1964), and ''Four and More'' (also February 1964). The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.

Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. Rivers remained in the group only briefly, but was recorded live with the quintet in Japan; this configuration can be heard on ''Miles in Tokyo!'' (July 1964).

By the end of the summer, Davis had persuaded Wayne Shorter to leave Art Blakey's Jazz Messengers and join the quintet. Shorter became the group's principal composer, and some of his compositions of this era (including "Footprints" and "Nefertiti") have become standards. While on tour in Europe, the group quickly made their first official recording, ''Miles in Berlin'' (September 1964). On returning to the United States later that year, ever the musical entrepreneur, Davis (at Jackie DeShannon's urging) was instrumental in getting The Byrds signed to Columbia Records.

Second great quintet (1964–68)

By the time of ''E.S.P.'' (1965), Davis's lineup consisted of Wayne Shorter, Herbie Hancock (piano), Ron Carter (bass), and Tony Williams (drums). The last of his acoustic bands, this group is often referred to as the second great quintet.

A two-night Chicago performance in late 1965 is captured on ''The Complete Live at the Plugged Nickel 1965,'' released in 1995. Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes. It is reasonable to point out, though, that while some of the titles remain the same as the tunes employed by the 1950s quintet, the speed and distance of departure from the framework of the standards bears no comparison. It could even be said that the listening experience to these standards as live performances is as much of a radical take on the jazz of the time as the new compositions of the studio albums listed below.

The recording of ''Live at the Plugged Nickel'' was not issued anywhere in the 1960s, first appearing as a Japan-only partial issue in the late 1970s, then as a double-LP in the USA and Europe in 1982. It was followed by a series of studio recordings: ''Miles Smiles'' (1966), ''Sorcerer'' (1967), ''Nefertiti'' (1967), ''Miles in the Sky'' (1968), and ''Filles de Kilimanjaro'' (1968). The quintet's approach to improvisation came to be known as "time no changes" or "freebop," because they abandoned the more conventional chord-change-based approach of bebop for a modal approach. Through ''Nefertiti,'' the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. Davis's bands would continue to perform in this way until his retirement in 1975.

''Miles in the Sky'' and ''Filles de Kilimanjaro,'' on which electric bass, electric piano, and electric guitar were tentatively introduced on some tracks, pointed the way to the subsequent fusion phase of Davis's career. Davis also began experimenting with more rock-oriented rhythms on these records. By the time the second half of ''Filles de Kilimanjaro'' had been recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock would occasionally contribute to future recording sessions. Davis soon began to take over the compositional duties of his sidemen.

Electric Miles (1968–75)

Davis's influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix, many of whom he met through Betty Mabry (later Betty Davis), a young model and songwriter Davis married in September 1968 and divorced a year later. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio. By the time ''In a Silent Way'' had been recorded in February 1969, Davis had augmented his quintet with additional players. At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis. By this point, Shorter was also doubling on soprano saxophone. After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.

Six months later an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP ''Bitches Brew,'' which became a huge seller, reaching gold status by 1976. This album and ''In a Silent Way'' were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz-rock fusion. During this period, Davis toured with Shorter, Corea, Holland, and DeJohnette. The group's repertoire included material from ''Bitches Brew'', ''In a Silent Way'', and the 1960s quintet albums, along with an occasional standard.

In 1972, Davis was introduced to the music of Karlheinz Stockhausen by Paul Buckmaster, leading to a period of new creative exploration. Biographer J. K. Chambers wrote that "the effect of Davis' study of Stockhausen could not be repressed for long... Davis' own 'space music' shows Stockhausen's influence compositionally." His recordings and performances during this period were described as "space music" by fans, by music critic Leonard Feather, and by Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music." Both ''Bitches Brew'' and ''In a Silent Way'' feature "extended" (more than 20 minutes each) compositions that were never actually "played straight through" by the musicians in the studio. Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version. ''Bitches Brew'' made use of such electronic effects as multi-tracking, tape loops, and other editing techniques. Both records, especially ''Bitches Brew'', proved to be big sellers. Starting with ''Bitches Brew'', Davis's albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, the Grateful Dead, Neil Young, and Santana. Several live albums were recorded during the early 1970s at these performances: ''Live at the Fillmore East, March 7, 1970: It's About That Time'' (March 1970),'' Black Beauty'' (April 1970), and ''Miles Davis at Fillmore: Live at the Fillmore East'' (June 1970).

By the time of ''Live-Evil'' in December 1970, Davis's ensemble had transformed into a much more funk-oriented group. Davis began experimenting with wah-wah effects on his horn. The ensemble with Gary Bartz, Keith Jarrett, and Michael Henderson, often referred to as the "Cellar Door band" (the live portions of ''Live-Evil'' were recorded at a Washington, DC, club by that name), never recorded in the studio, but is documented in the six-CD box set ''The Cellar Door Sessions,'' which was recorded over four nights in December 1970. In 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis's own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him. The resulting album, 1971's ''A Tribute to Jack Johnson'', contained two long pieces that featured musicians (some of whom were not credited on the record) including guitarists John McLaughlin and Sonny Sharrock, Herbie Hancock on a Farfisa organ, and drummer Billy Cobham. McLaughlin and Cobham went on to become founding members of the Mahavishnu Orchestra in 1971.

As Davis stated in his autobiography, he wanted to make music for the young African-American audience. ''On the Corner'' (1972) blended funk elements with the traditional jazz styles he had played his entire career. The album was highlighted by the appearance of saxophonist Carlos Garnett. Critics were not kind to the album; in his autobiography, Davis stated that critics could not figure out how to categorize it, and he complained that the album was not promoted by the "traditional" jazz radio stations. After recording ''On the Corner'', Davis put together a new group, with only Michael Henderson, Carlos Garnett, and percussionist Mtume returning from the previous band. It included guitarist Reggie Lucas, tabla player Badal Roy, sitarist Khalil Balakrishna, and drummer Al Foster. It was unusual in that none of the sidemen were major jazz instrumentalists; as a result, the music emphasized rhythmic density and shifting textures instead of individual solos. This group, which recorded in Philharmonic Hall for the album ''In Concert'' (1972), was unsatisfactory to Davis. Through the first half of 1973, he dropped the tabla and sitar, took over keyboard duties, and added guitarist Pete Cosey. The Davis/Cosey/Lucas/Henderson/Mtume/Foster ensemble would remain virtually intact over the next two years. Initially, Dave Liebman played saxophones and flute with the band; in 1974, he was replaced by Sonny Fortune.

''Big Fun'' (1974) was a double album containing four long improvisations, recorded between 1969 and 1972. Similarly, ''Get Up With It'' (1974) collected recordings from the previous five years. ''Get Up With It'' included "He Loved Him Madly", a tribute to Duke Ellington, as well as one of Davis's most lauded pieces from this era, "Calypso Frelimo". It was his last studio album of the 1970s. In 1974 and 1975, Columbia recorded three double-LP live Davis albums: ''Dark Magus'', ''Agharta'', and ''Pangaea''. ''Dark Magus'' captures a 1974 New York concert; the latter two are recordings of consecutive concerts from the same February 1975 day in Osaka. At the time, only ''Agharta'' was available in the US; ''Pangaea'' and ''Dark Magus'' were initially released only by CBS/Sony Japan. All three feature at least two electric guitarists (Reggie Lucas and Pete Cosey, deploying an array of Hendrix-inspired electronic distortion devices; Dominique Gaumont is a third guitarist on ''Dark Magus''), electric bass, drums, reeds, and Davis on electric trumpet and organ. These albums were the last he was to record for five years. Davis was troubled by osteoarthritis (which led to a hip replacement operation in 1976, the first of several), sickle-cell anemia, depression, bursitis, ulcers, and a renewed dependence on alcohol and drugs (primarily cocaine), and his performances were routinely panned by critics throughout late 1974 and early 1975. By the time the group reached Japan in February 1975, Davis was nearing a physical breakdown and required copious amounts of alcohol and narcotics to make it through his engagements. Nonetheless, as noted by Richard Cook and Brian Morton, during these concerts his trumpet playing "is of the highest and most adventurous order."

After a Newport Jazz Festival performance at Avery Fisher Hall in New York on July 1, 1975, Davis withdrew almost completely from the public eye for six years. As Gil Evans said, "His organism is tired. And after all the music he's contributed for 35 years, he needs a rest." In his memoirs, Davis is characteristically candid about his wayward mental state during this period, describing himself as a hermit, his house as a wreck, and detailing his drug and sex addictions. In 1976, ''Rolling Stone'' reported rumors of his imminent demise. Although he stopped practicing trumpet on a regular basis, Davis continued to compose intermittently and made three attempts at recording during his exile from performing; these sessions (one with the assistance of Paul Buckmaster and Gil Evans, who left after not receiving promised compensation) bore little fruit and remain unreleased. In 1979, he placed in the yearly top-ten trumpeter poll of ''Down Beat''. Columbia continued to issue compilation albums and records of unreleased vault material to fulfill contractual obligations. During his period of inactivity, Davis saw the fusion music that he had spearheaded over the past decade enter into the mainstream. When he emerged from retirement, Davis's musical descendants would be in the realm of New Wave rock, and in particular the styling of Prince.

Last decade (1981–91)

By 1979, Davis had rekindled his relationship with actress Cicely Tyson. With Tyson, Davis would overcome his cocaine addiction and regain his enthusiasm for music. As he had not played trumpet for the better part of three years, regaining his famed embouchure proved to be particularly arduous. While recording ''The Man with the Horn'' (sessions were spread sporadically over 1979–1981), Davis played mostly wahwah with a younger, larger band.

The initial large band was eventually abandoned in favor of a smaller combo featuring saxophonist Bill Evans and bass player Marcus Miller, both of whom would be among Davis's most regular collaborators throughout the decade. He married Tyson in 1981; they would divorce in 1988. ''The Man with the Horn'' was finally released in 1981 and received a poor critical reception despite selling fairly well. In May, the new band played two dates as part of the Newport Jazz Festival. The concerts, as well as the live recording ''We Want Miles'' from the ensuing tour, received positive reviews.

By late 1982, Davis's band included French percussionist Mino Cinelu and guitarist John Scofield, with whom he worked closely on the album ''Star People.'' In mid-1983, while working on the tracks for ''Decoy'', an album mixing soul music and electronica that was released in 1984, Davis brought in producer, composer and keyboardist Robert Irving III, who had earlier collaborated with him on ''The Man with the Horn.'' With a seven-piece band, including Scofield, Evans, keyboardist and music director Irving, drummer Al Foster and bassist Darryl Jones (later of The Rolling Stones), Davis played a series of European gigs to positive receptions. While in Europe, he took part in the recording of ''Aura,'' an orchestral tribute to Davis composed by Danish trumpeter Palle Mikkelborg.

''You're Under Arrest,'' Davis's next album, was released in 1985 and included another brief stylistic detour. Included on the album were his interpretations of Cyndi Lauper's ballad "Time After Time", and "Human Nature" from Michael Jackson. Davis considered releasing an entire album of pop songs and recorded dozens of them, but the idea was scrapped. Davis noted that many of today's accepted jazz standards were in fact pop songs from Broadway theater, and that he was simply updating the "standards" repertoire with new material. 1985 also saw Davis guest-star on the TV show ''Miami Vice'' as pimp and minor criminal Ivory Jones in the episode titled "Junk Love" (first aired November 8, 1985).

''You're Under Arrest'' also proved to be Davis's final album for Columbia. Trumpeter Wynton Marsalis publicly dismissed Davis's more recent fusion recordings as not being "'true' jazz", comments Davis initially shrugged off, calling Marsalis "a nice young man, only confused". This changed after Marsalis appeared, unannounced, onstage in the midst of Davis's performance at the inaugural Vancouver International Jazz Festival in 1986. Marsalis whispered into Davis's ear that "someone" had told him to do so; Davis responded by ordering him off the stage.

Davis grew irritated at Columbia's delay releasing ''Aura''. The breaking point in the label-artist relationship appears to have come when a Columbia jazz producer requested Davis place a goodwill birthday call to Marsalis. Davis signed with Warner Bros. Records shortly thereafter.

Davis collaborated with a number of figures from the British new wave movement during this period, including Scritti Politti. At the invitation of producer Bill Laswell, Davis recorded some trumpet parts during sessions for Public Image Ltd.'s ''Album'', according to Public Image's John Lydon in the liner notes of their ''Plastic Box'' box set. In Lydon's words, however, "strangely enough, we didn't use (his contributions)." (Also according to Lydon in the ''Plastic Box'' notes, Davis favorably compared Lydon's singing voice to his trumpet sound.)

Having first taken part in the Artists United Against Apartheid recording, Davis signed with Warner Brothers records and reunited with Marcus Miller. The resulting record, ''Tutu'' (1986), would be his first to use modern studio tools—programmed synthesizers, samples and drum loops—to create an entirely new setting for his playing. Ecstatically reviewed on its release, the album would frequently be described as the modern counterpart of ''Sketches of Spain'' and won a Grammy in 1987.

thumb|left|230px|The grave of Miles Davis in Woodlawn CemeteryHe followed ''Tutu'' with ''Amandla,'' another collaboration with Miller and George Duke, plus the soundtracks to four movies: ''Street Smart,'' ''Siesta,'' ''The Hot Spot'' (with bluesman John Lee Hooker), and ''Dingo.'' He continued to tour with a band of constantly rotating personnel and a critical stock at a level higher than it had been for 15 years. His last recordings, both released posthumously, were the hip hop-influenced studio album ''Doo-Bop'' and ''Miles & Quincy Live at Montreux,'' a collaboration with Quincy Jones for the 1991 Montreux Jazz Festival in which Davis performed the repertoire from his 1940s and 1950s recordings for the first time in decades.

In 1988 he had a small part as a street musician in the film ''Scrooged'', starring Bill Murray. In 1989, Davis was interviewed on ''60 Minutes'' by Harry Reasoner. Davis received the Grammy Lifetime Achievement Award in 1990.

In early 1991, he appeared in the Rolf de Heer film ''Dingo'' as a jazz musician. In the film's opening sequence, Davis and his band unexpectedly land on a remote airstrip in the Australian outback and proceed to perform for the stunned locals. The performance was one of Davis's last on film.

Miles Davis died on September 28, 1991 from the combined effects of a stroke, pneumonia and respiratory failure in Santa Monica, California at the age of 65. He is buried in Woodlawn Cemetery in The Bronx.

Legacy and influence

Miles Davis is regarded as one of the most innovative, influential and respected figures in the history of music. He has been described as “one of the great innovators in jazz”. ''The Rolling Stone Encyclopedia of Rock & Roll'' noted "Miles Davis played a crucial and inevitably controversial role in every major development in jazz since the mid-'40s, and no other jazz musician has had so profound an effect on rock. Miles Davis was the most widely recognized jazz musician of his era, an outspoken social critic and an arbiter of style—in attitude and fashion—as well as music". His album ''Kind of Blue'' is the best-selling album in the history of jazz music. On November 5, 2009, Rep. John Conyers of Michigan sponsored a measure in the United States House of Representatives to recognize and commemorate the album on its 50th anniversary. The measure also affirms jazz as a national treasure and "encourages the United States government to preserve and advance the art form of jazz music." It passed, unanimously, with a vote of 409–0 on December 15, 2009.

Many well-known musicians rose to prominence as members of Davis's ensembles, including saxophonists Gerry Mulligan, John Coltrane, Cannonball Adderley, George Coleman, Wayne Shorter, Dave Liebman, Branford Marsalis and Kenny Garrett; trombonist J. J. Johnson; pianists Horace Silver, Red Garland, Wynton Kelly, Bill Evans, Herbie Hancock, Joe Zawinul, Chick Corea, Keith Jarrett and Kei Akagi; guitarists John McLaughlin, Pete Cosey, John Scofield and Mike Stern; bassists Paul Chambers, Ron Carter, Dave Holland, Marcus Miller and Darryl Jones; and drummers Elvin Jones, Philly Joe Jones, Jimmy Cobb, Tony Williams, Billy Cobham, Jack DeJohnette, and Al Foster.

As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. These include Wayne Shorter, Cannonball Adderley, Herbie Hancock, Cassandra Wilson, Lalo Schifrin, Tangerine Dream, Brand X, Mtume, Benny Bailey, Joe Bonner, Don Cherry, Urszula Dudziak, Sugizo, Bill Evans, Bill Hardman, The Lounge Lizards, Hugh Masekela, John McLaughlin, King Crimson, Steely Dan, Frank Zappa, Nile Rodgers, Duane Allman, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting, Lonnie Liston Smith, Jiří Stivín, Tim Hagans, Julie Christensen, Jerry Garcia, David Grisman, Vassar Clements, Snooky Young, Prince, and Christian Scott.

Miles' influence on the people who played with him has been described by music writer and author Christopher Smith as follows:

Miles Davis' artistic interest was in the creation and manipulation of ritual space, in which gestures could be endowed with symbolic power sufficient to form a functional communicative, and hence musical, vocabulary. [...] Miles' performance tradition emphasized orality and the transmission of information and artistic insight from individual to individual. His position in that tradition, and his personality, talents, and artistic interests, impelled him to pursue a uniquely individual solution to the problems and the experiential possibilities of improvised performance.

His approach, owing largely to the African American performance tradition that focused on individual expression, emphatic interaction, and creative response to shifting contents, had a profound impact on generations of jazz musicians.

In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music. Since 1960 the National Academy of Recording Arts and Sciences (NARAS) has honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award, and three Grammy Hall of Fame Awards. In 2010, Moldejazz premiered a play called ''Driving Miles'', which focused on a landmark concert Davis performed in Molde, Norway, in 1984.

Awards

Winner; Down Beat Reader's Poll Best Trumpet Player 1955

Winner; Down Beat Reader's Poll Best Trumpet Player 1957

Winner; Down Beat Reader's Poll Best Trumpet Player 1961

Grammy Award for Best Jazz Composition Of More Than Five Minutes Duration for ''Sketches of Spain'' (1960)

Grammy Award for Best Jazz Performance, Large Group Or Soloist With Large Group for ''Bitches Brew'' (1970)

Grammy Award for Best Jazz Instrumental Performance, Soloist for ''We Want Miles'' (1982)

Sonning Award for Lifetime Achievement In Music (1984; Copenhagen, Denmark)

Doctor of Music, ''honoris causa'' (1986; New England Conservatory)

Grammy Award for Best Jazz Instrumental Performance, Soloist for ''Tutu'' (1986)

Grammy Award for Best Jazz Instrumental Performance, Soloist for ''Aura'' (1989)

Grammy Award for Best Jazz Instrumental Performance, Big Band for ''Aura'' (1989)

Grammy Lifetime Achievement Award (1990)

Australian Film Institute Award for Best Original Music Score for ''Dingo'', shared with Michel Legrand (1991)

Knighted into the Legion of Honor (July 16, 1991; Paris)

Grammy Award for Best R&B; Instrumental Performance for ''Doo-Bop'' (1992)

Grammy Award for Best Large Jazz Ensemble Performance for ''Miles & Quincy Live at Montreux'' (1993)

Hollywood Walk of Fame Star (February 19, 1998)

Rock and Roll Hall of Fame Induction (March 13, 2006)

Hollywood's Rockwalk Induction (September 28, 2006)

RIAA Quadruple Platinum for ''Kind of Blue''

St. Louis Walk of Fame

Discography

Filmography

Year	Film	Credited as			Role	Notes
		Composer	Performer	Actor
1958	''Elevator to the Gallows''				—
1972					Himself	Cameo, uncredited
1985	''Miami Vice''				Ivory Jones	TV series (1 episode - "Junk Love")
1986					Jazz musician	Cameo, TV series (1 episode - "The War")
1987					—
1988	''Scrooged''				Street musician	Cameo
1992					Billy Cross	One of Davis' last performances on film

Only one song is composed by Miles Davis in cooperation with Marcus Miller ("Theme For Augustine").

References

Bibliography

Carr, Ian. ''Miles Davis''. ISBN 0-00-653026-5.

Chambers, Jack. ''Milestones: The Music and Times of Miles Davis''. ISBN 0-306-80849-8.

Cole, George. ''The Last Miles: The Music of Miles Davis 1980–1991''. ISBN 1-904768-18-0.

Cook, Richard (2007). ''"It's About That Time: Miles Davis On and Off Record"''. Oxford University Press. ISBN 978-0-19-532266-8

Cook, Richard, and Brian Morton. Entry "Miles Davis" in ''Penguin Guide to Jazz'', Penguin, ISBN 0-14-017949-6.

Davis, Miles & Troupe, Quincy. ''Miles: The Autobiography''. ISBN 0-671-63504-2.

Davis, Gregory. ''Dark Magus: The Jekyll & Hyde Life of Miles Davis''. ISBN 978-0-87930-875-9.

Early, Gerald. ''Miles Davis and American Culture''. ISBN 1-883982-37-5 cloth, ISBN 1-883982-38-3, paper.

Szwed, John. ''So What: The Life of Miles Davis''. ISBN 0-434-00759-5.

Tingen, Paul. ''Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991''. ISBN 0-8230-8360-8.

Mandel, Howard (2007). ''Miles, Ornette, Cecil: Jazz Beyond Jazz''. Routledge. ISBN 0-415-96714-7.

External links

Miles Davis – official website.

Miles Davis – official Sony Music website.

Miles Davis's '70s: The Excitement! The Terror! — Robert Christgau, ''The Village Voice''

Category:African American musicians Category:American jazz bandleaders Category:American jazz composers Category:American jazz trumpeters Category:Songwriters from Illinois Category:Bebop trumpeters Category:Cool jazz trumpeters Category:Deaths from stroke Category:Deaths from respiratory failure Category:People with sickle-cell disease Category:Grammy Award winners Category:Grammy Lifetime Achievement Award winners Category:Columbia Records artists Category:Capitol Records artists Category:Warner Bros. Records artists Category:Prestige Records artists Category:Savoy Records artists Category:Hard bop trumpeters Category:Musicians from Illinois Category:Juilliard School alumni Category:Modal jazz trumpeters Category:People from Madison County, Illinois Category:People from St. Clair County, Illinois Category:Rock and Roll Hall of Fame inductees Category:Music of St. Louis, Missouri Category:Third Stream trumpeters Category:Deaths from pneumonia Category:Burials at Woodlawn Cemetery (Bronx) Category:Infectious disease deaths in California Category:1926 births Category:1991 deaths Category:Avant-garde jazz trumpeters Category:Performing arts pages with videographic documentation Category:American television actors Category:Actors from Illinois

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