The Wayback Machine - http://web.archive.org./web/20120715060724/http://wn.com:80/Performance
Sunday, 15 July 2012
Performance (1970) Vintage Trailer (Uncut and Uncensored) Mick Jagger And James Fox
Performance (1970)
Mick Jagger - Memo From Turner - Performance 1970 (Full Scene)
Influence and Controversy The Making of Performance (1970) Donald Cammell And Mick Jagger Part 1/3
FLEETWOOD MAC - Albatross (1970 UK TV Performance) ~ HIGH QUALITY HQ ~
Performance (1970) - Promo
Mick Jagger and James Fox in `Performance` (1970)
Performance (1970) Promotional Film Featuring Mick Jagger
Influence and Controversy The Making of Performance (1970) Donald Cammell And Mick Jagger Part 3/3
Mick Jagger & James Fox - Performance part 5
Performance(1970) - Acid
FREE - Alright Now (1970 UK TV Performance) ~ HIGH QUALITY HQ ~

Performance

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Performance (1970) Vintage Trailer (Uncut and Uncensored) Mick Jagger And James Fox/video details
  • Order:
  • Published: 18 Apr 2009
  • Duration: 2:46
  • Updated: 12 Jul 2012
Author: Performance786
Chas, a violent and psychotic East London gangster needs a place to lie low after a hit that should never have been carried out. He finds the perfect cover in the form of guest house run by the mysterious Mr. Turner, a one-time rock superstar, who is looking for the right spark to rekindle his faded talent. Directors: Donald Cammell And Nicolas Roeg Cast: Mick Jagger - Turner James Fox - Chas Anita Pallenberg - Pherber More Information: www.imdb.com www.screenonline.org.uk/film/id/450567/ en.wikipedia.org
http://web.archive.org./web/20120715060724/http://wn.com/Performance (1970) Vintage Trailer (Uncut and Uncensored) Mick Jagger And James Fox/video details
Performance (1970)/video details
  • Order:
  • Published: 10 Mar 2008
  • Duration: 4:32
  • Updated: 11 Jun 2012
Author: Darkwindows
Mushroom cooking / Bath scene from Nic Roeg & Donald Cammell's splendid film of Swinging London.
http://web.archive.org./web/20120715060724/http://wn.com/Performance (1970)/video details
Mick Jagger - Memo From Turner - Performance 1970 (Full Scene)/video details
  • Order:
  • Published: 02 Jan 2011
  • Duration: 6:41
  • Updated: 09 Jul 2012
Author: farmerwillow
Didn't I see you down in San Antone on a hot and dusty night? Mick Jagger doing his thing in Performance. Directed by Donald Cammell. Rolling Stones
http://web.archive.org./web/20120715060724/http://wn.com/Mick Jagger - Memo From Turner - Performance 1970 (Full Scene)/video details
Influence and Controversy The Making of Performance (1970) Donald Cammell And Mick Jagger Part 1/3/video details
  • Order:
  • Published: 20 Apr 2009
  • Duration: 10:01
  • Updated: 14 Jul 2012
Author: Performance786
An in-depth look into the influences of the Donald Cammell and Nic Roeg movie Performance (1970), from Jorge Luis Borges to the paintings of Bacon, to the influence of the psychedelic drugs and music of the 1960's, as described by the films creators.
http://web.archive.org./web/20120715060724/http://wn.com/Influence and Controversy The Making of Performance (1970) Donald Cammell And Mick Jagger Part 1/3/video details
FLEETWOOD MAC - Albatross (1970 UK TV Performance) ~ HIGH QUALITY HQ ~/video details
  • Order:
  • Published: 06 Jan 2010
  • Duration: 3:16
  • Updated: 14 Jul 2012
Author: GreatGuitarHeroes
top of the pops old grey whistle test 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 funkyboymark rock roll and funk punk new wave blues guitarist riffs riff slide guitar heroes at the bbc peter green mick fleetwood john mcvie
http://web.archive.org./web/20120715060724/http://wn.com/FLEETWOOD MAC - Albatross (1970 UK TV Performance) ~ HIGH QUALITY HQ ~/video details
Performance (1970) - Promo/video details
  • Order:
  • Published: 01 Oct 2010
  • Duration: 2:45
  • Updated: 07 Mar 2012
Author: PurpleGardenWalls
Performance (1970) Directed by Donald Cammell and Nicolas Roeg. Cinematography by Nicolas Roeg. Starring James Fox, Mick Jagger, Anita Pallenberg, Michele Breton, Ann Sidney, John Bindon, Stanley Meadows, Allan Cuthbertson and Anthony Morton.
http://web.archive.org./web/20120715060724/http://wn.com/Performance (1970) - Promo/video details
Performance (1970) Promotional Film Featuring Mick Jagger/video details
  • Order:
  • Published: 18 Apr 2009
  • Duration: 2:46
  • Updated: 11 Jul 2012
Author: Performance786
A promotional film for the Donald Cammell and Nicolas Roeg film Performance (1970) this film was first shown to Warner Bros execs and then to worldwide distributors, it features exclusive behind the scenes footage. I had to cut the Memo From Turner scene from this film because Warner Bros put a copyright infringement notice and blocked the video.
http://web.archive.org./web/20120715060724/http://wn.com/Performance (1970) Promotional Film Featuring Mick Jagger/video details
Influence and Controversy The Making of Performance (1970) Donald Cammell And Mick Jagger Part 3/3/video details
  • Order:
  • Published: 21 Apr 2009
  • Duration: 6:33
  • Updated: 12 Jul 2012
Author: Performance786
An in-depth look into the influences of the Donald Cammell and Nic Roeg movie Performance (1970), from Jorge Luis Borges to the paintings of Bacon, to the influence of the psychedelic drugs and music of the 1960's, as described by the films creators.
http://web.archive.org./web/20120715060724/http://wn.com/Influence and Controversy The Making of Performance (1970) Donald Cammell And Mick Jagger Part 3/3/video details
Performance(1970) - Acid/video details
  • Order:
  • Published: 31 May 2009
  • Duration: 1:50
  • Updated: 23 Mar 2012
Author: 0kappa02
From the movie "Performance" starring Mick Jagger and James Fox.
http://web.archive.org./web/20120715060724/http://wn.com/Performance(1970) - Acid/video details
FREE - Alright Now (1970 UK TV Performance) ~ HIGH QUALITY HQ ~/video details
  • Order:
  • Published: 06 Jan 2010
  • Duration: 4:17
  • Updated: 13 Jul 2012
Author: GreatGuitarHeroes
top of the pops old grey whistle test 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 1975 1976 1977 1978 1979 1980 1981 1982 1983 1984 1985 1986 1987 1988 1989 1990 1991 1992 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 funkyboymark rock roll and funk punk new wave blues guitarist riffs riff slide guitar heroes at the bbc paul rodgers bad company queen all right
http://web.archive.org./web/20120715060724/http://wn.com/FREE - Alright Now (1970 UK TV Performance) ~ HIGH QUALITY HQ ~/video details
Miles Davis - Isle of Wight 1970 - 2/4/video details
  • Order:
  • Published: 18 Feb 2009
  • Duration: 10:01
  • Updated: 13 Jul 2012
Author: gioni
Miles Davis - Isle of Wight 1970 - 2/4 - - - PRIVATE RESERVE - - - ***** Source : Miles Electric - A Different Kind of Blue (2004, Eagle Vision)
http://web.archive.org./web/20120715060724/http://wn.com/Miles Davis - Isle of Wight 1970 - 2/4/video details
DODGE CHARGER 1970 Lego mopar high performance car/video details
  • Order:
  • Published: 14 Aug 2011
  • Duration: 7:54
  • Updated: 12 Jul 2012
Author: 700408327LJ
Finaly, i finished my Dodge Charger. It took me a half year to build. I build everything from scratch. There are no drawing of this car what so ever. You can find more info at my MOCpages. www.mocpages.com
http://web.archive.org./web/20120715060724/http://wn.com/DODGE CHARGER 1970 Lego mopar high performance car/video details
Chas, a violent and psychotic East London gangster needs a place to lie low after a hit that should never have been carried out. He finds the perfect cover in the form of guest house run by the mysterious Mr. Turner, a one-time rock superstar, who is looking for the right spark to rekindle his faded talent. Directors: Donald Cammell And Nicolas Roeg Cast: Mick Jagger - Turner James Fox - Chas Anita Pallenberg - Pherber More Information: www.imdb.com www.screenonline.org.uk/film/id/450567/ en.wikipedia.org
2:46
Per­for­mance (1970) Vin­tage Trail­er (Uncut and Un­cen­sored) Mick Jag­ger And James Fox
Chas, a vi­o­lent and psy­chot­ic East Lon­don gang­ster needs a place to lie low after a hit th...
pub­lished: 18 Apr 2009
4:32
Per­for­mance (1970)
Mush­room cook­ing / Bath scene from Nic Roeg & Don­ald Cam­mell's splen­did film of Sw...
pub­lished: 10 Mar 2008
au­thor: Dark­win­dows
6:41
Mick Jag­ger - Memo From Turn­er - Per­for­mance 1970 (Full Scene)
Didn't I see you down in San An­tone on a hot and dusty night? Mick Jag­ger doing his th...
pub­lished: 02 Jan 2011
10:01
In­flu­ence and Con­tro­ver­sy The Mak­ing of Per­for­mance (1970) Don­ald Cam­mell And Mick Jag­ger Part 1/3
An in-depth look into the in­flu­ences of the Don­ald Cam­mell and Nic Roeg movie Per­for­mance ...
pub­lished: 20 Apr 2009
3:16
FLEET­WOOD MAC - Al­ba­tross (1970 UK TV Per­for­mance) ~ HIGH QUAL­I­TY HQ ~
top of the pops old grey whis­tle test 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 19...
pub­lished: 06 Jan 2010
2:45
Per­for­mance (1970) - Promo
Per­for­mance (1970) Di­rect­ed by Don­ald Cam­mell and Nico­las Roeg. Cin­e­matog­ra­phy by Nico­las ...
pub­lished: 01 Oct 2010
3:48
Mick Jag­ger and James Fox in `Per­for­mance` (1970)
www.​imdb.​com...
pub­lished: 01 Feb 2008
au­thor: 2mn­bvcxz
2:46
Per­for­mance (1970) Pro­mo­tion­al Film Fea­tur­ing Mick Jag­ger
A pro­mo­tion­al film for the Don­ald Cam­mell and Nico­las Roeg film Per­for­mance (1970) this fi...
pub­lished: 18 Apr 2009
6:33
In­flu­ence and Con­tro­ver­sy The Mak­ing of Per­for­mance (1970) Don­ald Cam­mell And Mick Jag­ger Part 3/3
An in-depth look into the in­flu­ences of the Don­ald Cam­mell and Nic Roeg movie Per­for­mance ...
pub­lished: 21 Apr 2009
13:39
Mick Jag­ger & James Fox - Per­for­mance part 5
Nico­las Roeg and Don­ald Cam­mell's Per­for­mance, 1970...
pub­lished: 10 Aug 2011
1:50
Per­for­mance(1970) - Acid
From the movie "Per­for­mance" star­ring Mick Jag­ger and James Fox....
pub­lished: 31 May 2009
au­thor: 0kap­pa02
4:17
FREE - Al­right Now (1970 UK TV Per­for­mance) ~ HIGH QUAL­I­TY HQ ~
top of the pops old grey whis­tle test 1965 1966 1967 1968 1969 1970 1971 1972 1973 1974 19...
pub­lished: 06 Jan 2010
10:01
Miles Davis - Isle of Wight 1970 - 2/4
Miles Davis - Isle of Wight 1970 - 2/4 - - - PRI­VATE RE­SERVE - - - ***** Source : Miles El...
pub­lished: 18 Feb 2009
au­thor: gioni
7:54
DODGE CHARG­ER 1970 Lego mopar high per­for­mance car
Fi­naly, i fin­ished my Dodge Charg­er. It took me a half year to build. I build ev­ery­thing f...
pub­lished: 14 Aug 2011
au­thor: 700408327LJ
14:14
Mick Jag­ger & James Fox - Per­for­mance part 2
Nico­las Roeg and Don­ald Cam­mell's Per­for­mance, 1970...
pub­lished: 10 Aug 2011
31:45
This Week in Cars - De­troit Auto Show 2011, John Hotchkis of Hotchkis Per­for­mance, 1970 Dodge Chal­lenger, and More
This week Crys­tal Stranger is joined in stu­dio by John Hotchkis, Jr. of Hotchkis Per­for­man...
pub­lished: 11 Jan 2011
au­thor: ThisWeekIn
3:47
Per­for­mance (1970)
An ex­tract from the 1970 film....
pub­lished: 04 Mar 2011
4:29
Roy Harp­er - For­ev­er , Live Per­for­mance, 1970
From Nor­we­gian TV, 1970...
pub­lished: 10 Jul 2012
au­thor: tomtid­dler1
4:01
Italy 1964 - Gigli­o­la Cin­quet­ti - Non Ho L'Eta ( 1970 Span­ish Final Per­for­mance)
Gigli­o­la Con­quet­ti won the 1964 Eu­ro­vi­sion Song Con­test with this song. This is her per­for...
pub­lished: 06 Jul 2010
au­thor: sen­za­te81
5:10
Being Alive - Com­pa­ny OBC, 1970 - Dean Jones
Dis­ney film star Dean Jones ("Love Bug")gave a bril­liant per­for­mance of "Be...
pub­lished: 17 Dec 2008
3:25
Elton John - Take Me to The Pilot (BBC In Con­cert 1970)
High Qual­i­ty: www.​youtube.​com If you feel that it's real I'm on trial And I'm ...
pub­lished: 10 Jul 2008
au­thor: wyk611
7:25
Dark­ness (11/11) - Van der Graaf Gen­er­a­tor
A per­for­mance of "Dark­ness" taken from Ger­man TV ... ca. 1970, when Nic Pot­ter w...
pub­lished: 01 Nov 2006
au­thor: heg­elec




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    Creative Commons / Jean Froissart
  • Tibetan spiritual leader the Dalai Lama watches Muslim school girls perform a traditional song at the Tibetan school in downtown Srinagar on July 14, 2012. The Dalai Lama visited the Tibetan community living in the predominately Muslim area in Srinagar during his one week visit kashmir valley.
    WN / Imran Nissar
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    WN / Imran Nissar
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  • Argentine Air Force aircraft Saab 340 T-34 at Aeroparque Jorge Newbery Airport, 7 February 2010
    Creative Commons / Jorge Alberto Leonardi
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    WN / Bhaskar Mallick
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    WN / Bhaskar Mallick
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    WN / Bhaskar Mallick
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    WN / Bhaskar Mallick
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    WN / Bhaskar Mallick
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    WN / Bhaskar Mallick
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    WN / Bhaskar Mallick
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Performance
File:Performance poster.jpg
Theatrical release poster
Directed by Donald Cammell
Nicolas Roeg
Produced by Sanford Lieberson
Written by Donald Cammell
Starring James Fox
Mick Jagger
Music by Jack Nitzsche
Jagger/Richards
Cinematography Nicolas Roeg
Editing by Antony Gibbs
Brian Smedley-Aston
Frank Mazzola (uncredited)
Studio Goodtimes Enterprises
Distributed by Warner Bros.
Release date(s)
  • 3 August 1970 (1970-08-03)
Running time 105 minutes
Country United Kingdom
Language English
Budget £750,000

Performance is a 1968 British crime drama film directed by Donald Cammell and Nicolas Roeg, written by Cammell and starring James Fox and Mick Jagger of The Rolling Stones, in his film acting debut. The film was produced in 1968 but not released until 1970.

Contents

Plot[link]

Chas (James Fox) is a soldier in an East London gang led by Harry Flowers (Johnny Shannon); his specialty is intimidation through violence as he collects pay-offs for Flowers. He is very good at his job, and has a reputation for liking it. His sexual liaisons are casual and rough. When Flowers decides to take over a betting shop, owned by Joey Maddocks (Anthony Valentine), he forbids Chas to get involved, as he feels Chas' conflicted history with Maddocks may lead to trouble. Chas is angry about this and later humiliates Maddocks, who retaliates by wrecking Chas' apartment and attacking Chas. Chas shoots him, packs a suitcase, and runs from the scene. When Flowers makes it clear that he has no intention of offering protection to Chas but instead wants him eliminated, Chas decides to head for the countryside to hide, but instead winds up hiding out in London, requesting a trusted friend help him get out of the country.

He assumes a new name, Johnny Dean, and appears at the house of Turner (Mick Jagger), he ingratiates himself with Pherber (Anita Pallenberg), one of the female inhabitants and moves in. Turner is a reclusive, eccentric former rock star who has "lost his demon" and who lives there with his female friends Pherber and Lucy (Michele Breton), with whom he enjoys a non-possessive and bi-sexual ménage à trois. At first, Chas is contemptuous of Turner and Turner attempts to return the rent paid in advance but they start influencing each other. Chas also enjoys intimate moments with Pherber during which he shows his homophobic tendencies. Pherber and Turner understand his conflict and want to understand what makes him function so well within his world. To speed up the process they make him take hallucinogenic drugs (Amanita muscaria). After that evening Chas opens up. He begins a caring relationship with Lucy, implying that he outgrew the psychological boundaries he was stuck in due to having to function as a male man within a gangster world.

Subsequently, at the end of the film, Turner is shot by Chas and Pherber is last seen hiding in a cupboard. Chas seems to agree to be 'welcomed back' to his former boss Harry Flowers by Rosie (Stanley Meadows), another Flowers thug; we understand that they are going to kill him. As the car drives off, the face we see through the window is ambiguous - it could be Chas or it could be Turner.

Cast[link]

Production[link]

Performance was initially conceived by Donald Cammell as "The Performers" and was to be a lighthearted swinging 60's romp. At one stage, Cammell's friend Marlon Brando (with whom he later collaborated on the posthumously published novel Fan Tan) was to play the gangster role which became "Chas". At that stage the story involved an American gangster hiding out in London. James Fox, previously cast in rather upper crust roles, eventually took the place of Brando, and spent several months in South London among the criminal underworld researching his role.[1]

As the project evolved the story became significantly darker. Cammell was heavily influenced by the Argentinian writer Jorge Luis Borges (a portrait of Borges on a book cover can be seen at a crucial moment in the film) as he redrafted the script to create an intense, intellectual film dealing with issues of identity crisis.[2] Artaud's theories on the links between performing and madness also influenced Cammell. Cammell and co-director Nicolas Roeg (mainly responsible for the 'look' of the film) also benefited from a lack of interference from Warner Bros. studio executives, who believed they were getting a Rolling Stones equivalent of the Beatles' A Hard Day's Night (1964). Instead, Cammell and Roeg delivered a dark, experimental film which included graphic depictions of violence, sex and drug use.

It was intended that the Rolling Stones would write the soundtrack but due to the complicated nature of the various relationships both on and off-screen, this never happened. It was widely rumoured that Anita Pallenberg, then in a relationship with Keith Richards, and Mick Jagger played out sexual scenes in the film 'for real' (out-takes of these scenes apparently won a prize at an Amsterdam adult film festival). When Keith Richards heard the rumours, he apparently took to sitting in his car outside the house where the film was being shot. Needless to say, this didn't do much for the Jagger-Richards musical chemistry and the soundtrack came together from a number of sources.

The film has gained notoriety due to the difficulties it faced in getting on screen. The film's content was a surprise to the studio. It has been reported that during a test screening, one Warner executive's wife vomited in shock.[3] James Fox notes in Richard Lester's TV series British Cinema of the Sixties that a Warner exec said of the scene depicting Jagger in a bath with Pallenberg and Breton, "Even the bath water was dirty." The response from the studio was to deny the film a cinematic release. It has been claimed that at one stage Warner Bros. wanted the negative to be destroyed.

Performance was finally released in 1970 after several recuts, dubbing of Cockney accents and changes in Warner's administration. Different edits were shown around the world. Home video versions of the 1990s used the US edit.

A commemorative event was held at London's ICA on 18 October 1997, incorporating a talk by film theorists (including Colin MacCabe, who went on to write a guide to the film), a screening of the uncut UK edition and finally a question and answer session. Those in attendance included James Fox (and family), Pallenberg, set designer Christopher Gibbs and Cammell's brother who introduced part of a video interview with Donald Cammell shot just before his death. Mick Jagger was originally to appear but was committed to the Rolling Stones' Bridges to Babylon Tour.

The Region 1 DVD was released on 13 February 2007 and elsewhere soon after. Although the film has undergone significant restoration, one famous line of dialogue - Jagger's "Here's to old England!" heard during the Memo From Turner sequence - has been removed. This is because at this crucial stage of the film (the music sequence) one of the stereo channels has been used on both channels. Other music and sound effects are also missing from this scene on the DVD release (some drums, the throbbing sound as Turner plugs a lead into his music generator and the shrieking sound at the climax of his fluorescent light tube dance). These sounds, the dialogue and the music are all audible on other releases of the film. Also, the voices of Harry Flowers and the young maid in Turner's mansion have been restored to the voices of the original actors. When the film was first released in the United States and also on the VHS releases, their voices were dubbed by other actors as the studio had feared that Americans would find their Cockney accents difficult to understand.

Critical reputation[link]

On its release the film received mixed reviews. Most reviewers focused on the graphic sexual elements. One reviewer (Richard Schickel) described it as "the most completely worthless film I have seen since I began reviewing."

Throughout the late 1970s and 1980s, Performance gradually acquired a cult following on the late night and repertory cinema circuits. By the 1990s the film had undergone a complete critical reappraisal. In 1995 Performance appeared at number 30 in a Time Out magazine "all-time greats" poll of critics and directors.[4] After Cammell's death in 1996 the film's reputation grew still further. It is now frequently cited as a classic of British cinema.

In the September/October 2009 issue of Film Comment, Mick Jagger's Turner was voted the best performance by a musician in a film.[5]

In his 15 hour documentary The Story of Film: An Odyssey, Mark Cousins says: "Performance was not only the greatest seventies film about identity, if any movie in the whole Story of Film should be compulsory viewing for film makers, maybe this is it."

Influence[link]

Several aspects of the film were novel and historically it foreshadows MTV type music videos (particularly the 'Memo from Turner' sequence in which Jagger sings) and many popular films of the 1990s and 2000s.

  • Performance was the first feature film to employ the cut-up technique (although the technique was employed in experimental shorts in the 1960s and 1970s, notably by Antony Balch). Directors Cammell and Roeg also went on to use this technique in later movies, before it became commonplace in popular cinema.
  • The gangster aspect of Performance has been imitated by many popular directors such as Quentin Tarantino, Guy Ritchie and Jonathan Glazer.
  • Performance pushed boundaries by featuring explicit sex scenes and drugs, which have been rumoured to be real instead of simulated. Although Andy Warhol's (and other underground filmmakers') films had featured such behaviour before Performance, it was unprecedented that they appeared in a studio production.
  • Big Audio Dynamite's song "E=MC²" includes extensive dialogue samples from Performance. The song "Further Back and Faster" by Coil (on Love's Secret Domain) also samples dialogue from the film.
  • Happy Mondays' second album, Bummed, features several songs inspired by the film, including "Moving In With', "Performance" and "Mad Cyril". "Mad Cyril" is explicitly inspired by the film and included the following dialogue samples:
    • "I like that, turn it up"
    • "It was Mad Cyril!"
    • "What about the detector vans, they be right with you?"
    • "We've been courteous"
    • "Put the frighteners on the flash little twerp"
    • "Let's have a look, let's have a look, excuse me, but... Come in!-take it off, take it off"
    • "Its a right pisshole, long hair, beatniks, druggers, freeloaders, tsk, freeloaders"
    • "I need a bohemian atmosphere"
  • Also inspired by the movie were the '79 Mod Revival act, Secret Affair whose East End following known as 'The Glory Boys' were based on the South London gangsters portrayed in the film. Glory Boys was also the title of their first album.
  • In keeping with the intellectual bent of Jagger's character, legendary Argentine writer Jorge Luis Borges is quoted numerous times during the film. His photograph appears in the brief montage which follows Turner's shooting.
  • Beat the Devil, the BMW promo film directed by Tony Scott and starring James Brown, Gary Oldman, and Clive Owen contains at least two references to Performance. At one point Owen's character says "I know a thing or two about performing" - a quote from Chas. The Devil, played by Oldman, dances with a fluorescent tube, just as Turner does in Performance. In addition, in the earlier Tony Scott film True Romance Gary Oldman (as Drexl) is seen swinging a lampshade back and forth in front of someone, as Turner does during the "Memo From Turner" sequence.
  • Cult film director Harmony Korine was possibly inspired directly by Performance in casting James Fox and Anita Pallenberg as an impersonating couple (the Pope and the Queen) in his film Mister Lonely.
  • The video for The Charlatans single "Just When You're Thinking Things Over" was inspired by the film with singer Tim Burgess adopting the Mick Jagger slick-backed hair look. Also, in the video for "Jesus Hairdo" we see him dancing with a neon strip light lifted from the film.
  • Writer-director Paul Schrader has often cited Performance as one of his favorite films. In a 2007 article for Film Comment, he describes the film's influence.
  • Alan Moore and Kevin O'Neill's The League of Extraordinary Gentlemen, Volume III: Century, makes several references to Performance in its second issue, "Paint it Black", prominently featuring Mick Jagger's Turner character. The plot of the issue revolves around an actual Rolling Stones concert that took place after the death of Brian Jones, and shows just how Turner "lost his demon."

Soundtrack[link]

The soundtrack album was released by Warner Bros. Records on September 19, 1970. The album features Mick Jagger, Ry Cooder, Randy Newman, The Last Poets, Buffy Sainte-Marie, and Merry Clayton.

Further reading[link]

References[link]

  1. ^ This is stated in the documentary accompanying the film in the UK Region 2 edition.
  2. ^ http://www.themodernword.com/borges/borges_film_performance.html
  3. ^ Case Study: Performance, Students' British Board of Film Classification page
  4. ^ http://www.filmsite.org/timeoutB.html
  5. ^ "Film Comment's Trivial Top 20 (expanded to 50): Best Acting Performance by a Musical Performer", Film Society of Lincoln Center website, September/October 2009
Bibliography
  • Ali Catterall and Simon Wells, Your Face Here: British Cult Movies Since The Sixties (Fourth Estate, 2001) ISBN 0-00-714554-3

External links[link]

http://wn.com/Performance_(film)

Related pages:

http://es.wn.com/Performance (película)




This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Performance_(film)

This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.


Mick Jagger

Jagger live at the San Siro in Milan, Italy, on 10 June 2003
Background information
Birth name Michael Philip Jagger
Born (1943-07-26) 26 July 1943 (age 68)
Dartford, Kent, England
Genres Rock, blues, blues rock, rhythm and blues, rock and roll, funk, psychedelic rock, soul
Occupations Singer-songwriter, musician, record and film producer, actor
Instruments Vocals, guitar, bass, harmonica, keyboards, percussion
Years active 1961–present
Labels Virgin, Rolling Stones, ABKCO, Universal
Associated acts The Rolling Stones, SuperHeavy
Website MickJagger.com

Sir Michael Philip "Mick" Jagger, (born 26 July 1943) is an English musician, singer, songwriter and actor, best known as the lead vocalist and a founder member of The Rolling Stones.

Jagger's career has spanned over fifty years. Allmusic has described Jagger as "one of the most popular and influential frontmen in the history of rock & roll".[1] His distinctive voice and performance, along with Keith Richards' guitar style, have been the trademark of The Rolling Stones throughout the career of the band. In 1989, he was inducted into the Rock and Roll Hall of Fame with The Rolling Stones.

Jagger gained much press notoriety for admitted drug use and romantic involvements, and was often portrayed as a counterculture figure. In the late 1960s Jagger began acting in films (starting with Performance and Ned Kelly), to mixed reception. In 1985, Jagger released his first solo album, She's the Boss, and was knighted in 2003. In early 2009, he joined the eclectic supergroup SuperHeavy.

Contents

Early life[link]

Jagger was born into a middle class family at Livingstone Hospital, in Dartford, Kent, England.[2] His father, Basil Fanshawe ("Joe") Jagger (13 April 1913 – 11 November 2006), and his grandfather David Ernest Jagger were both teachers. His mother, Eva Ensley Mary (née Scutts; 6 April 1913 – 18 May 2000), born in New South Wales, Australia,[3][4] was a hairdresser[5] and an active member of the Conservative Party. Jagger is the elder of two sons (his brother Chris Jagger was born on 19 December 1947)[6] and was raised to follow in his father's career path.

In the book According to the Rolling Stones, Jagger states "I was always a singer. I always sang as a child. I was one of those kids who just liked to sing. Some kids sing in choirs; others like to show off in front of the mirror. I was in the church choir and I also loved listening to singers on the radio – the BBC or Radio Luxembourg – or watching them on TV and in the movies."[7]

From September 1950, Keith Richards and Jagger (known as "Mike" to his friends) were classmates at Wentworth Primary School in Dartford, Kent. In 1954, Jagger passed the eleven-plus, and went to Dartford Grammar School, where there is now the Mick Jagger Centre, as part of the school. Having lost contact with each other when they went to different schools, Richards and Jagger resumed their friendship in July 1960 after a chance encounter and discovered that they had both developed a love for rhythm and blues music, which began for Jagger with Little Richard.[8]

Jagger left school in 1961. He obtained seven O-levels and three A-levels. Jagger and Richards moved into a flat in Edith Grove in Chelsea with a guitarist they had encountered named Brian Jones. While Richards and Jones were making plans to start their own rhythm and blues group, Jagger continued his business courses at the London School of Economics,[9] and had seriously considered becoming either a journalist or a politician. Jagger had compared the latter to a pop star.[10][11]

Career[link]

Early years: 1960s[link]

21-year-old Mick Jagger before a Rolling Stones concert at Georgia Southern College, 4 May 1965

In their earliest days, the members played for no money in the interval of Alexis Korner's gigs at a basement club opposite Ealing Broadway tube station (subsequently called "Ferry's" club). At the time, the group had very little equipment and needed to borrow Alexis' gear to play. This was before Andrew Loog Oldham became their manager.

The group's first appearance under the name The Rollin' Stones (after one of their favourite Muddy Waters tunes) was at the Marquee Club, a jazz club, on 12 July 1962. They would later change their name to “The Rolling Stones” as it seemed more formal. Victor Bockris states that the band members included Mick Jagger, Keith Richards, Brian Jones, Ian Stewart on piano, Dick Taylor on bass and Tony Chapman on drums. However, Richards states in Life, "The drummer that night was Mick Avory—not Tony Chapman, as history has mysteriously handed it down..."[12] Some time later, the band went on their first tour in the United Kingdom; this was known as the “training ground” tour because it was a new experience for all of them.[13] The line-up did not at that time include drummer Charlie Watts and bassist Bill Wyman. By 1963, they were finding their stride as well as popularity. By 1964, two unscientific opinion polls rated them as England's most popular group, outranking even The Beatles.[9]

By the autumn of 1963, Jagger had left the London School of Economics in favour of his promising musical career with the Rolling Stones. The group continued to mine the works of American rhythm and blues artists such as Chuck Berry and Bo Diddley, but with the strong encouragement of Andrew Loog Oldham, Jagger and Richards soon began to write their own songs. This core songwriting partnership would flourish in time; one of their early compositions, "As Tears Go By", was a song written for Marianne Faithfull, a young singer being promoted by Loog Oldham at the time.[14] For the Rolling Stones, the duo would write "The Last Time", the group's third number-one single in the UK (their first two UK number-one hits had been cover versions). Another of the fruits of this collaboration was their first international hit, "(I Can't Get No) Satisfaction". It also established The Rolling Stones’ image as defiant troublemakers in contrast to The Beatles' "lovable moptop" image.[9]

Jagger rehearsing, 1960s

Jagger told Stephen Schiff in a 1992 Vanity Fair profile: "I wasn't trying to be rebellious in those days; I was just being me. I wasn't trying to push the edge of anything. I'm being me and ordinary, the guy from suburbia who sings in this band, but someone older might have thought it was just the most awful racket, the most terrible thing, and where are we going if this is music?... But all those songs we sang were pretty tame, really. People didn't think they were, but I thought they were tame."[15]

The group released several successful albums including December's Children (And Everybody's), Aftermath, and Between the Buttons, but their reputations were catching up to them. In 1967, Jagger and Richards were arrested on drug charges and were given unusually harsh sentences: Jagger was sentenced to three months' imprisonment for possession of four over-the-counter pep pills he had purchased in Italy. On appeal, Richards' sentence was overturned and Jagger's was amended to a conditional discharge (he ended up spending one night inside Brixton Prison)[16] after an article appeared in The Times, written by its traditionally conservative editor William (now Lord) Rees-Mogg,[17] but the Rolling Stones continued to face legal battles for the next decade. Around the same time, internal struggles about the direction of the group had begun to surface.

1970s[link]

Mick Jagger on stage in 1972, New York City

After Jones' death and their move in 1971 to the south of France as tax exiles,[18] Jagger and the rest of the band changed their look and style as the 1970s progressed. For the Rolling Stones' highly publicised 1972 American tour, Jagger wore glam-rock clothing and glittery makeup on stage. Later in the decade, they ventured into genres like disco and punk with the album Some Girls (1978). Their interest in the blues, however, had been made manifest in the 1972 album Exile on Main St. His emotional singing on the gospel-influenced Let It Loose, one of the album's tracks, has been described by music critic Russell Hall as having been Jagger's finest ever vocal achievement.[19]

After the band's acrimonious split with their second manager, Allen Klein, in 1971, Jagger took control of their business affairs and has managed them ever since in collaboration with his friend and colleague, Rupert Löwenstein. Mick Taylor, Brian Jones's replacement, left the band in December 1974 and was replaced by Faces guitarist Ronnie Wood in 1975, who also operated as a mediator within the group, and between Jagger and Richards in particular.

1980s[link]

While continuing to tour and release albums with the Rolling Stones, Jagger began a solo career. In 1985, he released his first solo album She's the Boss produced by Nile Rodgers and Bill Laswell, featuring Herbie Hancock, Jeff Beck, Jan Hammer, Pete Townshend, and the Compass Point All Stars. It sold fairly well, and the single "Just Another Night" was a Top Ten hit. During this period, he collaborated with The Jacksons on the song "State of Shock", sharing lead vocals with Michael Jackson. For his own personal contributions in the 1985 Live Aid multi-venue charity concert, he performed at Philadelphia's JFK Stadium; he did a duet with Tina Turner of "It's Only Rock and Roll", and the performance was highlighted by Jagger tearing away a part of Turner's dress. He also did a cover of "Dancing in the Street" with David Bowie, who himself appeared at Wembley Stadium. The video was shown simultaneously on the screens of both Wembley and JFK Stadiums. The song reached number one in the UK the same year.

In 1987, he released his second solo album, Primitive Cool. While it failed to match the commercial success of his debut, it was critically well received.

In 1988, he produced the songs "Glamour Boys" and "Which Way to America" on Living Colour's album Vivid. 15–28 March, he had a solo concert tour in Japan (Tokyo, Nagoya and Osaka). The 22 March show was the Japanese artist Tokyo Dome's first performance.

1990s[link]

Wandering Spirit was the third solo album by Jagger and was released in 1993. It would be his only solo album release of the 1990s. Jagger aimed to re-introduce himself as a solo artist in a musical climate vastly changed from that of his first two albums, She's the Boss and Primitive Cool.

Following the successful comeback of the Rolling Stones' Steel Wheels (1989), which saw the end of Jagger and Richards' well-publicised feud, Jagger began routining[vague] new material for what would become Wandering Spirit. In January 1992, after acquiring Rick Rubin as co-producer, Jagger recorded the album in Los Angeles over seven months until September 1992, recording simultaneously as Richards was making Main Offender.

Jagger would keep the celebrity guests to a minimum on Wandering Spirit, only having Lenny Kravitz as a vocalist on his cover of Bill Withers' "Use Me" and bassist Flea from Red Hot Chili Peppers on three tracks.

Following the end of the Rolling Stones' Sony Music contract and their signing to Virgin Records, Jagger signed with Atlantic Records (which had signed the Stones in the 1970s) to distribute what would be his only album with the label.

Released in February 1993, Wandering Spirit was commercially successful, reaching #12 in the UK and #11 in the US, going gold there. The track "Sweet Thing" was the lead single, although it was the third single, "Don't Tear Me Up", which found moderate success, topping Billboard's Album Rock Tracks chart for one week. Critical reaction was very strong, noting Jagger's abandonment of slick synthesisers in favour of an incisive and lean guitar sound.[citation needed]

Contemporary reviewers tend to consider Wandering Spirits a high point of Jagger's later career.

2000s[link]

In 2001, Jagger released Goddess in the Doorway spawning the hit single "Visions of Paradise". In the same year, he also joined Keith Richards in the The Concert for New York City, a charity concert in response to the September 11 attacks, to sing "Salt of the Earth" and "Miss You".

He celebrated The Rolling Stones' 40th anniversary by touring with them on the year-long Licks Tour in support of their career retrospective Forty Licks double album.[20]

In 2007, The Rolling Stones made US$437 million on their A Bigger Bang Tour, which got them into the current edition of Guinness World Records for the most lucrative music tour.[21] Jagger has refused to say when the band will retire, stating in 2007: "I'm sure the Rolling Stones will do more things and more records and more tours. We've got no plans to stop any of that really."[22]

In October 2009, Jagger and U2 performed "Gimme Shelter" (with Fergie and will.i.am) and "Stuck in a Moment You Can't Get Out Of" at the 25th Anniversary Rock & Roll Hall of Fame Concert.[23]

2010s[link]

On 20 May 2011, Jagger announced the formation of a new supergroup, SuperHeavy, which includes Dave Stewart, Joss Stone, Damian Marley, and A.R. Rahman.[24]

Jagger has featured on will.i.am's 2011 single "T.H.E (The Hardest Ever)". It was officially released to iTunes on 4 February 2012.[25]

On 21 February 2012, Mick Jagger, B.B. King, Buddy Guy and Jeff Beck along with a blues ensemble performed at the White House concert series before President Barack Obama. When Jagger held out a mic to him, Obama sang twice the line "Come on, baby don't you want to go" of the blues cover 'Sweet Home Chicago', the blues anthem of Obama's home town.[26]

Jagger hosted the season finale of "Saturday Night Live" on 19 and 20 May 2012, doing several comic skits and playing some of the Rolling Stones' hits with Foo Fighters, Jeff Beck, with Arcade Fire playing backup.[27]

Friendship with Keith Richards[link]

Jagger and Richards sharing vocals at a concert in San Francisco during the Rolling Stones 1972 US tour

Jagger's relationship with band mate Richards is frequently described as "love/hate" by the media.[28][29][30]

Richards himself said in a 1998 interview: "I think of our differences as a family squabble. If I shout and scream at him, it's because no one else has the guts to do it or else they're paid not to do it. At the same time I'd hope Mick realises that I'm a friend who is just trying to bring him into line and do what needs to be done."[31] Richards, along with Johnny Depp, tried unsuccessfully to persuade Jagger to appear in Pirates of the Caribbean: On Stranger Tides, alongside Depp and Richards.[32]

Richards' autobiography, Life, was released 26 October 2010.[33] On 15 October 2010, the Associated Press published an article stating that Richards refers to Mick Jagger as "unbearable" in the book and notes that their relationship has been strained "for decades."[34]

Acting and film production[link]

Jagger has also had an intermittent acting career, most notably in Donald Cammell and Nicolas Roeg's Performance (1968) and as Australian bushranger Ned Kelly (1970).[35] He composed an improvised soundtrack for Kenneth Anger's film Invocation Of My Demon Brother on the Moog synthesiser in 1969. He auditioned for the role of Dr. Frank N. Furter in the 1975 film adaptation of The Rocky Horror Picture Show, a now iconic role that was eventually played by the original performer from its run on London's West End, Tim Curry. Appeared as himself in The Rutles film All You Need Is Cash in 1978. In the late 1970s, Jagger was cast as Wilbur, a main character in Werner Herzog's Fitzcarraldo. However, a delay and the illness of main actor Jason Robards (later replaced by Klaus Kinski) in the film's notoriously difficult production resulted in his being unable to continue due to schedule conflicts with a band tour; some of the footage of his work is shown in the documentary Burden of Dreams. He developed a reputation for playing the heavy later in his acting career in films including Freejack (1992), Bent (1997), and The Man From Elysian Fields (2002).

In 1995, Jagger founded Jagged Films with Victoria Pearman "[to] start my own projects instead of just going in other people's and being involved peripherally or doing music."[citation needed] Its first release was the World War II drama Enigma in 2001. That same year, it produced a documentary on Jagger entitled Being Mick. The program, which first aired on television 22 November, coincided with the release of his fourth solo album, Goddess in the Doorway.[36]

In 2008, the company began work on The Women, an adaptation of the George Cukor film of the same name. It was directed by Diane English.[37][38] Reviving the 1939 film met with countless delays, but Jagger's company was credited with obtaining $24 million of much-needed financing to finally begin casting. English told Entertainment Weekly: "This was much easier in 1939, when all the ladies were under contract, and they had to take the roles they were told to."

The Rolling Stones have been the subjects of numerous documentaries, including Gimme Shelter, which was made as the band was gaining fame in the United States. Martin Scorsese worked with Jagger on Shine a Light, a documentary film featuring the Rolling Stones with footage from the A Bigger Bang Tour during two nights of performances at New York's Beacon Theatre. It screened in Berlin in February 2008.[39] Variety's Todd McCarthy said the film "takes full advantage of heavy camera coverage and top-notch sound to create an invigorating musical trip down memory lane, as well as to provoke gentle musings on the wages of ageing and the passage of time."[40] He predicted the film would fare better once released to video than in its limited theatrical runs.

Jagger was a producer of, and guest-starred in the first episode of the short-lived comedy The Knights of Prosperity, which aired in 2007 on ABC.[41]

Personal life[link]

Bianca De Macias, Jagger's first wife
Model Jerry Hall, Jagger's second wife

Jagger is known for his many high-profile relationships. He has been married twice and has had numerous romantic connections.

In 1970, Mick Jagger purchased Stargroves at East Woodhay in Hampshire as his country estate. It was often used as a recording venue. In the same year, he began a relationship with Nicaraguan-born Bianca De Macias, whom he married on 12 May 1971, in a Catholic ceremony in Saint-Tropez, France. The couple separated in 1977 and in May 1978, she filed for divorce on the grounds of his adultery.[42][43][44] Bianca later said "My marriage ended on my wedding day."[45] In late 1977, he began seeing model Jerry Hall,[46] while still married to Bianca. After a lengthy cohabitation and several children together, the couple married on 21 November 1990, in a Hindu beach ceremony in Indonesia and moved together to Downe House in Richmond, Surrey. Jagger later contested the validity of the ceremony, and the marriage was annulled in August 1999. Jagger has also been romantically linked to other women: Chrissie Shrimpton, Marianne Faithfull, Anita Pallenberg, Marsha Hunt, Pamela Des Barres, Uschi Obermaier, Bebe Buell, Carly Simon, Margaret Trudeau, Mackenzie Phillips, Janice Dickinson, Carla Bruni, Sophie Dahl and Angelina Jolie,[47] among others.[48][49][50][51][52][53]

Jagger has seven children by four women:[54]

He also has four grandchildren.[9][56]

His father, Joe, died of pneumonia on 11 November 2006, at the age of 93.[57] Although the Rolling Stones were on the A Bigger Bang Tour, Jagger flew to Britain on Friday to see his father before returning to Las Vegas the same day, where he was to perform on Saturday night. The show went ahead as scheduled.[58]

In 2008, it was revealed that members of the Hells Angels had plotted to murder Jagger in 1975. They were angered by Jagger's public blaming of the Hells Angels, who had been hired to provide security at the Altamont Free Concert in December 1969, for much of the crowd violence at the event. The conspirators reportedly used a boat to approach a residence where Jagger was staying on Long Island, New York; the plot failed when the boat was nearly sunk by a storm.[59]

Jagger is an avid cricket fan.[60] He founded Jagged Internetworks so he could get coverage of English Cricket.[60]

His personal fortune was estimated in 2010, at £190 million (~$298 million US).[61]

He said in September 2010 that he has a daily meditation and Buddhist practice.[62][63]

Knighthood[link]

On 12 December 2003, Jagger was made a Knight Bachelor for services to music, as Sir Michael Jagger by The Prince of Wales.[64][65] Mick Jagger's knighthood received mixed reactions. Some fans were disappointed when he accepted the honour as it seemed to contradict his anti-establishment stance.[66]

As United Press International noted, the honour is odd, for unlike other knighted rock musicians, he has no "known record of charitable work or public services," although he is a patron of the British Museum.[67] Jagger was absent from the Queen's Golden Jubilee pop concert at Buckingham Palace that marked her 50 years on the throne.[68]

Charlie Watts was quoted in the book According to the Rolling Stones as saying, "Anybody else would be lynched: 18 wives and 20 children and he's knighted, fantastic!"[69] The ceremony took place in December 2003. Jagger’s father and daughters Karis and Elizabeth were in attendance.[9]

Jagger's knighthood also caused some friction between him and bandmate Keith Richards, who was irritated when Jagger accepted the "paltry honour".[70] Richards said that he did not want to take the stage with someone wearing a "coronet and sporting the old ermine. It's not what the Stones is about, is it?"[65] Jagger retorted: "I think he would probably like to get the same honour himself. It's like being given an ice cream—one gets one and they all want one."[65]

Mick Jagger in popular culture[link]

Mick Jagger's waistcoat displayed at the Hard Rock Cafe in Paris

From the time that the Rolling Stones developed their anti-establishment image in the mid-1960s, Mick Jagger, with guitarist Keith Richards, has been an enduring icon of the counterculture. This was enhanced by his controversial drug-related arrests, sexually charged onstage antics, provocative song lyrics, and his role of the bisexual Turner in the 1970 film Performance. One of his biographers, Christopher Andersen, describes him as "one of the dominant cultural figures of our time", adding that Jagger was "the story of a generation".[71]

Jagger, who at the time described himself as an anarchist[72] and espoused the leftist slogans of the era, took part in a demonstration against the Vietnam War outside the US Embassy in London in 1968. This event inspired him to write "Street Fighting Man" that same year.[73]

A variety of celebrities attended a lavish party at New York's St. Regis Hotel to celebrate Jagger's 29th birthday and the end of the band's 1972 American tour. The party made the front pages of the leading New York newspapers.[74]

Pop artist Andy Warhol painted a series of silkscreen portraits of Jagger in 1975, one of which was owned by Farah Diba, wife of the Shah of Iran. It hung on a wall inside the royal palace in Teheran.[75] In 1967, Cecil Beaton photographed Jagger's naked buttocks, a photo that sold at Sotheby's auction house in 1986 for $4,000.[76]

Jagger was allegedly a contender for the anonymous subject of Carly Simon's 1973 hit song "You're So Vain", in which he sings backing vocals.[77] Although Don McLean does not use Jagger's name in his famous song "American Pie", he alludes to Jagger onstage at Altamont, calling him Satan.[78]

In 2010, a retrospective exhibition of portraits of Mick Jagger was presented at the festival Rencontres d'Arles, in France. The catalogue of the exhibition is the first photo album of Mick Jagger and shows his evolution over 50 years.[79]

The 2011 Maroon 5 song "Moves Like Jagger" was inspired by Jagger.

Legacy[link]

In the words of British dramatist and novelist Philip Norman, "the only point concerning Mick Jagger's influence over 'young people' that doctors and psychologists agreed on was that it wasn't, under any circumstances, fundamentally harmless."[80] According to Norman, even Elvis Presley at his most scandalous had not exerted a "power so wholly and disturbingly physical": "Presley", he wrote in 1984, "while he made girls scream, did not have Jagger's ability to make men feel uncomfortable."[80] Norman also associates the early performances of Jagger with the Rolling Stones in the 1960s as a male ballet dancer, with "his conflicting and colliding sexuality: the swan's neck and smeared harlot eyes allied to an overstuffed and straining codpiece."[80]

Other authors also attribute similar connotations to Jagger. His performance style has been studied in the academic field as an analysis concerning gender, image and sexuality.[81] It has been written for example that his performance style "opened up definitions of gendered masculinity and so laid the foundations for self-invention and sexual plasticity which are now an integral part of contemporary youth culture".[82] His stage personas also contributed significantly to the British tradition popular music that always featured the character song and where the art of singing becomes a matter of acting—which creates a question concerning the singer's relationship to his own words.[83] His voice, often cited as "thin and unexceptional", has been described as a powerful expressive tool for communicating feelings to his audience and expressing an alternative vision of society.[84] In order to express "virility and unrestrained passion" he developed techniques previously used by African American preachers and gospel singers such as "the roar, the guttural belt style of singing, and the buzz, a more nasal and raspy sound".[84] Steven Van Zandt also wrote: "The acceptance of Jagger's voice on pop radio was a turning point in rock & roll. He broke open the door for everyone else. Suddenly, Eric Burdon and Van Morrison weren't so weird — even Bob Dylan."[85]

Allmusic has described Jagger as "one of the most popular and influential frontmen in the history of rock & roll".[1] In fact, musicians such as David Bowie joined many rock bands with blues, folk and soul orientations in his first attempts as a musician in the mid-60, and he was to recall: "I used to dream of being their Mick Jagger".[86] Bowie also would say later: "he is not a sex symbol, but a mother image."[87] Lenny Kravitz, in the Rolling Stone magazine edition for their List of 100 Greatest Singers, in which Jagger was placed in 16º, wrote: "I sometimes talk to people who sing perfectly in a technical sense who don't understand Mick Jagger. [...] His sense of pitch and melody is really sophisticated. His vocals are stunning, flawless in their own kind of perfection."[88] This edition also cites Mick Jagger as a key influence on Jack White, Steven Tyler, and Iggy Pop.[88]

More recently, his cultural legacy is also associated with his ageing accompanied by some vitality. Bon Jovi frontman Jon Bon Jovi, also a veteran, has said: "We continue to make Number One records and fill stadiums. But will we still be doing 150 shows per tour? I just can't see it. I don't know how the hell Mick Jagger does it at 67. That would be the first question I'd ask him. He runs around the stage as much as I do yet he's got almost 20 years on me."[89] Since his early career, Jagger embodied what some authors describes as a "Dionysian archetype" of "eternal youth" personified by many rock stars and the rock culture.[90] As wrote biographer Laura Jackson, "It is impossible to imagine current culture without the unique influence of Mick Jagger."[91]

Discography[link]

Albums[link]

Year Album details UK[92] US BPI / RIAA Certification
1985 She's the Boss 6

(11 wks)

13

(29 wks)

UK: Silver

US: Platinum

1987 Primitive Cool
  • Released: 14 September 1987
  • Label: CBS Records
26

(5 wks)

41

(20 wks)

1993 Wandering Spirit 12

(7 wks)

11

(16 wks)

US: Gold
2001 Goddess in the Doorway 44

(10 wks)

39

(8 wks)

UK: Silver
2007 The Very Best of Mick Jagger 57

(2 wks)

77

(2 wks)

2011 SuperHeavy 13

(5 wks)

26

(5 wks)

Soundtrack[link]

Year Album details US
2004 Alfie 171

(2 wks)

Singles[link]

Release date A-side UK[92] UK
Airplay
US US
Main
US
Dance
November 1970 "Memo from Turner" 32 (5 wks)
October 1978 "Don't Look Back" (with Peter Tosh) 43 (7 wks) 81 (5 wks)
June 1984 "State of Shock" (with The Jacksons) 14 (10 wks) 3 (14 wks) 3 (8 wks)
February 1985 "Just Another Night" 32 (6 wks) 12 (14 wks) 1 (13 wks) 11 (10 wks)
March 1985 "Lonely at the Top" 9 (12 wks)
May 1985 "Lucky in Love" 91 (3 wks) 38 (11 wks) 5 (12 wks) 11 (9 wks)
August 1985 "Dancing in the Street" (with David Bowie) 1 (15 wks) 7 (14 wks) 3 (9 wks) 4 (6 wks)
July 1986 "Ruthless People" 51 (8 wks) 14 (10 wks) 29 (6 wks)
September 1987 "Let's Work" 31 (7 wks) 39 (9 wks) 7 (6 wks) 32 (5 wks)
November 1987 "Throwaway" 67 (9 wks) 7 (11 wks)
December 1987 "Say You Will" 39 (1 wk)
January 1993 "Sweet Thing" 24 (4 wks) 9 (5 wks) 84 (6 wks) 34 (2 wks)
March 1993 "Wired All Night" 3 (15 wks)
April 1993 "Don't Tear Me Up" 86 (2 wks) 1 (18 wks)
July 1993 "Out of Focus" 70 (3 wks)
November 2001 "God Gave Me Everything" 24 (16 wks)
March 2002 "Visions of Paradise" 43 (1 wk) 57 (5 wks)
October 2004 "Old Habits Die Hard" (with Dave Stewart) 45 (2 wks)
January 2008 "Charmed Life" 18 (12 wks)
August 2011 "Miracle Worker" (with SuperHeavy) 136 (3 wks) 66 (4 wks) -
November 2011 "T.H.E (The Hardest Ever)" (with will.i.am & Jennifer Lopez) 3 (1 wk) - 36 (3 wks) -
"—" denotes releases did not chart

Filmography[link]

Jagger has appeared in the following movies:

Year Title
1966 Charlie Is My Darling
1968 Sympathy for the Devil
Performance
1969 Invocation of My Demon Brother
1970 Gimme Shelter
Ned Kelly
1972 Umano non umano
1978 Wings of Ash (TV pilot for a dramatisation of the life of Antonin Artaud)
1978 All You Need is Cash (Mockumentary)
1981 Fitzcarraldo[93]
1982 Burden of Dreams
Let's Spend the Night Together
1987 Running Out of Luck
1991 At the Max
1992 Freejack
1997 Bent
1999 Mein liebster Feind (aka My Best Fiend)
2001 Enigma (cameo only, plus co-producer)
The Man from Elysian Fields
Being Mick
2003 Mayor of the Sunset Strip
2008 Shine a Light
2010 Stones in Exile
Ladies and Gentlemen: The Rolling Stones
2011 The Rolling Stones: Some Girls Live In Texas '78

References[link]

  1. ^ a b Erlewine, Stephen Thomas. "Mick Jagger Biography". Allmusic. http://www.allmusic.com/artist/p4584. Retrieved 5 December 2010. 
  2. ^ Anon. "Baptism entry for Mick Jagger, rock musician, from the registers of Dartford St. Alban for 6 October 1943.". Medway City Ark Document Gallery. Medway Council. http://cityark.medway.gov.uk/gallery/. Retrieved 17 September 2009. 
  3. ^ "Deaths England and Wales 1984–2006". Findmypast.co.uk. http://www.findmypast.co.uk/BirthsMarriagesDeaths.jsp. Retrieved 5 May 2011. 
  4. ^ "Ancestry of Mick Jagger". Wargs.com. http://www.wargs.com/other/jagger.html. Retrieved 5 May 2011. 
  5. ^ Barratt, Nick (24 November 2006). "Family detective: Mick Jagger". Daily Telegraph. http://www.telegraph.co.uk/news/1435133/Family-detective-Mick-Jagger.html. Retrieved 5 May 2011. 
  6. ^ "allmusic ((( Chris Jagger > Biography )))". www.allmusic.com. http://www.allmusic.com/artist/p18475. Retrieved 31 December 2009. 
  7. ^ Jagger, Mick; Richards, Keith; Watts, Charlie; Wood, Ronnie (2003). According to the Rolling Stones. Chronicle Books. p. 13. ISBN 0-8118-4060-3. 
  8. ^ White, Charles. (2003), p.119-120 The Life and Times of Little Richard: The Authorised Biography. Omnibus Press.
  9. ^ a b c d e f "Mick Jagger." Contemporary Musicians, Volume 53. Thomson Gale, 2005.
  10. ^ Christopher Andersen, Jagger, published by Delacorte Press, New York, 1993, p.49
  11. ^ George Tremlett, The Rolling Stones Story, Futura Publications Ltd., London, 1974, pp.109–10
  12. ^ Richards, Keith. Life. New York City: Little, Brown and Company, 2010. 97. Print.
  13. ^ Wyman, Bill. Rolling With the Stones New York: DK Publishing, 2002. 36. Print
  14. ^ Jagger, Richards, Watts & Wood 2003. p. 84.
  15. ^ Vanity Fair, February 1992.
  16. ^ Andersen, pp.148–49
  17. ^ Anon (2 August 2008). "Who Breaks a Butterfly on a Wheel:Re-telling the story of the Rolling Stones’ traumatic summer of 1967.". BBC Radio 2. BBC. http://www.bbc.co.uk/radio2/musicclub/doc_butterfly.shtml. Retrieved 17 September 2009. [dead link]
  18. ^ Andersen, p.247
  19. ^ Gibson Lifestyle, Deepest Cut: The Rolling Stones Let It Loose from 1972's Exile on Main Street, by Russell Hall 20 February 2008
  20. ^ Stones start monster tourBBC News Online
  21. ^ "Another Stones record—this one in Guinness", MSNBC
  22. ^ Jagger vows to keep music rolling , BBC News, 2 October 2007.
  23. ^ "The 25th Anniversary Rock & Roll Hall Of Fame Concerts (4CD)". Amazon.com. http://www.amazon.com/dp/B0042ZH87C/. Retrieved 2011-11-25. 
  24. ^ Greene, Andy (20 May 2011). "Mick Jagger Forms Supergroup with Dave Stewart, Joss Stone and Damian Marley". Rolling Stone. http://www.rollingstone.com/music/news/mick-jagger-forms-supergroup-with-dave-stewart-joss-stone-and-damian-marley-20110520. Retrieved 22 May 2011. 
  25. ^ "New Music: will.i.am f/ Jennifer Lopez & Mick Jagger – ‘T.H.E (The Hardest Ever)’". Rap-Up.com. 2011-11-18. http://www.rap-up.com/2011/11/18/new-music-will-i-am-f-jennifer-lopez-mick-jagger-t-h-e-the-hardest-ever/#more-104751. Retrieved 2012-01-02. 
  26. ^ "President Obama sings the blues with music legends Mick Jagger, B.B. King at White House". nydailynews.com. 2012-02-22. http://www.nydailynews.com/news/politics/president-obama-sings-blues-music-legends-mick-jagger-b-b-king-white-house-article-1.1026671. Retrieved 2012-02-22. 
  27. ^ "Mick Jagger helps "Saturday Night Live" close out its season" 21 May 2012, CBS News
  28. ^ Jagger describes love/hate relationship with Richards[dead link] – IrelandOn-Line
  29. ^ DIS YOU: KEITH AT IT AGAIN – New York Daily News
  30. ^ Stones row over Jagger knighthood – BBC News Online
  31. ^ THE POP LIFE – New York Times
  32. ^ "Johnny Depp, Keith Richards to Begin Fourth `Pirates' – Mick Jagger rumored for fourth `Pirates'". My Fox Houston. 26 April 2010. http://www.myfoxhouston.com/dpps/entertainment/johnny-depp-keith-richards-to-begin-pirates-dpgoh-20100426-fc_7243988. Retrieved 5 May 2011. 
  33. ^ Richards, Keith (2010). Life. Little, Brown and Company. ISBN 0-316-03438-X. OCLC 548642133. 
  34. ^ "Rolling Stone Keith Richards: Mick 'unbearable' 15 October 2010, Associate Press
  35. ^ "NMA Collections Search - Facsimile of Ned Kelly's helmet". Nma.gov.au. http://www.nma.gov.au/collections-search/display?irn=28228. Retrieved 2011-11-05. 
  36. ^ "Blockbuster Online – Being Mick". Blockbuster.com. 22 November 2001. http://www.blockbuster.com/outlet/catalog/movie/details/209093. Retrieved 5 May 2011. 
  37. ^ Ascher, Rebecca (5 November 2004). "Long-planned remake of ',The Women', in development , The Women (Movie – 2008) , Movie News , Movies , Entertainment Weekly". Entertainment Weekly. http://www.ew.com/ew/article/0,,735638,00.html. Retrieved 5 May 2011. 
  38. ^ "The Women at". Hollywood.com. http://hollywood.com/movie/The_Women_Inferno/378236. Retrieved 5 May 2011. 
  39. ^ "Shine a Light | Movies". OutNow.CH. 2008-04-17. http://outnow.ch/Movies/2007/ShineALight/. Retrieved 2011-11-05. 
  40. ^ McCarthy, Todd (7 February 2008). "Shine a Light Movie Review From The SXSW Film Festival". Variety. http://www.variety.com/VE1117936095.html. [dead link]
  41. ^ ABC.com: The Knights of Prosperity – Homepage[dead link]
  42. ^ Nicholas Fonseca, Limited Engagement, ew.com
  43. ^ "Landlord files to have Bianca Jagger evicted". CNN. 6 April 2005. http://www.cnn.com/2005/LAW/04/06/jagger/index.html. Retrieved 12 May 2010. 
  44. ^ "Bianca Jagger bio at Huffington Post". Huffington Post. http://www.huffingtonpost.com/bianca-jagger. Retrieved 5 May 2011. 
  45. ^ http://m.nypost.com/ms/p/nyp/nyp/view.m?id=23203&storyid=154123[dead link]
  46. ^ Fonseca, Nicholas (18 May 2001). "Limited Engagement". Entertainment Weekly. http://www.ew.com/ew/article/0,,281294,00.html. Retrieved 5 May 2011. 
  47. ^ 8 March 2010 (8 March 2010). "Angelina Jolie and Mick Jagger's Bangkok connection". CNN. http://www.cnngo.com/bangkok/none/angelina-jolie-and-mick-jaggers-bangkok-connection-078830. Retrieved 5 May 2011. 
  48. ^ Simpson, Richard (16 May 2007). "Will Mick Jagger make an honest woman of L'Wren Scott?". The Daily Mail (London). http://www.dailymail.co.uk/tvshowbiz/article-455082/Will-Mick-Jagger-make-honest-woman-LWren-Scott.html. 
  49. ^ "With this ring, has Mick picked bride No3?". The Daily Mail: p. 13. 16 May 2007. 
  50. ^ "Mick and Jerry Divorce". http://www.people.com/people/article/0,,615219,00.html. 
  51. ^ "Jagger Marriage Annulled". BBC News. 13 August 1999. http://news.bbc.co.uk/2/hi/uk_news/419374.stm. 
  52. ^ Andres Martinez (6 April 2005). "Landlord files to have Bianca Jagger evicted". CNN. http://www.cnn.com/2005/LAW/04/06/jagger/index.html. 
  53. ^ "Women In Luxury". Time. 4 September 2008. http://www.time.com/time/specials/packages/article/0,28804,1838865_1838857_1838730,00.html. Retrieved 12 May 2010. 
  54. ^ a b c d Richard Simpson. "Mick has more children to see than Santa." The Daily Mail, 20 December 2004. Retrieved 6 January 2009.
  55. ^ Christopher Andersen "Mick Jagger"
  56. ^ Barry Egan (31 August 2008). "I'm lucky that I grew up poor". The Irish Independent. http://www.independent.ie/lifestyle/independent-woman/celebrity-news-gossip/im-lucky-that-i-grew-up-poor-1466444.html. Retrieved 5 May 2011. 
  57. ^ BBC News Online – Jagger's father dies of pneumonia
  58. ^ "Mick Jagger's father dies at 93". NBC today. Associated Press. 12 November 2006. http://today.msnbc.msn.com/id/15688719. Retrieved 15 July 2010. 
  59. ^ "Storm thwarted Mick Jagger murder attempt" The Telegraph, UK, Sunday, 2 March 2008
  60. ^ a b "Cricinfo – Money talks". Content-www.cricinfo.com. http://www.espncricinfo.com/ci/content/story/347432.html. Retrieved 5 May 2011. 
  61. ^ Paul McCartney, Simon Cowell see fortunes soar in Sunday Times Rich List 2010 – NME
  62. ^ "Mick Jagger Chants With Buddhist Monks In Laos". Rttnews.com. 26 September 2010. http://www.rttnews.com/Content/EntertainmentNews.aspx?Section=2&Id=1423883&SM=1. Retrieved 5 May 2011. 
  63. ^ "Mick Jagger blacks out hotel windows for solitude on spiritual trip". Thaindian.com. 17 September 2010. http://www.thaindian.com/newsportal/entertainment/mick-jagger-blacks-out-hotel-windows-for-solitude-on-spiritual-trip_100430053.html. Retrieved 5 May 2011. 
  64. ^ Official announcement of knighthood[dead link] The London Gazette. 24 August 2004.
  65. ^ a b c Stones frontman becomes Sir Mick, BBC News, 12 December 2003.
  66. ^ Gimson, Andrew (13 December 2003). "I thought people got knighthoods for saving lives".[dead link] The Daily Telegraph.
  67. ^ "H:\Communications\Dep Report\99-00\03Appendices\01trustees.wpd" (PDF). http://www.colosseumweb.org/docs/Bilancio%20British%20Museum/appendices.pdf. Retrieved 31 May 2011. 
  68. ^ United Press International, 4 December 2003.
  69. ^ The Rolling Stones. According to the Rolling Stones, ISBN 0-8118-4060-3
  70. ^ Susman, Gary (12 December 2003). "Arise, Sir Mick: Jagger gets knighted , Mick Jagger". Entertainment Weekly. http://www.ew.com/ew/article/0,,561253,00.html. Retrieved 5 May 2011. 
  71. ^ Christopher Andersen, Jagger, introduction, published by Delacorte Press, New York, 1993
  72. ^ Andersen, p. 180
  73. ^ Andersen, pp.179–180
  74. ^ Andersen, p. 274
  75. ^ Andersen, p.314
  76. ^ Andersen, p. 139
  77. ^ Andersen, p. 265
  78. ^ Andersen, p. 228
  79. ^ "Mick Jagger – The Photobook – UK". Contrasto Books. http://www.contrastobooks.com/vmchk/Catalogue/MICK-JAGGER-THE-PHOTOBOOK-UK.html. Retrieved 2 March 2011. 
  80. ^ a b c Philip Norman, Symphony for the devil: the Rolling Stones story, p.173. Linden Press/Simon & Schuster, 1984.
  81. ^ David Pattie, Rock music in performance, Palgrave Macmillan, 2007. ISBN 1-4039-4746-5
  82. ^ Sheila Whiteley, Sexing the groove: popular music and gender, Routledge, 1997, p.67. ISBN 0-415-14670-4
  83. ^ Simon Frith, Performing rites: on the value of popular music, Harvard University Press, 1998, p.171. ISBN 0-674-66196-6
  84. ^ a b Australasian journal of American studies, Volume 20, 2001, p.107. Available at 1. Consulted on 3 October 2011.
  85. ^ Steven Van Zandt. "100 Greatest Artists: The Rolling Stones". Rolling Stone. Consulted on 3 October 2011.
  86. ^ Christopher Sandford, Bowie: Loving the Alien. Time Warner, pp.29-30. ISBN 0-306-80854-4.
  87. ^ Steven D. Price, 1001 Insults, Put-Downs, & Comebacks, Globe Pequot, 2007, p.172.
  88. ^ a b Lenny Kravitz. "{http://www.rollingstone.com/music/lists/100-greatest-singers-of-all-time-19691231/mick-jagger-19691231 100 Greatest Singers: Mick Jagger]". Rolling Stone. Consulted on 3 October 2011.
  89. ^ " Jon Bon Jovi: 'I Don't Know How The Hell Mick Jagger Does It'" (20 June 2011). Consulted on 3 October 2011.
  90. ^ Jean Shinoda Bolen, Gods in everyman: a new psychology of men's lives and loves. Harper & Row, 1989, p.257. ISBN 0-06-250098-8.
  91. ^ Laura Jackson, Arise Sir Mick: The True Story of Britain's Naughtiest Knight, Blake, 2003. ISBN 1-85782-566-7
  92. ^ a b Roberts, David (2006). British Hit Singles & Albums (19th ed.). London: Guinness World Records Limited. p. 277. ISBN 1-904994-10-5. 
  93. ^ scenes were filmed with Jagger but he had to leave for a Rolling Stones tour and they were reshot without him."Fotokiste: Mick Jagger". http://stockpunkt.com/2008/01/28/fotokiste-mick-jagger/. Retrieved 15 November 2008.  (German)

External links[link]

http://wn.com/Mick_Jagger

Related pages:

http://ru.wn.com/Джаггер, Мик

http://es.wn.com/Mick Jagger




This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Mick_Jagger

This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.


James Fox
Born William Fox
(1939-05-19) 19 May 1939 (age 73)
London, England
Years active 1950 – 1970, 1983 – present
Spouse Mary Elizabeth Piper
(1973 – present)

James Fox, OBE (born William Fox; 19 May 1939) is an English actor.

Contents

Early life[link]

James Fox was born in London, England to theatrical agent Robin Fox and actress Angela Worthington. He is the brother of actor Edward Fox and film producer Robert Fox. The actress Emilia Fox is his niece and the actor Laurence Fox is his son. His grandfather was playwright Frederick Lonsdale. Like his brother, Fox served with the Coldstream Guards. Like several members of the Fox family, including his brothers and his son, James was educated at Harrow.

Acting career[link]

James Fox first appeared on film in The Miniver Story in 1950. His other early film appearances were made under the name William Fox.

During the 1960s he gained popularity and appeared to be heading for stardom. In 1964, he won a BAFTA for Most Promising Newcomer in The Servant (1963).[1] His roles in films such as Those Magnificent Men in Their Flying Machines (1965), King Rat (1965), The Chase (1966), Thoroughly Modern Millie (1967), Isadora (1968) and Performance (1970) (alongside Mick Jagger), as well as his relationship with actress Sarah Miles, had made him a media personality.

Spiritual life and break from acting[link]

After finishing work on Performance, and following his father's death, Fox suspended his acting career. The strain of filming, his father's death and smoking the hallucinogen DMT led to a nervous breakdown.[2] On his break from acting, Fox has commented that "[p]eople think Performance blew my mind... my mind was blown long before that."[2]

He has also said that: "Performance gave me doubts about my way of life. Before that I had been completely involved in the more bawdy side of the film business. But after that everything changed.'[2]

In a 2008 interview, he said: "It was just part of my journey...I think my journey was to spend a while away from acting. And I never lost contact with it - watching movies, reading about it ... so I didn't feel I missed it."[3]

He became an evangelical Christian, working with The Navigators and devoting himself to the ministry.[4] During this time, the only film in which Fox appeared was No Longer Alone (1978), the story of a suicidal woman saved by Christianity.

Return to acting[link]

After an absence of almost 10 years from mainstream cinema, Fox gradually returned to the screen, appearing in A Passage to India (1984) and playing Anthony Blunt in the acclaimed BBC play by Alan Bennett, A Question of Attribution (1992). He also portrayed the character of Colonel Ferguson in Farewell to the King.

More recently, he has appeared in the 2001 adaption of The Lost World as Prof. Leo Summerlee, Agatha Christie's Poirot - Death on the Nile (2004) as Colonel Race and Charlie and the Chocolate Factory (2005) playing Mr. Salt, Veruca Salt's father. He appeared in the Doctor Who audio drama Shada, and in 2007, he guest-starred in the British television crime series Waking the Dead. He also appeared opposite his son, Laurence Fox in "Allegory of Love," an episode in the third season of Lewis. He was part of the cast of Sherlock Holmes, as Sir Thomas, leading member of a freemason-like secret society.

In 2010, he filmed Cleanskin, a terrorist thriller directed by Hadi Hajaig.[5]; and in 2011 he played King George V in Madonna's film "W.E."[6]

Personal life[link]

In the 1960s, Fox had a relationship with actress Sarah Miles.[2] James Fox has five children with his wife Mary Elizabeth Piper, whom he married in 1973.[2] He is the father of Laurence Fox, as well as three other sons and one daughter, Lydia Fox. Both Laurence and Lydia were married to fellow actors in 2007, making James the father-in-law of both Richard Ayoade and Billie Piper. He is also grandfather to Laurence's two sons with Piper.

Film and television appearances[link]

References[link]

External links[link]

http://wn.com/James_Fox

Related pages:

http://es.wn.com/James Fox




This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/James_Fox

This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.


Miles Davis

Photo of Davis in 1955 taken by Tom Palumbo
Background information
Birth name Miles Dewey Davis III
Born (1926-05-26)May 26, 1926
Alton, Illinois, United States
Died September 28, 1991(1991-09-28) (aged 65)
Santa Monica, California, United States
Genres Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap[1][2]
Occupations Bandleader, composer, trumpeter, artist
Instruments Trumpet, flugelhorn, piano, organ
Years active 1944–1975, 1980–1991
Labels Capitol Jazz/EMI, Columbia/CBS, Warner Bros.
Associated acts Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans
Website www.milesdavis.com

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,[3] 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.

Contents

Biography[link]

Early life (1926–44)[link]

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.[4] 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."[5] Clark Terry was another important early influence.[citation needed]

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)[link]

Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach, August 1947

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.[4]

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.[6] 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.

Coleman Hawkins and Miles Davis, ca. September 1947

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.[7] In 1948, Parker returned to New York, and Davis rejoined his group.

Miles Davis on piano with Howard McGhee and Brick Fleagle, September 1947

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[4] 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)[link]

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,[8] 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.[9]

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.[4]

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)[link]

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.[10] 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.[11]

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[12][13] 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.[14]

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.[15]

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.[16] A few critics[5] 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.)[17]

The "nocturnal" quality of Davis' playing and his somber reputation, along with his whispering voice,[18] earned him the lasting moniker of "prince of darkness", adding a patina of mystery to his public persona.[19]

First great quintet and sextet (1955–58)[link]

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.[20] 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.[21] 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)[link]

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.[22]

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.[citation needed]

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.[23] 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."[24]

[edit] 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.[25] 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.[26] 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.[27] "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). .[28]In December 2009, the US House of Representatives voted 409–0 to pass a resolution honoring the album as a national treasure.[29][30]

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."[31]

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."[32] Davis explained that he worked at the nightclub and refused to move.[33] The officer said that he would arrest Davis and grabbed him as Davis protected himself.[32] Witnesses said that Kilduff punched Davis in the stomach with his nightstick without provocation.[32] 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.[32] 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.[citation needed]

Second great quintet (1964–68)[link]

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)[link]

The guru-manipulator shifted gears at will in his early-'70s music, orchestrating moods and settings to subjugate the individual musical inspirations of his young close-enough-for-funk subgeniuses to the life of a single palpitating organism that would have perished without them—no arrangements, little composition, and not many solos either, although at any moment a player could find himself left to fly off on his own.

Davis's influences included 1960s acid rock and funk artists such as Sly and the Family Stone, James Brown, and Jimi Hendrix,[36] 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.[citation needed]

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."[37] 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."[38][39] 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.[citation needed] 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.[40] 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, Grateful Dead, Neil Young, and Santana[citation needed]. 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).[36]

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.[citation needed] 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.[citation needed] 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.[citation needed] 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."[citation needed]

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."[citation needed] 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.[4] 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)[link]

Miles Davis at the Nice Jazz Festival in July 1989

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.

Miles Davis at North Sea Jazz Festival in 1987

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).[43]

Davis in New York, 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.[44]

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.[45] 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.)[46]

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.

The grave of Miles Davis in Woodlawn Cemetery

He 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.[36] He is buried in Woodlawn Cemetery in The Bronx.[47]

Legacy and influence[link]

Statue in Kielce, Poland

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”.[48] 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".[49] 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."[50] It passed, unanimously, with a vote of 409–0 on December 15, 2009.[51]

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.[citation needed]

As an innovative bandleader and composer, Miles Davis has influenced many notable musicians and bands from diverse genres. These include Wayne Shorter,[52] Cannonball Adderley,[53] Herbie Hancock,[54] Cassandra Wilson,[55] Lalo Schifrin,[56] Tangerine Dream,[57] 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, Pink Floyd, Neil Young, Radiohead, The Flaming Lips, Lydia Lunch, Talk Talk, Michael Franks, Sting,[58] 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.[59]

In 1986, the New England Conservatory awarded Miles Davis an Honorary Doctorate for his extraordinary contributions to music.[60] 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[link]

Discography[link]


Filmography[link]

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

^a Only one song is composed by Miles Davis in cooperation with Marcus Miller ("Theme For Augustine").
^b Soundtrack is composed by Miles Davis in cooperation with Michel Legrand.

References[link]

  1. ^ Fadoir, Nick, "Jazz and Hip Hop: You Know, for Kids", The Big Green, Michigan State University, October 15, 2009.
  2. ^ Considine, J.D., "Jazz And Rap A Jarring Mix", The Baltimore Sun, July 6, 1992
  3. ^ Gerald Lyn, Early (1998). Ain't but a place: an anthology of African American writings about St. Louis. Missouri History Museum. p. 205. ISBN 1-883982-28-6. 
  4. ^ a b c d e Miles Davis and Quincy Troupe, Miles: The Autobiography, Simon and Schuster, 1989, ISBN 0-671-63504-2.
  5. ^ a b Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece, Da Capo Press, 2001.
  6. ^ "See the Plosin session database". Plosin.com. 1946-10-18. http://www.plosin.com/milesAhead/Sessions.aspx?s=461018. Retrieved 2011-07-18. 
  7. ^ On this occasion, Mingus bitterly criticized Davis for abandoning his "musical father" (see Autobiography).
  8. ^ "Miles, the bandleader. He took the initiative and put the theories to work. He called the rehearsals, hired the halls, called the players, and generally cracked the whip." Gerry Mulligan "I hear America singing"
  9. ^ "So I just told them that if a guy could play as good as Lee Konitz played—that's who they were mad about most, because there were a lot of black alto players around—I would hire him every time, and I wouldn't give a damn if he was green with red breath. I'm hiring a motherfucker to play, not for what color he is." Miles Davis, Autobiography
  10. ^ In his autobiography Davis recalls exploiting prostitutes and getting money from most of his friends.
  11. ^ In his autobiography, Davis says he never forgave Calloway for that interview. He also says that African Americans were being unfairly singled out as drug users among the larger community of jazz musicians who used drugs at the time.
  12. ^ Crawford, Mark, "Miles Davis: Evil genius of jazz", ''Ebony'' (January 1961) pp.69–74. Books.google.com. http://books.google.com/books?id=GyvbN5PqVCAC&pg=PA74&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=UGxITf-0Ooeg9ASw7vTXCA&sa=X&oi=book_result&ct=result&resnum=5&ved=0CEUQ6AEwBA#v=onepage&q=Miles%20Davis%20Baker's%20Keyboard%20Lounge&f=false. Retrieved 2011-07-18. 
  13. ^ Neisenson, Eric, ''Round About Midnight: A Portrait of Miles Davis'' Da Capo Press, 1996 ISBN 0-306-80684-3, ISBN 978-0-306-80684-1 pp 88–89. Books.google.com. http://books.google.com/books?id=_-MMx7OGSrQC&pg=PA88&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=jWVITc-lDInE8ASAg-ThCA&sa=X&oi=book_result&ct=result&resnum=2&ved=0CDQQ6AEwAQ#v=onepage&q&f=false. Retrieved 2011-07-18. 
  14. ^ Davis, Miles and Troup, Quincy, ''Miles, the Autobiography'', Simon and Schuster, 1990 ISBN 0-671-72582-3, ISBN 978-0-671-72582-2 pp 173–174. Books.google.com. http://books.google.com/books?id=xgAVXHhuNYgC&pg=PA173&dq=Miles+Davis+Baker's+Keyboard+Lounge&hl=en&ei=jWVITc-lDInE8ASAg-ThCA&sa=X&oi=book_result&ct=result&resnum=1&ved=0CC4Q6AEwAA#v=onepage&q&f=false. Retrieved 2011-07-18. 
  15. ^ "Back in bebop, everybody used to play real fast. But I didn't ever like playing a bunch of scales and shit. I always tried to play the most important notes in the chord, to break it up. I used to hear all them musicians playing all them scales and notes and never nothing you could remember." Miles Davis, The Autobiography.
  16. ^ Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to Alan Lomax (The Land Where the Blues Began. New York: Pantheon, 1993), African American players working in white establishments would avoid references to the blues altogether.
  17. ^ Davis had asked Monk to "lay off" (stop playing) while he was soloing. In the autobiography, Davis says that Monk "could not play behind a horn". Charles Mingus reported this, and more, in his "Open Letter to Miles Davis".
  18. ^ Acquired by shouting at a record producer while still ailing after a recent operation to the throat – Autobiography
  19. ^ Davis began to be referred to as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persists to this day; see, for instance, his obituary in The Nation, and countless references in DVD [1], movies [2] and print articles [3].
  20. ^ Some inspired by Ahmad Jamal: see, for instance, the performance of "Billy Boy" on Milestones.
  21. ^ Especially Jones and Coltrane, whom Davis both fired. Davis – Autobiography.
  22. ^ Cook, op. cit.
  23. ^ Carr, Ian (1999). Miles Davis: the definitive biography. Thunder's Mouth Press. pp. 192–93. ISBN 978-1-56025-241-2. http://books.google.com/books?id=BmtRIbly1RIC&pg=PA192. 
  24. ^ Lees, Gene. You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat. Yale University Press (2001), p. 24
  25. ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
  26. ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, , pp. 29–30, 74.
  27. ^ Khan, Ashley. Kind of Blue: The Making of the Miles Davis Masterpiece. New York: Da Capo Press, 2000; ISBN 0-306-81067-0, p. 95.
  28. ^ RIAA database – Gold & Platinum search item Kind of Blue. Recording Industry Association of America. Retrieved on October 17, 2008.
  29. ^ US politicians honour Miles Davis album. Radio Netherlands Worldwide
  30. ^ "US House of Reps honours Miles Davis album – ABC News (Australian Broadcasting Corporation)". Australian Broadcasting Corporation. December 16, 2009. http://www.abc.net.au/news/stories/2009/12/16/2773218.htm. Retrieved January 6, 2011. 
  31. ^ "Taking care of Buddy : News-Record.com : Greensboro & the Triad's most trusted source for local news and analysis". News-Record.com. http://www.news-record.com/content/2009/10/17/article/taking_care_of_buddy. Retrieved January 6, 2011. 
  32. ^ a b c d "Was Miles Davis beaten over blonde?". Baltimore Afro-American. September 1, 1959. http://news.google.com/newspapers?id=5JslAAAAIBAJ&sjid=SfUFAAAAIBAJ&dq=was%20miles%20davis%20beaten%20over%20blonde&pg=3151%2C5145962. Retrieved August 27, 2010. 
  33. ^ "Jazz Trumpeter Miles Davis In Joust With Cops". Sarasota Journal. August 26, 1959. http://news.google.com/newspapers?id=3PQeAAAAIBAJ&sjid=4ooEAAAAIBAJ&pg=2499,2153156&dq=miles-davis+arrested&hl=en. Retrieved August 27, 2010. 
  34. ^ Waters, Keith (2011). The Studio Recordings of the Miles Davis Quintet, 1965–68. Oxford University Press. pp. 257–258. ISBN 978-0-19-539383-5. 
  35. ^ Christgau, Robert. Robert Christgau: CG: Miles Davis. Robert Christgau. Retrieved on 2011-07-03.
  36. ^ a b c "Miles Davis". The Rock and Roll Hall of Fame. The Rock and Roll Hall of Fame and Museum, Inc.. http://www.rockhall.com/inductee/miles-davis. Retrieved June 29, 2009. 
  37. ^ Chambers, J. K. (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp. 246.. ISBN 0-306-80849-8. 
  38. ^ Carr, Ian (1998). Miles Davis: The Definitive Biography. Thunder's Mouth Press. pp. 284, 303, 304, 306. ISBN 1-56025-241-3. 
  39. ^ Tingen, Paul (Thursday, April 17, 2008 5:02:21 pm). "Miles Beyond: The Making of Bitches Brew". http://www.miles-beyond.com/bitchesbrew.htm. Retrieved June 29, 2009. 
  40. ^ Freeman, Philip (November 1, 2005). Running the Voodoo Down: The Electric Music of Miles Davis. San Francisco, CA: Backbeat Books. pp. 83–84. ISBN 978-0-87930-828-5. 
  41. ^ Kolosky, Walter (December 31, 2008). Miles Davis: Go Ahead John (part two C) – Jazz.com | Jazz Music – Jazz Artists – Jazz News. Jazz.com. Retrieved on April 3, 2011.
  42. ^ Freeman, Phil (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. p. 92. ISBN 0-87930-828-1. 
  43. ^ "Miami Vice" Junk Love (1985) at the Internet Movie Database
  44. ^ Miles: The Autobiography, Picador, p. 364.
  45. ^ Intro.de article (in German).
  46. ^ "Fodderstompf". Fodderstompf. March 10, 2009. http://www.fodderstompf.com/DISCOGRAPHY/LP/3albumLP.html. Retrieved January 6, 2011. 
  47. ^ Latest activity 5 hours ago. "Dark Magus: The Jekyll and Hyde Life of Miles Davis (9780879308759): Gregory Davis, Les Sussman, Clark Terry: Books". Amazon.com. http://www.amazon.com/dp/0879308753. Retrieved January 6, 2011. 
  48. ^ The Complete Jack Johnson Sessions Review. BBC
  49. ^ Miles David Biography. Rolling Stone Magazine
  50. ^ Associated Press article published December 15, 2009[dead link]
  51. ^ "House Resolution H.RES.894". Clerk.house.gov. 2009-12-15. http://clerk.house.gov/evs/2009/roll971.xml. Retrieved 2011-07-18. 
  52. ^ Wayne Shorter: Artist Profile. Rolling Stone
  53. ^ Cannonball Adderley: Artist Profile. Rolling Stone
  54. ^ Herbie Hancock: Artist Profile. Rolling Stone
  55. ^ Traveling Miles. Jazz Times
  56. ^ Lalo Schifrin Biography. Allmusic
  57. ^ Tangerine Dream Biography. Allmusic
  58. ^ Sting Biography. Allmusic
  59. ^ Christopher Smith, "A Sense of the Possible. Miles Davis and the Semiotics of Improvised Performance". TDR, Vol. 39, No. 3 (Autumn, 1995), pp. 41–55.
  60. ^ NEC Honorary Doctor of Music Degree. New England Conservatory

Bibliography[link]

External links[link]

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For the comic book character, see Roy Harper (comics)
Roy Harper

Roy Harper – May 2011
Background information
Born (1941-06-12) 12 June 1941 (age 71)
Rusholme, Manchester, England
Genres Folk, progressive folk, indie folk, folk rock, folk baroque
Occupations Singer, songwriter, poet, actor
Instruments Vocals, guitar
Years active 1964–present
Labels Science Friction, Liberty, CBS, Harvest, Chrysalis, Beggars Banquet, I.R.S.
Associated acts Jimmy Page, David Gilmour, Ian Anderson, Pink Floyd, Nick Harper
Website www.royharper.co.uk

Roy Harper (born 12 June 1941) is an English folk/rock singer-songwriter and guitarist who has been a professional musician since 1964. He has released a large catalogue of albums (21 studio albums and 10 live albums) most of which are available on his record label Science Friction (as CD and / or Music download).

Musically, American blues musician Leadbelly and folk singer Woody Guthrie were his earliest influences,[1] and whilst in his teens, jazz musician Miles Davis. Harper was also exposed to classical music in his childhood and has pointed to the influence of Jean Sibelius' Karelia Suite. Lyrical influences include the 19th century Romantics (especially Percy Shelley), and John Keats poem Endymion. Harper has also cited the Beat poets as being highly influential, particularly Jack Kerouac.[2][3] As a musician, Harper is known for his distinctive fingerstyle playing and lengthy, lyrical, complex compositions, a result of his love of jazz and Keats.[4]

His influence has been acknowledged by many musicians including Jimmy Page and Robert Plant of Led Zeppelin (who named the song "Hats Off to (Roy) Harper" after him), Pete Townshend of The Who, Kate Bush, Pink Floyd (who invited him to sing guest lead vocals on their song "Have a Cigar"), and Ian Anderson of Jethro Tull; who stated Harper was his "...primary influence as an acoustic guitarist and songwriter."[5]

More recently, Harper's influence has reached across the Atlantic and been acknowledged by Seattle-based acoustic band Fleet Foxes and Californian harpist Joanna Newsom, with whom he has also toured. In 2011, Harper turned 70 and performed a celebratory concert at London's Royal Festival Hall.

Contents

Musical career[link]

Early life (1941–65)[link]

Harper was born in 1941 in Rusholme, a suburb of Manchester. His mother, Muriel, died three weeks after he was born. From the age of 6, he was raised in St Annes on Sea by his father and stepmother, with whom he became disillusioned because of her Jehovah's Witness beliefs. Harper's anti-religious views would later become a familiar theme within his music.[6]

At the age of 13, he began playing skiffle music with his younger brother David, ("Davey" on the album Flat Baroque and Berserk), as well as becoming influenced by blues music. At 14 he formed his first group (De Boys) with his brothers David and Harry.[7] Harper was educated at King Edward VII School, Lytham St Annes, then a Grammar school and left at the age of 15 (1956) to join the Royal Air Force. Harper eventually rejected the rigid discipline, feigned madness in order to obtain a military discharge and received one electroconvulsive therapy treatment at Princess Mary's RAF Hospital, Wendover. After being discharged from there, he spent one day inside the former 'Lancaster Moor Mental Institute' before escaping. These experiences would later make their way into "Committed", a song on Sophisticated Beggar, Harper's debut album.

Upon his eventual exit from a troubled youth, c. 1961, he busked around North Africa, Europe and London for a few years. On his return to London, he gained a residency at London's famous Soho folk music club, Les Cousins in 1965, having been introduced to it by Peter Bellamy of The Young Tradition.[8] Within the first week Harper saw John Renbourn, Alexis Korner, Paul Simon, Alex Campbell and Bert Jansch play[8] and he would play, associate, and 'rub shoulders' with other artists arriving later, including John Martyn, Joni Mitchell and Nick Drake.

The first record deals (1966–69)[link]

Harper's first album, Sophisticated Beggar, was recorded in 1966 after he was spotted at Les Cousins and signed to Peter Richards' Strike Records. The album consisted of Harper's songs and poetry backed by acoustic guitar and recorded with a Revox tape machine by Pierre Tubbs. (English guitarist Paul Brett also contributed his skills).

CBS Records recognised Harper's potential and hired American producer Shel Talmy to produce Harper's second album, Come Out Fighting Ghengis Smith, which was released in 1967. The 11 minute track "Circle" was notable for marking a widening of Harper's musical style away from the more traditional side of contemporary folk music heard at the time. Harper never had any interest in traditional folk and did not consider himself a bona fide member of the folk scene. He later explained:-

I was too much of a modernist, really. Just too modern for what was going on in the folk clubs. I wanted to modernise music, but more than that to completely modernise people’s attitudes towards life in general. I was involved in trying to bring meat to the folk music...[9]

Bert Jansch wrote the sleeve note for the album. During this period, Harper was managed by American music entrepreneur Jo Lustig; manager of The Pentangle and former agent to Julie Felix.

In June 1968, Harper performed at the first free concert ever held at Hyde Park, sharing the bill with Jethro Tull, Pink Floyd and Tyrannosaurus Rex, and began to attract a following of fans from the underground music scene.[10] He also toured the UK, performing at numerous venues such as the Lyceum Ballroom, Klooks Kleek and Mothers; venues that would gradually gain recognition for the variety and quality of their musical acts. Mothers in Birmingham was one such venue, and one to which Harper would frequently return.[11] Harper later told Brum Beat magazine:

That was the first club outside London that meant anything at all and that's why there's been this long association with Birmingham. I played there about six times between 1968 and 1970. I have always enjoyed playing here.[11]

In 1969 Harper undertook a short 6-venue tour with Ron Geesin and Ralph McTell.[12] The tour programme contained the introductory paragraph:-

Roy Harper isn't an example of any category, the epitome of any movement or a rung on anybody's ladder; he built himself alone, piece by piece and his defiant character stands proud as if chiselled from belligerent granite.[13]

That same year, Harper released his third album Folkjokeopus. The album was again produced by Shel Talmy, and released by Liberty Records. Side two included an extended 17-minute track, titled "McGoohan's Blues", which Harper referred to as the "main statement" within the album. Of his non-conformance to radio-friendly, standard, three-minute songs, Harper claimed it to be a revolt, and that he regarded the three-minute pop song as an anathema, a jingle to sell a band.[9] (The title for "McGoohan's Blues" was a reference to actor Patrick McGoohan, who had starred in the UK TV series The Prisoner two years earlier).

Harvest years (1970–80)[link]

With Harper's reputation growing, Pink Floyd's manager Peter Jenner signed him to a long-term (and at times confrontational) deal with EMI's 'underground' subsidiary, Harvest Records.[14] Over a ten year period, Harper would record 8 albums at the Abbey Road Studios, for the Harvest label[15] and for much of this period was managed and produced by Jenner, initially acting for Blackhill Enterprises. According to Jenner, "Harper is a terrific songwriter, but a bit crazy".[16]

Harper's first tour of the United States followed the release of his fourth studio album, Flat Baroque and Berserk, in 1969. The album also featured The Nice on the track "Hell's Angels". Its ethereal sound was achieved by a wah-wah pedal attached to Harper's acoustic guitar.

After the Bath Festival of 1970, Led Zeppelin paid tribute to Harper with their version of the traditional song "Shake 'Em on Down". Retitled "Hats Off to (Roy) Harper", it appeared on the album Led Zeppelin III. According to Jimmy Page, the band admired the way Harper stood by his principles and did not sell out to commercial pressures. In mutual appreciation of their work, Harper would often attend live performances by Led Zeppelin over the subsequent decade, contributed sleeve photography to the album Physical Graffiti and also appeared, albeit uncredited, in the 1976 Led Zeppelin documentary film, The Song Remains the Same.

Harper's critically acclaimed 1971 album was a four-song epic, Stormcock. The album featured Jimmy Page on guitar (credited as "S. Flavius Mercurius" for contractual reasons) and David Bedford's orchestral arrangements (Bedford would also collaborate on some of Harper's future releases). Harper felt the album to be not particularly well promoted by his record label at the time and later stated:

They hated Stormcock. No singles. No way of promoting it on the radio. They said there wasn't any money to market it. Stormcock dribbled out.[17]

Never-the-less, Stormcock would remain a favourite album of Harper's fans and influence musicians for decades to come. Thirty-five years later (in 2006) fellow Mancunian Johnny Marr of English alternative rock band The Smiths said:

If ever there was a secret weapon of a record it would be Stormcock... It's intense and beautiful and clever: [Bowie's] Hunky Dory's big, badder brother.[18]

Joanna Newsom cited Stormcock as an influence upon her 2006 release Ys and in 2011, Robin Pecknold of Seattle, Washington-based folk band Fleet Foxes stated that he took inspiration from Stormcock when recording Fleet Foxes second album Helplessness Blues.

In 1972, Harper made his acting debut playing Mike Preston alongside Carol White in the John Mackenzie film Made. Harper also recorded the soundtrack for the film, released the following year as Lifemask. At the time, Lifemask was created as Harper's final bow, as he had been diagnosed with the (then) little-known genetic condition HHT, which caused polycythemia, incapacitating him. The cover art shows Harper's life mask, as opposed to the 'death mask' it might have been.

After recovering (treatment involved frequent venesection), his next album (Valentine) was released on Valentine's Day, 14 February 1974, and featured contributions from Jimmy Page. A concert to mark its release was held on the same day at London's Rainbow Theatre, with Page, Bedford, Max Middleton, Ronnie Lane and Keith Moon performing alongside Harper. His first live album Flashes from the Archives of Oblivion, recorded at that concert, soon followed.

Pink Floyd's 1975 release Wish You Were Here saw Harper sing lead vocals on the song "Have a Cigar". Roger Waters intended to record the part himself, but had strained his voice while recording "Shine On You Crazy Diamond" and David Gilmour declined to sing. Harper was recording his album HQ in Studio 2 of Abbey Road at the same time as Pink Floyd were working in Studio 3; learning of the band's dilemma, Harper offered to sing the lead. The song is one of only two songs by Pink Floyd not sung by one of their permanent members. David Gilmour returned the favour by appearing on HQ, along with Harper's occasional backing band, 'Trigger' (Chris Spedding, Dave Cochran, Bill Bruford and John Paul Jones). The single "When an Old Cricketer Leaves the Crease", taken from HQ, is one of Harper's best known songs. Harper also co-wrote the song "Short and Sweet" with Gilmour for Gilmour's first solo record, David Gilmour, released in 1978.

Controversy followed the release of 1977's Bullinamingvase. The owners of Watford Gap service station objected to criticism of their food – "Watford Gap, Watford Gap/A plate of grease and a load of crap..." – in the lyrics of the song "Watford Gap". Harper was forced to drop it from future UK copies of the album, though it remained on the U.S. LP and reappeared on a later CD reissue. The album also featured the song "One of Those Days in England", with backing vocals by Paul McCartney and his wife at the time Linda; the single from the album went to number 42 in the UK charts. During this period, Harper's band were renamed 'Chips' and included Andy Roberts, Dave Lawson, Henry McCullough, John Halsey and Dave Cochran. In April 1978, Harper began writing lyrics for the next Led Zeppelin album with Jimmy Page, but the project was shelved when lead singer Robert Plant returned from a sabbatical after the death of his son, Karac Pendragon.

Following the success of Bullinamingvase, Harper was asked "to write another record quickly". Demo recordings with Harper's newly formed backing band 'Black Sheep' (Andy Roberts, Dave Lawson, Henry McCullough, John Halsey and Dave Cochran, a.k.a. Dave C. Drill).[19][20] were made, but Harper felt them to be rushed and the record company who "...were in the first stages of a collapse in sales..."[21] were not interested in the recordings, nor were they prepared to provide studio time when requested, telling Harper to come back in six months. As a result, Harper withheld the publishing rights to that which had been recorded; an album provisionally entitled Commercial Breaks (doesn't it?) and was (in his own words) "outlawed"[21] by the record company.

From 1975–1980 Harper worked with English musician and 'Black Sheep' member Andy Roberts sometimes performing as a duo. During this period, Harper spent considerable time in the United States and signed with the US division of Chrysalis Records, who released HQ with a different title – When an Old Cricketer Leaves the Crease – and with alternative artwork. Chrysalis considered the original Hipgnosis-designed album cover of Harper walking on water to be too offensive for an American release. Harper disagreed, but was given no choice by the label. Chrysalis also changed the title of Harper's next album, Bullinamingvase, to One of Those Days in England. In 1978, US Chrysalis reissued Harper's first five Harvest albums, only one of which (Flat, Baroque and Berserk) had been previously released in America.

Harper returned to the studio a few years after his dispute with EMI to record and prepare his next album The Unknown Soldier (1980). At the time, Harper knew it would be his last release on the label and it was these demos that "...were destined to gather dust on a shelf labelled 'Commercial Breaks'...".[21] (It was not until Harpers 1988 release Loony on the Bus that some of these songs became officially available, and another six years until the album was finally released as Commercial Breaks (1994)).

In 1980, Harper released The Unknown Soldier, which was indeed his final Harvest release. The album contains a duet with Kate Bush on the track "You". Harper later reciprocated by singing backing vocals on "Breathing", on Bush's album Never For Ever. During a BBC Radio interview by Paul Gambaccini, Bush praised Harper, stating:

Roy is one of the greatest English songwriters we've had, and people just don't realise it. And I really think that when they do we're going to have another top songwriter up there. He's brilliant.[22]

Of Bush, Harper later said,

Kate is a fantastic musician and very professional as well. Working with Kate is a very smooth operation because she always knows what she wants to do, surprising you too, which is what good musicians always do"[23]

A decade later, Harper and Bush would again collaborate on his 1990 release Once.

Recession and repossession (1981–89)[link]

Harper's 1982 album Work of Heart was released on Public Records, a newly-formed record label Harper created with Mark Thompson (son of English historian, socialist and peace campaigner E.P. Thompson and brother of Kate Thompson). During this period Harper toured with a band consisting of Tony Franklin on Bass, Bob Wilson of The Steve Gibbons Band, George Jackson on drums and Dave Morris on keyboards. The album was chosen by Derek Jewell of The Sunday Times as "Album of the Year" in 1982, but it did not sell well and the short-lived label went under.

During this period Harper lost his home, a farm in the village of Marden, Herefordshire, to the bank. His manager at the time mortgaged Harper's house (by virtue of the Power of Attorney Harper had granted him), pocketed the proceeds and disappeared to America.[24] Of this period Harper stated:-

...I can proudly say that I was one of the first casualties of the eighties recession!... It was a chaotic period and one that I don't care to remember that often... There is no doubt in my own mind that the early eighties were the nadir of my life in music".[25]

The original demo version of Work of Heart was later released (in 1984) on a limited edition (830 copies) vinyl release entitled Born in Captivity.

Throughout 1984, Harper toured the United Kingdom with Jimmy Page performing a predominantly acoustic set at folk festivals under various guises such as The MacGregors, and Themselves. In 1985, Whatever Happened to Jugula? was released. The album caused a resurgence of interest in Harper and his music. (Tony Franklin, bass player in Harper's group at this time, would later join Page in The Firm). In April 1984, Harper and Gilmour performed "Short and Sweet" (a song they co-wrote) during Gilmour's three-night run at The Hammersmith Odeon. This version later appeared on the David Gilmour Live 1984 concert film. Harper also provided backing vocals on Gilmour's newly released album, About Face.

On 20 June 1984 Harper performed at the last Stonehenge Free Festival along with Hawkwind and The Enid. The concert was videoed and released as Stonehenge 84.

As a result of Harpers continual touring and the popularity of Whatever Happened to Jugula?, Harper re-signed to EMI and in 1986 released a live album, In Between Every Line (containing recordings from his performances at the Cambridge Folk Festival), and in 1988 the studio album, Descendants of Smith. The renewed relationship between Harper and EMI did not last and from 1985 more of his earlier albums were becoming available on the newly formed Awareness Records label.

1988 also saw the release of Loony on the Bus, a collection of tracks recorded a decade earlier and intended for release in 1977 as Commercial Breaks (with the sub-title, 'doesn't it?'). The original release having been held back because of disputes over funding and content between Harper and EMI. Sales of Loony on the Bus would fund Harper's 1990 release; Once.[26]

Science Friction (1990–99)[link]

In 1993[27] Harper established his own record label Science Friction and obtained the rights to all his previously released albums. As a result, from 1994 much of Harper's back catalogue became available on CD once more.

Harper was very productive during the decade, releasing five studio albums: Once (1990), Death or Glory? (1992), Commercial Breaks (1994), The Dream Society (1998), a collection of poetry and spoken word tracks Poems, Speeches, Thoughts and Doodles (1997); two live albums: Unhinged (1993) and Live At Les Cousins (1996), and six individual CDs of live concerts and sessions recorded by the BBC (1997).

In addition, Harper released a live video Once (1990), an EP Burn the World (1990), a 4-track CD single Death or Glory? (1992), a limited edition live cassette Born in Captivity II (1992) (featuring cricketer Graeme Fowler and a cricket poem written by Harper: "Three Hundred Words"), a compilation album An Introduction to ..... (1994), and a reissue of Descendants of Smith (his 1988 release) renamed Garden of Uranium (1994).

Once again Harper collaborated with David Gilmour and Kate Bush on his 1990 release, Once. The album also featured contributions from Nigel Mazlyn Jones, a fellow English guitarist, singer and songwriter. In 1992, his marriage to his wife Jacqui ended and Harper released Death or Glory? an album that contains a number of songs and spoken word pieces that reference his loss and pain.

Throughout the decade, Harper's musical influence began to be recognised by a younger generation of musicians, some of whom covered his songs or invited him to make guest appearances on their albums. In 1995 Harper contributed spoken words on The Tea Party's 1995 album The Edges of Twilight, and appeared on stage for their New Year concert in Montreal. In 1996 Roy recited "Bad Speech" from his album Whatever Happened to Jugula? on Anathemas album Eternity (the album also contains a cover version of "Hope" from the same album). The track "Time" from The Tea Party's 1996 multimedia CD, Alhambra, was sung and co-written by Harper.

Harper contributed his version of Jethro Tull's song, "Up the 'Pool" (from Living in the Past) for the 1996 tribute album, To Cry You A Song - A Collection Of Tull Tales, a version Anderson liked so much, he began to perform the "forgotten piece" again in concert.[28]

In 1998, Jethro Tull singer Ian Anderson contributed flute to the song, "These Fifty Years" on Harper's The Dream Society, an album based on emotional, philosophical and actual events in Harper's life.[29] Views of procreation, his mother's continued presence in him and something of his psychological impulses are punctuated by a couple of moments of satire,[30] a love song and a lament, followed by the lengthy "These Fifty years", of which he has said, "In some ways its (anti-organised religion) theme is similar to 'The Same Old Rock', but in many others I think it's stronger".[31] Reportedly, Anderson said that the only reason he originally left Blackpool was because Harper did.[32] Other artists who covered Harper's songs (or songs on his albums) throughout the decade include Dean Carter, Ava Cherry & The Astronettes, Green Crown, The Kitchen Cynics, The Levellers, Roydan Styles and Pete Townshend.[33] Harper also undertook a short tour of the USA, where some performances were supported by Daevid Allen, former Soft Machine and Gong band member.

Into a new millennium (2000–2010)[link]

In 2000, Harper released an almost entirely acoustic album, The Green Man, accompanied by The Tea Party's Jeff Martin on guitar, hurdy gurdy and numerous other instruments. The following year (2001) Harper celebrated his 60th birthday with a concert at London's Royal Festival Hall. Harper was joined by numerous guest artists, including David Bedford, Nick Harper, Jeff Martin and John Renbourn. A recording of the concert Royal Festival Hall Live – June 10th 2001 was released as a double CD shortly afterwards.

In 2003, Harper published The Passions of Great Fortune, a large format book containing all the lyrics to his albums (and singles) to date, which also included a wealth of photographs and commentary on his songs.

In April 2005, Harper released a lengthy CD single, The Death of God. The 13 minute song, a critique of the war in Iraq, featured guest guitarist Matt Churchill, who has also joined Harper on stage at his live performances. A video of this song, intermixing animation with a live performance, is available in four parts on YouTube. The same year saw the release of Counter Culture, a double compilation album featuring songs from a 35-year songwriting period. Counter Culture received a five-star review from UNCUT magazine. Harper also contributed a recital of "Jabberwocky" for The Wildlife Album, an 18-track compilation CD to benefit the World Wide Fund For Nature and the Ulster Wildlife Trust.

Performing at the Palace Theatre, Manchester, 18 September 2010

2006 saw Harper release his first DVD, Beyond the Door. Composed of live footage recorded in 2004 at Irish folk club "De Barra's" in Clonakilty, Cork, the package includes an additional 10-track audio CD and received a 4-star review from both Mojo and UNCUT, as well as from Classic Rock magazine, who made it their "DVD of the month".

In September 2007, Harper supported Californian harpist Joanna Newsom at her Royal Albert Hall performance. Newsom had been impressed by Harper's 1971 album Stormcock, and it served as an inspiration for her second album, Ys.[6] During his Royal Albert Hall appearance with Newsom, Harper played Stormcock in its entirety. At the time, Harper made an announcement on his website that he was "...taking a break from the live scene... retired from gigging..." and just wanted "...the time and space to write..."[34]

During this period, Harper dedicated his time to collecting and compiling his life's work in various formats. One of the intended projects was to be the making of a documentary DVD to round off this process.[32]

In 2008, plans were announced for a Roy Harper tribute album. The album, All You Need is What You Have (named after songs on Harper's 1969 release Come Out Fighting Ghengis Smith), is being compiled by Laurel Canyon folk singer Jonathan Wilson, and features Chris Robinson (The Black Crowes), Gary Louris (The Jayhawks), Johnathan Rice, Eric Johnson (Fruit Bats, The Shins), Benji Hughes and others. At present, the collection remains unfinished, having been delayed beyond its planned 2009 release date. Some of the tracks can be heard on the project's Myspace page.[35]

In 2010, Newsom once again invited Harper to be special guest for her on several of her European Tour Dates.[36][37] Plans for Harper to star in the film Rebel City Rumble[38][39] were also announced.[40]

2011 onwards[link]

On 2 April 2011, Roy Harper played a concert for a small audience at Metropolis Studios as part of the ITV Legends series.[41] The concert was recorded on video and released on DVD as Classic Rock Legends: Roy Harper.[42]

Through the summer of 2011, Harper made a number of appearances on broadcast media. On 24 July 2011, Harper appeared as the lunchtime guest on the British cricketing radio programme, Test Match Special. During the show Harper was interviewed and also performed "When An Old Cricketer Leaves The Crease". A televised interview followed on BBC Breakfast on the 19 September 2011, and Harper was also interviewed by Robert Elms on his BBC London 94.9 show on the 20 September 2011. During the show, Harper performed "Another Day", (a song from his 1970 album Flat Baroque and Berserk) live in the studio. A further interview took place on Mike Hardings BBC Radio 2 show on the 21 September 2011.

On 23 September Harper was interviewed on Later... with Jools Holland. A segment of Harper performing "Commune" (from his 1974 album Valentine) on the The Old Grey Whistle Test in 1974 was shown. Harper performed "Another Day", an abbreviated version of "I Hate The White Man" (from his 1970 album Flat Baroque and Berserk) and "The Green Man" (as part of a web exclusive performance).

The media appearances were to promote the release of a new compilation album, Songs of Love and Loss, a compilation of Harper's love songs released as an introduction to the digital release of 19 of Harper's albums for the first time. The digital catalogue is to be released in batches of four in the coming months. The album (and most of Harper's back catalogue) is also available to download on Harper's website in FLAC and MP3 formats.[43][44]

On 5 November 2011 Harper returned to London's Royal Festival Hall to celebrate his 70th birthday and perform once again with special guests Jonathan Wilson, Nick Harper, Joanna Newsom and Jimmy Page. The performance was described in the media as "...an evening of devastating musical brilliance..."[45] and an "...historic concert".[46]

Awards[link]

HQ was awarded Record of the Year in Portugal in 1975. That year Harper also received a similar award in Finland for the same record.

Work of Heart was awarded The Sunday Times Album of the Year in 1982.

Harper was awarded the MOJO Hero Award[47] by the staff of Mojo magazine on 16 June 2005 at the Porchester Hall, Central London. The award itself was presented by long time collaborator and friend, Jimmy Page and now hangs upon the wall at De Barras Folk Club in Clonakilty, Ireland.

Nick Harper[link]

One of Roy's sons, Nick Harper, is a successful singer / songwriter in his own right. In the past, Nick occasionally toured and recorded with Roy, and has appeared (as guitarist) on a number of his albums since 1985.

Discography[link]

Studio albums[link]

Live albums[link]

Compilations[link]

Reissues and remixes[link]

Collaborations[link]

Singles / 12" Singles / EPs[link]

Downloads[link]

Bootlegs[link]

Videography[link]

Filmography[link]

Bibliography[link]

References[link]

  1. ^ 1994 Roy Harper Interview. Dirtylinen.com (8 April 2011). Retrieved on 5 August 2011.
  2. ^ 2011 Roy Harper Interview. Clashmusic.com (22 September 2011). Retrieved on 22 September 2011
  3. ^ Roy Harper Feature and interview. Gadflyonline.com (2001). Retrieved on 6 December 2011
  4. ^ 2011 Roy Harper interview Guardian.co.uk Retrieved 9 December 2011
  5. ^ Roy Harper Ian Anderson's primary musical influence
  6. ^ a b Kelly, Jennifer (20 October 2008). "Hats Off: An Interview with Roy Harper". Pop Matters. http://www.popmatters.com/pm/feature/64093/hats-off-an-interview-with-roy-harper/. Retrieved 20 October 2008. 
  7. ^ 1994 Harper interview
  8. ^ a b http://www.mojo4music.com/blog/2011/10/bert_jansch_a_tribute.html Roy Harper's tribute to Bert Jansch
  9. ^ a b 2008 Roy Harper interview. Popmatters.com. Retrieved on 9 December 2011.
  10. ^ British Pathe news reel footage of 1968 Hyde Park concert. Britishpathe.com. Retrieved on 5 August 2011.
  11. ^ a b Mabbett, Andy (January/February 1995). "Just Like Starting Over". Brum Beat (Birmingham, England) (168): 17. http://musicnaut.iki.fi/musicnaut/royharper/articles/brum_beat.html. 
  12. ^ Live performances 1965–1969
  13. ^ 1994 Roy Harper Interview
  14. ^ Signing with Harvest Records 1969
  15. ^ Artist Biographies
  16. ^ Peter Jenner Quote. Folkblues.co.uk. Retrieved on 5 August 2011.
  17. ^ 2011 Roy Harper interview
  18. ^ Arts Guardian. Arts Guardian. Retrieved on 5 August 2011.
  19. ^ Andy Roberts recollects working with Roy Harper
  20. ^ Black Sheep – Roy Harpers band
  21. ^ a b c How Commercial Breaks came to remain unreleased
  22. ^ Kate Bush radio interview 1980 (praise for Harper)
  23. ^ Behind the enigma of Kate Bush, BBC News website
  24. ^ Memoirs of a Sound Engineer
  25. ^ Roy Harper Official Site
  26. ^ Commercial Breaks / Loony on the Bus Release details from artists website
  27. ^ Date of Establishment
  28. ^ 2006 Interview with Ian Anderson
  29. ^ Transcription of GLR (Radio) Interview 1998
  30. ^ The Autobiographical nature of The Dream Society. Mojo album review, July 1998
  31. ^ Roy Harper; Science Friction Ltd (1 September 2003). Passions of Great Fortune: Roy Harper T. Science Friction Ltd. p. 277. ISBN 978-0-9545264-0-5. http://books.google.com/books?id=e0LLNwAACAAJ. Retrieved 15 November 2011. 
  32. ^ a b Roy Harper Official Site
  33. ^ Roy Harper Fan Site. Musicnaut.iki.fi. Retrieved on 5 August 2011.
  34. ^ Roy Harper Fan Site
  35. ^ Cover artists Myspace page. Myspace.com. Retrieved on 5 August 2011.
  36. ^ Tours. Drag City. Retrieved on 5 August 2011.
  37. ^ Roy Harper Live. Royharper.co.uk. Retrieved on 5 August 2011.
  38. ^ Rebel City Rumble. Rebel City Rumble. Retrieved on 5 August 2011.
  39. ^ a b Rebel City Rumble (2011) – IMDb
  40. ^ McErlean & Harper Ready For 'Rebel City Rumble' | The Irish Film & Television Network. Iftn.ie. Retrieved on 5 August 2011.
  41. ^ "Roy Harper Signs Up For ITV Gig". Planet Rock. 18 January 2011. http://www.planetrock.com/news/rock-news/roy-harper-signs-up-for-itv-gig-1345/. Retrieved 7 August 2011. 
  42. ^ Rock Legends: Roy Harper (DVD 2011) Amazon.co.uk Retrieved on 8 August 2011
  43. ^ New compilation release news 2011
  44. ^ New compilation release news 2011
  45. ^ McNulty, Bernadette (7 November 2011). "Roy Harper at the Festival Hall, 2011". London: www.telegraph.co.uk. http://www.telegraph.co.uk/culture/music/live-music-reviews/8873976/Roy-Harper-Festival-Hall-review.html. Retrieved 9 November 2011. 
  46. ^ Denselow, Robin (8 November 2011). "Roy Harper at the Festival Hall, 2011". London: www.guardian.co.uk. http://www.guardian.co.uk/music/2011/nov/07/roy-harper-review?newsfeed=true. Retrieved 9 November 2011. 
  47. ^ Mojo Honours List 2005
  48. ^ YouTube short movie starring Roy Harper. Youtube.com (22 April 2009). Retrieved on 5 August 2011.
  49. ^ Brokeback Cowboy (2009) – IMDb

External links[link]

http://wn.com/Roy_Harper

Related pages:

http://ru.wn.com/Харпер, Рой




This page contains text from Wikipedia, the Free Encyclopedia - http://en.wikipedia.org/wiki/Roy_Harper

This article is licensed under the Creative Commons Attribution-ShareAlike 3.0 Unported License, which means that you can copy and modify it as long as the entire work (including additions) remains under this license.


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