Miles Davis Breaks for a Smoke

Hold On ◽  
2020 ◽  
pp. 119-147
Author(s):  
Peter Toohey
Keyword(s):  

This chapter will be about pausing—it will focus mostly on waiting in performance and how this strategy can benefit the performance, and how as well it can benefit an audience’s experience of the performance—and how the power of the pausing can engender pleasure in the listeners. Pausing looks to the resumption of activity and is a period of waiting that takes place within, and sometimes at the beginning of some longer activity. This sort of pausing is also characterized by anticipation. That’s something the performer may feel, but it’s something that the audience seem to feel just as much, sometimes even more. This sort of a pause is a very exciting experience for the listener and the viewer, in music, in speaking, and in art.

Notes ◽  
1985 ◽  
Vol 42 (1) ◽  
pp. 60
Author(s):  
Tim Hunt ◽  
Jack Chambers
Keyword(s):  

2004 ◽  
pp. 201-218
Author(s):  
Larry Kart
Keyword(s):  

Author(s):  
Victor Svorinich

Using new commentary from the people behind the lens blended with revealing photographs, this chapter examines the visual narrative of Bitches Brew. Although the sessions were never shot, Miles Davis was photographed just about everywhere else at the time, whether it was on stage, at home, at the gym, or driving around New York in his Ferrari. Despite his shy and difficult demeanor, Davis had a warm and sincere relationship with the camera and the people behind it. These photographers were not only able to document this period in Davis’s life, but were also able to unveil a whole other side of him.


Author(s):  
Victor Svorinich

This chapter examines the preparations Miles Davis took to record Bitches Brew. Davis was obsessed with getting the right musicians and instrumentation. As a result, his final roster was mainly comprised of musicians who had limited, to no experience working with him. Bitches Brew is a study in spontaneity. Davis had no interest in exhaustive rehearsing since it would only limit his scope. There was hardly anything even written down. Most of the work was recorded in small sections, and studio playbacks of the material were at a strict minimum. His directions were minimal, essentially leaving his young players in the dark for three days. After the sessions, the musicians had mixed feelings about the experience. But after hearing the finished material, they discovered something transcendent.


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