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None of us had any idea they would be where they are in the music's development. Ron Carter On being a member of Davis's seminal "Second Great Quintet," from 1963-1968. I was so happy to be with him, to have an opportunity to work with him and know him and hang out, what a marvelous gift.Īnd when Miles told me it was time I formed my own group, since he was the most honest man I ever met, I took him at his word. N every way, just to be with him as a lad. There was never ambiguity, "it has to go like this." You always know exactly where you are, this is the best place to be. He's brutal in terms of getting your thing together. He would ask me, 'Are you reading'? It was really special, in addition to the colossal debt I have musicallyI wouldn't be where I am today, not at all. He made sure I was eating, he took care of me, gave me money without asking when we were scuffling along. John McLaughlin On working with Davis from In a Silent Way (1969, Columbia) to 1985-recorded Aura (1989, Columbia). So to mark the looming 30th anniversary of his death, here are selected excerpts of my treasured encounters with some of Miles's Men. (The late Steve Grossman and Michel Legrand both also once hung up on me, and I've managed to score backstage handshakes with Al Foster and Marcus Miller, but who's keeping score?). Over the past 12 years, I've been fortunate enough to interview at least nine musicians (for All About Jazz, Time Out Dubai and Eastern Daily Press) who once shared a stage with Davisfrom treasured '60s pioneers Herbie Hancock and Ron Carter to fusion trailblazer (and personal hero) John McLaughlin, and a certain former trumpet rival who later coaxed Miles to the stage for his final concert, Quincy Jonesand I've naturally never shied away from asking the questions I most wanted answering. But I have embraced every opportunity I've had to learn more about how it was madeespecially when it has come to encountering its living embodiment, in the dozens of musicians he worked with, invariably still channeling Miles's restless spirit today. I was six years old when Miles Davis passed away, on September 28, 1991, and never had the chance to see him perform live or engage with his work in the climate that bore it. It feels almost inevitable that Miles served as my gateway to improvised music, and yet more than two decades later, there's still no body of work that fascinates me morestranded on a desert island for the rest of my days, I like to think I'd be at least somewhat content with access to nothing but his formidable four-decade discography, a sure source of inspiration, enlivenment and confoundment for any expanse of solitude to come. Thirty years after his death, Miles's legacy, innovations and iconography continue to shape contemporary conceptions of the art form more than any other figurehis life and lessons simultaneously a road map, Holy Grail and high water mark combined. Like nearly every other jazz fan on the planet, I've long held an unshakeable fascination with the music of Miles Davis.