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{{Short description|American jazz trumpeter, bandleader and composer (1926–1991)}}
{{Use mdy dates|date=September 2024}}
{{Use American English|date=December 2023}}
{{Infobox musical artist
| name              = Miles Davis
| image             = File:Miles Davis by Palumbo cropped.jpg
| caption           = Davis in 1956
| birth_name        = Miles Dewey Davis III
| birth_date        = {{Birth date|1926|5|26}}
| birth_place       = [[Alton, Illinois]], U.S.
| death_date        = {{nowrap|{{Death date and age|1991|9|28|1926|5|26}}}}
| death_place       = [[Santa Monica, California]], U.S.
| education         = [[Juilliard School]] (no degree)
| genre             = <!-- As per Template:Infobox musical artist#genre, "Aim for generality (e.g. [[Hip hop]] rather than [[East Coast hip hop]])" -->
{{flatlist|
* [[Jazz]]
* [[bebop]]
* [[modal jazz]]
* [[Classical music|classical]] 
* [[third stream]]
* {{nowrap|[[jazz fusion]]}}
* [[Rock music|rock]]
* [[funk]]
}}
| discography       = [[Miles Davis discography]]
| occupation        = {{flatlist|
* Musician
* bandleader
* composer
}}
| instrument        = {{flatlist|
* Trumpet
* [[flugelhorn]]
* [[cornet]]
* piano
* [[electric organ]]
}}
| years_active      = {{flatlist|
* 1944–1975; 1979–1991
}}
| label             = {{flatlist|
* [[Capitol Records|Capitol]]
* [[Prestige Records|Prestige]]
* [[Columbia Records|Columbia]]
* [[Fontana Records|Fontana]]
* [[Warner Bros. Records|Warner Bros.]]
}}
| past_member_of    = {{flatlist|
* [[Charlie Parker's Savoy and Dial sessions|Charlie Parker Quintet]]     
* [[Birth of the Cool|Birth of the Cool band]]
* [[Miles Davis Quintet]]
}}
| spouse            = {{ubl|{{marriage|[[Frances Taylor Davis|Frances Taylor]]|1959|1968|reason=divorce}}|{{marriage|[[Betty Mabry]]|1968|1969|reason=divorce}}|{{marriage|[[Cicely Tyson]]|1981|1989|reason=divorce}}}}
| website           = {{URL|https://milesdavis.com}}
}}

'''Miles Dewey Davis III''' (May 26, 1926{{spaced ndash}}September 28, 1991) was an American trumpeter, bandleader and composer. He is among the most influential and acclaimed figures in the history of [[jazz]] and [[20th-century music]]. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in genres such as jazz, classical, and experimental music.<ref name="allmusic"/>

Born into an upper-middle-class<ref>{{Cite news |last=Agovino |first=Michael J. |date=March 11, 2016 |title=The Ensembles of Miles Davis Epitomized Cool |url=https://www.nytimes.com/2016/03/13/fashion/mens-style/miles-davis-style-icon.html |access-date=February 12, 2024 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> family in [[Alton, Illinois]], and raised in [[East St. Louis]], Davis started on the trumpet in his early teens. He left to study at [[Juilliard]] in New York City, before dropping out and making his professional debut as a member of saxophonist [[Charlie Parker]]'s [[bebop]] quintet from 1944 to 1948. Shortly after, he recorded the ''[[Birth of the Cool]]'' sessions for [[Capitol Records]], which were instrumental to the development of [[cool jazz]]. In the early 1950s, while addicted to heroin, Davis recorded some of the earliest [[hard bop]] music under [[Prestige Records]]. After a widely acclaimed comeback performance at the [[Newport Jazz Festival]], he signed a long-term contract with [[Columbia Records]], and recorded the album ''[['Round About Midnight]]'' in 1955.{{sfn|Yanow|2005|p=176}} It was his first work with saxophonist [[John Coltrane]] and bassist [[Paul Chambers]], key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger [[Gil Evans]], such as the [[Music of Spain|Spanish music]]–influenced ''[[Sketches of Spain]]'' (1960), and band recordings, such as ''[[Milestones (Miles Davis album)|Milestones]]'' (1958) and ''[[Kind of Blue]]'' (1959).<ref name="aar"/> The latter recording remains one of the most popular jazz albums of all time,{{sfn|McCurdy|2004|p=61}} having sold over five million copies in the U.S.

Davis made several lineup changes while recording ''[[Someday My Prince Will Come (Miles Davis album)|Someday My Prince Will Come]]'' (1961), his [[In Person Friday and Saturday Nights at the Blackhawk, Complete|1961 Blackhawk concerts]], and ''[[Seven Steps to Heaven]]'' (1963), another commercial success that introduced bassist [[Ron Carter]], pianist [[Herbie Hancock]] and drummer [[Tony Williams (drummer)|Tony Williams]].<ref name="aar"/> After adding saxophonist [[Wayne Shorter]] to his new quintet in 1964,<ref name="aar">{{cite web|url=http://www.aaregistry.org/historic_events/view/miles-davis-innovative-influential-and-respected-jazz-legend|title=Miles Davis, innovative, influential, and respected jazz legend|publisher=African American Registry|access-date=June 11, 2016|archive-url=https://web.archive.org/web/20160809095005/http://www.aaregistry.org/historic_events/view/miles-davis-innovative-influential-and-respected-jazz-legend|archive-date=August 9, 2016|url-status=live}}</ref> Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the [[post-bop]] genre with albums such as ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965) and ''[[Miles Smiles]]'' (1967),<ref>{{cite web|last=Bailey|first=C. Michael|date=April 11, 2008|url=https://www.allaboutjazz.com/miles-davis-miles-smiles-and-the-invention-of-post-bop-by-c-michael-bailey.php|title=Miles Davis, Miles Smiles, and the Invention of Post Bop|work=[[All About Jazz]]|access-date=June 20, 2016|archive-url=https://web.archive.org/web/20160608090419/https://www.allaboutjazz.com/miles-davis-miles-smiles-and-the-invention-of-post-bop-by-c-michael-bailey.php|archive-date=June 8, 2016|url-status=live}}</ref> before transitioning into his electric period. During the 1970s, he experimented with rock, funk, [[African rhythms]], emerging [[electronic music technology]], and an ever-changing lineup of musicians, including keyboardist [[Joe Zawinul]], drummer [[Al Foster]], bassist [[Michael Henderson]] and guitarist [[John McLaughlin (musician)|John McLaughlin]].{{sfn|Freeman|2005|pp=9–11, 155–156}} This period, beginning with Davis's 1969 studio album ''[[In a Silent Way]]'' and concluding with the 1975 concert recording ''[[Agharta (album)|Agharta]]'', was the most controversial in his career, alienating and challenging many in jazz.<ref>{{harvnb|Christgau|1997}}; {{harvnb|Freeman|2005|pp=10–11, back cover}}</ref> His million-selling 1970 record ''[[Bitches Brew]]'' helped spark a resurgence in the genre's commercial popularity with [[jazz fusion]] as the decade progressed.<ref>{{cite magazine|last=Segell|first=Michael|date=December 28, 1978|url=https://www.rollingstone.com/music/features/the-children-of-bitches-brew-19781228|title=The Children of 'Bitches Brew'|magazine=[[Rolling Stone]]|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160614211236/http://www.rollingstone.com/music/features/the-children-of-bitches-brew-19781228|archive-date=June 14, 2016|url-status=live}}</ref>

After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and [[popular music|pop]] sounds on albums such as ''[[The Man with the Horn]]'' (1981), ''[[You're Under Arrest (Miles Davis album)|You're Under Arrest]]'' (1985) and ''[[Tutu (album)|Tutu]]'' (1986). Critics were often unreceptive but the decade garnered Davis his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film and television work, before his death in 1991 from the combined effects of a stroke, [[pneumonia]] and [[respiratory failure]].<ref name="rsbio"/> In 2006, Davis was inducted into the [[Rock and Roll Hall of Fame]],<ref name="Miles Davis"/> which recognized him as "one of the key figures in the history of jazz".<ref name="Miles Davis"/> ''[[Rolling Stone]]'' described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century,"<ref name="rsbio">{{cite magazine|last=Macnie|first=Jim|title=Miles Davis Biography|url=https://www.rollingstone.com/music/artists/miles-davis/biography|magazine=[[Rolling Stone]]|access-date=June 11, 2016|archive-url=https://web.archive.org/web/20170809154510/http://www.rollingstone.com/music/artists/miles-davis/biography|archive-date=August 9, 2017|url-status=dead}}</ref> while [[Gerald Early]] called him inarguably one of the most influential and innovative musicians of that period.<ref>{{cite book |last=Gerald Lyn |first=Early |author-link=Gerald Early |url=https://archive.org/details/isbn_9781883982270/page/205 |title=Ain't But a Place: an anthology of African American writings about St. Louis |publisher=[[Missouri History Museum]] |year=1998 |isbn=1-883982-28-6 |page=[https://archive.org/details/isbn_9781883982270/page/205 205]}}</ref>

==Early life==
Davis was born on May 26, 1926, to an affluent [[African-American]] family in [[Alton, Illinois|Alton]], Illinois, {{convert|15|mi|abbr=off|sp=us}} north of [[St. Louis]].{{sfn|Cook|2007|p=9}}{{sfn|Early|2001|p=209}} He had an older sister, Dorothy Mae (1925–1996) and a younger brother, Vernon (1929–1999). His mother, Cleota Mae Henry of [[Arkansas]], was a music teacher and violinist, and his father, [[Miles Dewey Davis Jr.]], also of Arkansas, was a dentist. They owned a {{convert|200|acre|adj=on}} estate near [[Pine Bluff]], Arkansas, with a profitable pig farm. In Pine Bluff, he and his siblings fished, hunted, and rode horses.{{sfn|''The Complete Illustrated History''|2007|p=17}}{{sfn|Orr|2012|p=11}} Davis's grandparents were the owners of an Arkansas farm where he would spend many summers.{{sfn|Warner|2014}}

In 1927, the family moved to [[East St. Louis, Illinois]]. They lived on the second floor of a commercial building behind a dental office in a predominantly white neighborhood. Davis's father would soon become distant to his children as the [[Great Depression]] caused him to become increasingly consumed by his job, typically working six days a week.{{sfn|Warner|2014}} From 1932 to 1934, Davis attended John Robinson Elementary School, an all-black school,{{sfn|Early|2001|p=209}} then Crispus Attucks, where he performed well in mathematics, music and sports.{{sfn|Orr|2012|p=11}} Davis had previously attended Catholic school.{{sfn|Warner|2014}} At an early age he liked music, especially blues, big bands and gospel.{{sfn|''The Complete Illustrated History''|2007|p=17}}

[[File:MilesDavisYouthHouse.EastStLouis.17thStreetandKansasAvenue.3.jpg|thumb|The house at 1701 Kansas Avenue in East St. Louis, Illinois, where Davis lived from 1939 to 1944]]

In 1935, Davis received his first trumpet as a gift from John Eubanks, a friend of his father.{{sfn|Early|2001|p=210}} He then took weekly lessons from "the biggest influence on my life", [[Elwood Buchanan]], a teacher and musician who was a patient of his father.{{sfn|Cook|2007|p=9}}<ref name=":10">{{Cite web|title=A life in pictures: Miles Davis – Reader's Digest|url=https://www.readersdigest.co.uk/culture/music/a-life-in-pictures-miles-davis|access-date=June 29, 2020|website=[[Reader's Digest]]|language=en}}</ref> His mother wanted him to play the violin instead.{{sfn|''The Complete Illustrated History''|2007|p=19}} Against the fashion of the time, Buchanan stressed the importance of playing without [[vibrato]] and encouraged him to use a clear, mid-range tone. Davis said that whenever he started playing with heavy vibrato, Buchanan slapped his knuckles.{{sfn|Cook|2007|p=9}}{{sfn|''The Complete Illustrated History''|2007|p=19}}{{sfn|Davis|Troupe|1989|p=32}} In later years Davis said, "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."{{sfn|Kahn|2001a}} The family soon moved to 1701 Kansas Avenue in East St. Louis.{{sfn|Warner|2014}}

In his autobiography, Davis stated, "By the age of 12, music had become the most important thing in my life."<ref name=":10"/> On his thirteenth birthday his father bought him a new trumpet,{{sfn|Early|2001|p=210}} and Davis began to play in local bands. He took additional trumpet lessons from Joseph Gustat, principal trumpeter of the [[St. Louis Symphony Orchestra]].{{sfn|Early|2001|p=210}} Davis would also play the trumpet in talent shows he and his siblings would put on.{{sfn|Warner|2014}}

In 1941, the 15-year-old attended [[East St. Louis Lincoln High School]], where he joined the marching band directed by Buchanan and entered music competitions. Years later, Davis said that he was discriminated against in these competitions due to his race, but he added that these experiences made him a better musician.{{sfn|Orr|2012|p=11}} When a drummer asked him to play a certain passage of music, and he could not do it, he began to learn [[music theory]]. "I went and got everything, every book I could get to learn about theory."{{sfn|''The Complete Illustrated History''|2007|p=23}} At Lincoln, Davis met his first girlfriend, Irene Birth (later Cawthon).{{sfn|Morton|2005|p=10}} He had a band that performed at the Elks Club.<ref name="Arons">{{cite web|last=Arons|first=Rachel|title=Slide Show: American Public Libraries Great and Small|url=http://www.grahamfoundation.org/system/grants/press/284/original/Dawson_MediaCov_NewYorker_20140321.pdf|website=Graham Foundation|access-date=May 8, 2018|page=5|date=March 21, 2014|archive-url=https://web.archive.org/web/20180509013353/http://www.grahamfoundation.org/system/grants/press/284/original/Dawson_MediaCov_NewYorker_20140321.pdf|archive-date=May 9, 2018|url-status=live}}</ref> Part of his earnings paid for his sister's education at [[Fisk University]].{{sfn|Early|2001|p=211}} Davis befriended trumpeter [[Clark Terry]], who suggested he play without vibrato, and performed with him for several years.{{sfn|Early|2001|p=210}}{{sfn|Early|2001|p=211}}

With encouragement from his teacher and girlfriend, Davis filled a vacant spot in the [[Rhumboogie Café|Rhumboogie Orchestra]], also known as the Blue Devils, led by Eddie Randle. He became the band's musical director, which involved hiring musicians and scheduling rehearsal.{{sfn|Early|2001|p=211}}{{sfn|Orr|2012|p=12}} Years later, Davis considered this job one of the most important of his career.{{sfn|''The Complete Illustrated History''|2007|p=23}} [[Sonny Stitt]] tried to persuade him to join the [[Tiny Bradshaw]] band, which was passing through town, but his mother insisted he finish high school before going on tour. He said later, "I didn't talk to her for two weeks. And I didn't go with the band either."{{sfn|Orr|2012|p=13}} In January 1944, Davis finished high school and graduated in absentia in June. During the next month, his girlfriend gave birth to a daughter, Cheryl.{{sfn|Early|2001|p=211}}

In July 1944, [[Billy Eckstine]] visited St. Louis with a band that included [[Art Blakey]], [[Dizzy Gillespie]] and [[Charlie Parker]]. Trumpeter Buddy Anderson was too sick to perform,{{sfn|Cook|2007|p=9}} so Davis was invited to join. He played with the band for two weeks at [[Club Riviera]].{{sfn|Early|2001|p=211}}{{sfn|Cook|2007|p=10}} After playing with these musicians, he was certain he should move to New York City, "where the action was".{{sfn|''The Complete Illustrated History''|2007|p=29}} His mother wanted him to go to Fisk University, like his sister, and study piano or violin. Davis had other interests.{{sfn|Orr|2012|p=13}}

== Career ==
===1944–1948: New York City and the bebop years===
[[File:Charlie Parker, Tommy Potter, Miles Davis, Duke Jordan, Max Roach (Gottlieb 06851).jpg|thumb|left|[[Tommy Potter]], [[Charlie Parker]], [[Max Roach]], Miles Davis and [[Duke Jordan]] in August 1947]]
In September 1944, Davis accepted his father's idea of studying at the [[Juilliard School of Music]] in New York City.{{sfn|Early|2001|p=211}} After passing the audition, he attended classes in music theory, piano and dictation.{{sfn|''The Complete Illustrated History''|2007|p=32}} Davis often skipped his classes.<ref name=":1">{{Cite web| date=May 22, 2020 |title= Miles Davis |url=https://www.britannica.com/biography/Miles-Davis|url-status=live|archive-url= https://web.archive.org/web/20200526203028/https://www.britannica.com/biography/Miles-Davis|archive-date=May 26, 2020|access-date=June 22, 2020 |website= [[Encyclopædia Britannica]]|language=en}}</ref>

Much of Davis's time was spent in clubs seeking his idol, Charlie Parker. According to Davis, [[Coleman Hawkins]] told him "finish your studies at Juilliard and forget Bird [Parker]".{{sfn|Cook|2007|p=10}}{{sfn|Davis|Troupe|1989|p=56}} After finding Parker, he joined a cadre of regulars at [[Minton's]] and [[Monroe's]] in Harlem who held jam sessions every night. The other regulars included [[J. J. Johnson]], [[Kenny Clarke]], [[Thelonious Monk]], [[Fats Navarro]] and [[Freddie Webster]]. Davis reunited with Irene and their daughter Cheryl when they moved to New York City. Parker became a roommate.{{sfn|Early|2001|p=211}}{{sfn|Cook|2007|p=10}} Around this time Davis was paid an allowance of $40 ({{Inflation|US|40|1944|r=-1|fmt=eq}}{{Inflation/fn|US}}).<ref name=":12"/>

In mid-1945, Davis failed to register for the year's autumn term at Juilliard and dropped out after three semesters{{sfn|''The Complete Illustrated History''|2007|p=17}}{{sfn|Early|2001|p=211}}{{sfn|Early|2001|p=38}} because he wanted to perform full-time.{{sfn|Early|2001|p=68}} Years later he criticized Juilliard for concentrating too much on classical European and "white" repertoire, but he praised the school for teaching him music theory and improving his trumpet technique.

Davis began performing at clubs on 52nd Street with Coleman Hawkins and [[Eddie "Lockjaw" Davis]]. He recorded for the first time on April 24, 1945, when he entered the studio as a sideman for [[Herbie Fields]]'s band.{{sfn|Early|2001|p=211}}{{sfn|Cook|2007|p=10}} During the next year, he recorded as a leader for the first time with the Miles Davis Sextet plus [[Earl Coleman (singer)|Earl Coleman]] and [[Ann Baker (singer)|Ann Baker]], one of the few times he accompanied a singer.<ref>{{cite web |url=http://www.plosin.com/milesAhead/Sessions.aspx?s=461018 |title=See the Plosin session database |publisher=Plosin.com |date=October 18, 1946 |access-date=July 18, 2011 |archive-url=https://web.archive.org/web/20110511133707/http://www.plosin.com/milesAhead/Sessions.aspx?s=461018 |archive-date=May 11, 2011 |url-status=live }}</ref>

[[File:Howard McGhee, Brick Fleagle and Miles Davis, ca September 1947 (Gottlieb).jpg|thumb|upright|Davis on piano with [[Howard McGhee]] (trumpet), [[Joe Albany]] (pianist, standing) and [[Brick Fleagle]] (guitarist, smoking), September 1947]]

In 1945, Davis replaced Dizzy Gillespie in Charlie Parker's quintet. On November 26, he participated in several recording sessions as part of Parker's group Reboppers that also involved Gillespie and [[Max Roach]],{{sfn|Early|2001|p=211}} displaying hints of the style he would become known for. On Parker's tune "[[Now's the Time (composition)|Now's the Time]]", Davis played a solo that anticipated [[cool jazz]]. He next joined a big band led by [[Benny Carter]], performing in St. Louis and remaining with the band in California. He again played with Parker and Gillespie.{{sfn|Early|2001|p=212}} In Los Angeles, Parker had a [[nervous breakdown]] that put him in the hospital for several months.{{sfn|Early|2001|p=212}}<ref>On this occasion, bassist [[Charles Mingus]] bitterly criticized Davis for abandoning his "musical father" (see [[#Bio|''The Autobiography'']]).</ref> In March 1946, Davis played in studio sessions with Parker and began a collaboration with Mingus that summer. Cawthon gave birth to Davis's second child, Gregory, in East St. Louis before reuniting with Davis in New York City the following year.{{sfn|Early|2001|p=212}} Davis noted that by this time, "I was still so much into the music that I was even ignoring Irene." He had also turned to alcohol and cocaine.{{sfn|Davis|Troupe|1989|p=105}}

Davis was a member of [[Billy Eckstine]]'s big band in 1946 and Gillespie's in 1947.<ref name="New Grove">{{cite book|last=Kernfeld|first=Barry|editor-last=Kernfeld|editor-first=Barry|title=The New Grove Dictionary of Jazz|date=2002|publisher=Grove's Dictionaries|location=New York|isbn=1-56159-284-6|page=573|volume=1|edition=2nd}}</ref> He joined a quintet led by Parker that also included Max Roach. Together they performed live with [[Duke Jordan]] and [[Tommy Potter]] for much of the year, including several studio sessions.{{sfn|Early|2001|p=212}} In one session that May, Davis wrote the tune "Cheryl", for his daughter. Davis's first session as a leader followed in August 1947, playing as the Miles Davis All Stars that included Parker, pianist [[John Lewis (pianist)|John Lewis]] and bassist [[Nelson Boyd]]; they recorded "Milestones", "[[Half Nelson (composition)|Half Nelson]]" and "Sippin' at Bells".{{sfn|Early|2001|p=212}}{{sfn|Cook|2007|p=12}} After touring Chicago and Detroit with Parker's quintet, Davis returned to New York City in March 1948 and joined the [[Jazz at the Philharmonic]] tour, which included a stop in St. Louis on April 30.{{sfn|Early|2001|p=212}}

===1948–1950: Miles Davis Nonet and ''Birth of the Cool''===
In August 1948, Davis declined an offer to join [[Duke Ellington]]'s orchestra as he had entered rehearsals with a nine-piece band featuring baritone saxophonist [[Gerry Mulligan]] and arrangements by [[Gil Evans]], taking an active role on what soon became his own project.<ref>{{cite web |last=Mulligan |first=Gerry |title=I hear America singing |url=http://www.gerrymulligan.com/wp-content/files/auto-bio.pdf |archive-url=https://web.archive.org/web/20160303225918/http://www.gerrymulligan.com/wp-content/files/auto-bio.pdf |archive-date=March 3, 2016 |website=gerrymulligan.com |quote=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.}}</ref>{{sfn|Early|2001|p=212}} Evans' Manhattan apartment had become the meeting place for several young musicians and composers such as Davis, Roach, Lewis and Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated bebop.{{sfn|Cook|2007|p=14}} These gatherings led to the formation of the Miles Davis [[Nonet (music)|Nonet]], which included atypical modern jazz instruments such as [[French horn in jazz|French horn]] and [[tuba]], leading to a thickly textured, almost orchestral sound.<ref name=":1"/> The intent was to imitate the human voice through carefully arranged compositions and a relaxed, melodic approach to improvisation. In September, the band completed their sole engagement as the opening band for [[Count Basie]] at the [[Royal Roost]] for two weeks. Davis had to persuade the venue's manager to write the sign "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". Davis returned to Parker's quintet, but relationships within the quintet were growing tense mainly due to Parker's erratic behavior caused by his drug addiction.{{sfn|Early|2001|p=212}} Early in his time with Parker, Davis abstained from drugs, chose a vegetarian diet, and spoke of the benefits of water and juice.{{sfn|Cook|2007|p=2}}

In December 1948, Davis quit, saying he was not being paid.{{sfn|Early|2001|p=212}} His departure began a period when he worked mainly as a freelancer and sideman. His nonet remained active until the end of 1949. After signing a contract with [[Capitol Records]], they recorded sessions in January and April 1949, which sold little but influenced the "Cool" or "[[West Coast jazz|West Coast]]" style of jazz.{{sfn|Early|2001|p=212}} The lineup changed throughout the year and included tuba player [[Bill Barber (musician)|Bill Barber]], alto saxophonist [[Lee Konitz]], pianist [[Al Haig]], trombone players [[Mike Zwerin]] with [[Kai Winding]], French horn players [[Junior Collins]] with Sandy Siegelstein and [[Gunther Schuller]], and bassists [[Al McKibbon]] and [[Joe Shulman]]. One track featured singer [[Kenny Hagood]]. The presence of white musicians in the group angered some black players, many of whom were unemployed at the time, yet Davis rebuffed their criticisms.{{sfn|Davis|Troupe|1989|p=117}} Recording sessions with the nonet for Capitol continued until April 1950. The Nonet recorded a dozen tracks which were released as singles and subsequently compiled on the 1957 album ''[[Birth of the Cool]]''.<ref name=":1"/>

In May 1949, Davis performed with the [[Tadd Dameron]] Quintet with [[Kenny Clarke]] and [[James Moody (saxophonist)|James Moody]] at the [[Paris Jazz Festival|Paris International Jazz Festival]]. On his first trip abroad Davis took a strong liking to Paris and its cultural environment, where he felt black jazz musicians and people of color in general were better respected than in the U.S. The trip, he said, "changed the way I looked at things forever".{{sfn|Davis|Troupe|1989|p=126}} He began an affair with singer and actress [[Juliette Gréco]].{{sfn|Davis|Troupe|1989|p=126}}

=== 1949–1955: Signing with Prestige, heroin addiction and hard bop ===
After returning from Paris in mid-1949, he became depressed and found little work except a short engagement with [[Bud Powell]] in October and guest spots in New York City, Chicago and Detroit until January 1950.{{sfn|Szwed|2004|p=91}} He was falling behind in hotel rent and attempts were made to repossess his car. His heroin use became an expensive addiction, and Davis, not yet 24 years old, "lost my sense of discipline, lost my sense of control over my life, and started to drift".{{sfn|Early|2001|p=212}}{{sfn|Davis|Troupe|1989|p=129}} In August 1950, Cawthon gave birth to Davis's second son, Miles IV. Davis befriended boxer [[Johnny Bratton]] which began his interest in the sport. Davis left Cawthon and his three children in New York City in the hands of one his friends, jazz singer [[Betty Carter]].{{sfn|Szwed|2004|p=91}} He toured with Eckstine and [[Billie Holiday]] and was arrested for heroin possession in Los Angeles. The story was reported in ''[[DownBeat]]'' magazine, which led to a further reduction in work, though he was acquitted weeks later.{{sfn|Cook|2007|p=25}} By the 1950s, Davis had become more skilled and was experimenting with the middle register of the trumpet alongside harmonies and rhythms.<ref name=":1"/>

In January 1951, Davis's fortunes improved when he signed a one-year contract with [[Prestige Records|Prestige]] after owner [[Bob Weinstock]] became a fan of the nonet.{{sfn|Davis|Troupe|1989|pp=175–176}} Davis chose Lewis, trombonist [[Bennie Green]], bassist [[Percy Heath]], saxophonist [[Sonny Rollins]] and drummer [[Roy Haynes]]; they recorded what became part of ''[[Miles Davis and Horns]]'' (1956). Davis was hired for other studio dates in 1951{{sfn|Cook|2007|p=25}} and began to transcribe scores for record labels to fund his heroin addiction. His second session for Prestige was released on ''[[The New Sounds]]'' (1951), ''[[Dig (Miles Davis album)|Dig]]'' (1956) and ''[[Conception (album)|Conception]]'' (1956).{{sfn|Cook|2007|p=26}}

Davis supported his heroin habit by playing music and by living the life of a hustler, exploiting prostitutes and receiving money from friends. By 1953, his addiction began to impair his playing. His drug habit became public in a ''DownBeat'' interview with [[Cab Calloway]], whom he never forgave as it brought him "all pain and suffering".{{sfn|Davis|Troupe|1989|p=164}} He returned to St. Louis and stayed with his father for several months.{{sfn|Davis|Troupe|1989|p=164}} After a brief period with Roach and Mingus in September 1953,{{sfn|Davis|Troupe|1989|pp=164–165}} he returned to his father's home, where he concentrated on addressing his addiction.{{sfn|Davis|Troupe|1989|pp=169–170}}

Davis lived in Detroit for about six months, avoiding New York City, where it was easy to get drugs. Though he used heroin, he was still able to perform locally with [[Elvin Jones]] and [[Tommy Flanagan (musician)|Tommy Flanagan]] as part of [[Billy Mitchell (saxophonist)|Billy Mitchell]]'s house band at the [[Blue Bird Inn|Blue Bird]] club. He was also "pimping a little".{{sfn|Davis|Troupe|1989|p=171}} However, he was able to end his addiction, and, in February 1954, Davis returned to New York City, feeling good "for the first time in a long time", mentally and physically stronger, and joined a gym.{{sfn|Davis|Troupe|1989|pp=174, 175, 184}} He informed Weinstock and [[Blue Note]] that he was ready to record with a quintet, which he was granted. He considered the albums that resulted from these and earlier sessions—''[[Miles Davis Quartet]]'' and ''[[Miles Davis Volume 2]]''—"very important" because he felt his performances were particularly strong.{{sfn|Davis|Troupe|1989|p=175}} He was paid roughly $750 ({{Inflation|US|750|1954|r=-2|fmt=eq}}{{Inflation/fn|US}}) for each album and refused to give away his publishing rights.{{sfn|Davis|Troupe|1989|p=176}}

[[File:Trumpet WahWahMute.jpg|thumb|right|During the 1950s, Davis started using a [[Harmon mute]] on his trumpet. It became part of his signature sound for the rest of his career.]]

Davis abandoned the bebop style and turned to the music of pianist [[Ahmad Jamal]], whose approach and use of space influenced him.{{sfn|Davis|Troupe|1989|p=190}} When he returned to the studio in June 1955 to record ''The Musings of Miles'', he wanted a pianist like Jamal and chose [[Red Garland]].{{sfn|Davis|Troupe|1989|p=190}} ''[[Blue Haze]]'' (1956), ''[[Bags' Groove]]'' (1957), ''[[Walkin']]'' (1957), and ''[[Miles Davis and the Modern Jazz Giants]]'' (1959) documented the evolution of his sound with the [[Harmon mute]] placed close to the microphone, and the use of more spacious and relaxed phrasing. He assumed a central role in [[hard bop]], less radical in harmony and melody, and used popular songs and American standards as starting points for improvisation. Hard bop distanced itself from cool jazz with a harder beat and music inspired by the blues.<ref>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.</ref> A few critics consider ''Walkin' ''(April 1954) the album that created the hard bop genre.{{sfn|Kahn|2001a}}

Davis gained a reputation for being cold, distant and easily angered. He wrote that in 1954 [[Sugar Ray Robinson]] "was the most important thing in my life besides music", and he adopted Robinson's "arrogant attitude".{{sfn|Davis|Troupe|1989|p=183}} He showed contempt for critics and the press.

Davis had an operation to remove polyps from his larynx in October 1955.{{sfn|Szwed|2004}} The doctors told him to remain silent after the operation, but he got into an argument that permanently damaged his vocal cords and gave him a raspy voice for the rest of his life.<ref>Acquired by shouting at a record producer while still ailing after a recent operation to the throat – [[#Bio|''The Autobiography'']].</ref> He was called the "prince of darkness", adding a patina of mystery to his public persona.{{efn|Writers began to refer to Davis as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persisted.<ref>{{cite news| url= http://findarticles.com/p/articles/mi_hb1367/is_199111/ai_n5603401/ |title= Prince of darkness. (Miles Davis) (obituary)| work= [[The Nation]]| date= November 1991 |last= Santoro| first= Gene|archive-url= https://web.archive.org/web/20130808234925/http://findarticles.com/p/articles/mi_hb1367/is_199111/ai_n5603401/ |archive-date=August 8, 2013 }}</ref><ref>{{cite web| url= https://www.pbs.org/jazz/biography/artist_id_davis_miles.htm| title= Miles Davis| website= [[PBS]].org|archive-url= https://web.archive.org/web/20160331013936/http://www.pbs.org/jazz/biography/artist_id_davis_miles.htm |archive-date= March 31, 2016 }}</ref><ref>{{cite web| url= http://www.allaboutjazz.com/php/article.php?id=29834| title= Miles Davis: Someday My Prince Will Come| website= allaboutjazz.com | first= Samuel| last= Chell| date= June 29, 2008| archive-url= https://web.archive.org/web/20090202155544/http://www.allaboutjazz.com/php/article.php?id=29834 |archive-date=February 2, 2009 }}</ref>}}

=== 1955–1959: Signing with Columbia, first quintet and modal jazz ===
In July 1955, Davis's fortunes improved considerably when he played at the [[Newport Jazz Festival]], with a lineup of Monk, Heath, drummer [[Connie Kay]], and horn players [[Zoot Sims]] and [[Gerry Mulligan]].{{sfn|''The Complete Illustrated History''|2007|p=73}}<ref name=":3">{{Cite journal |last= Natambu|first=Kofi|date=September 22, 2014|title=Miles Davis: A New Revolution in Sound|url=https://go.gale.com/ps/i.do?p=LitRC&sw=w&issn=10893148&v=2.1&it=r&id=GALE%7CA393059770&sid=googleScholar&linkaccess=abs|journal=Black Renaissance/Renaissance Noire |language= en|volume=14|issue=2|pages=36–40|access-date=June 27, 2020}}</ref> The performance was praised by critics and audiences alike, who considered it to be a highlight of the festival as well as helping Davis, the least well known musician in the group, to increase his popularity among affluent white audiences.<ref name=":3"/>{{sfn|Morton|2005|p=27}} He tied with Dizzy Gillespie for best trumpeter in the 1955 ''DownBeat'' magazine Readers' Poll.{{sfn|Cook|2007|pp=43–44}}

[[George Avakian]] of [[Columbia Records]] heard Davis perform at Newport and wanted to sign him to the label. Davis had one year left on his contract with Prestige, which required him to release four more albums. He signed a contract with Columbia that included a $4,000 advance ({{Inflation|US|4000|1955|r=-1|fmt=eq}}{{Inflation/fn|US}}) and required that his recordings for Columbia remain unreleased until his agreement with Prestige expired.{{sfn|Carr|1998|p=96}}{{sfn|Davis|Troupe|1989|p=192}}

At the request of Avakian, he formed the [[Miles Davis Quintet]] for a performance at [[Café Bohemia]]. The quintet contained Sonny Rollins on tenor saxophone, [[Red Garland]] on piano, [[Paul Chambers]] on double bass and [[Philly Joe Jones]] on drums. Rollins was replaced by [[John Coltrane]], completing the membership of the first quintet. To fulfill Davis's contract with Prestige, this new group worked through [[The Legendary Prestige Quintet Sessions|two marathon sessions]] in May and October 1956 that were released by the label as four LPs: ''[[Cookin' with the Miles Davis Quintet]]'' (1957), ''[[Relaxin' with the Miles Davis Quintet]]'' (1958), ''[[Workin' with the Miles Davis Quintet]]'' (1960) and ''[[Steamin' with the Miles Davis Quintet]]'' (1961). Each album was critically acclaimed and helped establish Davis's quintet as one of the best.{{sfn|Chambers|1998|p=223}}{{sfn|Cook|2007|p=45}}{{sfn|Carr|1998|p=99}}

The style of the group was an extension of their experience playing with Davis. He played long, legato, melodic lines, while Coltrane contrasted with energetic solos. Their live repertoire was a mix of bebop, standards from the [[Great American Songbook]] and pre-bop eras, and traditional tunes. They appeared on ''[['Round About Midnight]]'', Davis's first album for Columbia.<ref>{{Cite web |title='Round About Midnight |url=https://www.milesdavis.com/albums/round-about-midnight/ |access-date=2025-10-31 |website=Miles Davis Official Site |language=en-US}}</ref>

In 1956, he left his quintet temporarily to tour Europe as part of the Birdland All-Stars, which included the [[Modern Jazz Quartet]] and French and German musicians. In Paris, he reunited with Gréco and they "were lovers for many years".{{sfn|Davis|Troupe|1989|p=186}}{{sfn|Early|2001|p=215}} He then returned home, reunited his quintet and toured the US for two months. Conflict arose on tour when he grew impatient with the drug habits of Jones and Coltrane. Davis was trying to live a healthier life by exercising and reducing his use of alcohol. But he continued to use cocaine.{{sfn|Davis|Troupe|1989|p=209}} At the end of the tour, he fired Jones and Coltrane and replaced them with Sonny Rollins and [[Art Taylor]].{{sfn|Davis|Troupe|1989|p=214}}

In November 1957, Davis went to Paris and recorded the [[Ascenseur pour l'échafaud (soundtrack)|soundtrack]] to ''[[Elevator to the Gallows|Ascenseur pour l'échafaud]]''.<ref name="New Grove"/> directed by [[Louis Malle]] and starring [[Jeanne Moreau]]. Consisting of French jazz musicians [[Barney Wilen]], [[Pierre Michelot]] and [[René Urtreger]], and American drummer [[Kenny Clarke]], the group avoided a written score and instead improvised while they watched the film in a recording studio.{{cn|date=April 2025}}

After returning to New York, Davis revived his quintet with Adderley<ref name="New Grove"/> and Coltrane, who was clean from his drug habit. Now a sextet, the group recorded material in early 1958 that was released on ''[[Milestones (Miles Davis album)|Milestones]]'', an album on which the title track demonstrated Davis's interest in [[modal jazz]]. A performance by [[Les Ballets Africains]] drew him to slower, deliberate music that allowed the creation of solos from static harmony rather than constant changing chords.{{sfn|''The Complete Illustrated History''|2007|p=97}}

By May 1958, he had replaced Jones with drummer [[Jimmy Cobb]], and Garland left the group, leaving Davis to play piano on "Sid's Ahead" for ''Milestones''.{{sfn|Davis|Troupe|1989|p=224}} He wanted someone who could play modal jazz, so he hired [[Bill Evans]], a young pianist with a background in classical music. This new edition of the sextet made their recording debut on ''[[Jazz Track]]'' (1958).{{sfn|Davis|Troupe|1989|p=229}}
Evans had an impressionistic approach to piano. His ideas greatly influenced Davis. But after eight months of touring, a tired Evans left. [[Wynton Kelly]], his replacement, brought to the group a swinging style that contrasted with Evans's delicacy.

===1957–1963: Collaborations with Gil Evans and ''Kind of Blue''===
By early 1957, Davis was exhausted from recording and touring and wished to pursue new projects. In March, the 30-year-old Davis told journalists of his intention to retire soon and revealed offers he had received to teach at [[Harvard University]] and be a musical director at a record label.{{sfn|Szwed|2004|p=139}}{{sfn|Carr|1998|p=107}} Avakian agreed that it was time for Davis to explore something different, but Davis rejected his suggestion of returning to his nonet as he considered that a step backward.{{sfn|Carr|1998|p=107}} Avakian then suggested that he work with a bigger ensemble, similar to ''Music for Brass'' (1957), an album of orchestral and brass-arranged music led by [[Gunther Schuller]] featuring Davis as a guest soloist.

Davis accepted and worked with Gil Evans in what became a five-album collaboration from 1957 to 1962.{{sfn|Szwed|2004|p=140}} ''[[Miles Ahead (album)|Miles Ahead]]'' (1957) showcased Davis on flugelhorn and a rendition of "The Maids of Cadiz" by [[Léo Delibes]], the first piece of classical music that Davis recorded. Evans devised orchestral passages as transitions, thus turning the album into one long piece of music.{{sfn|Szwed|2004|p=141}}<ref>Cook, op. cit.</ref> ''[[Porgy and Bess (Miles Davis album)|Porgy and Bess]]'' (1959) includes arrangements of pieces from George Gershwin's [[Porgy and Bess|opera]]. ''[[Sketches of Spain]]'' (1960) contained music by [[Joaquín Rodrigo]] and [[Manuel de Falla]] and originals by Evans. The classical musicians had trouble improvising, while the jazz musicians couldn't handle the difficult arrangements, but the album was a critical success, selling over 120,000 copies in the US.{{sfn|''The Complete Illustrated History''|2007|p=108}} Davis performed with an orchestra conducted by Evans at Carnegie Hall in May 1961 to raise money for charity.{{sfn|''The Complete Illustrated History''|2007|p=109}} The pair's final album was ''[[Quiet Nights (Miles Davis and Gil Evans album)|Quiet Nights]]'' (1963), a collection of [[bossa nova]] songs released against their wishes. Evans stated it was only half an album and blamed the record company; Davis blamed producer [[Teo Macero]] and refused to speak to him for more than two years.{{sfn|Carr|1998|pp=192–193}} The boxed set ''[[Miles Davis & Gil Evans: The Complete Columbia Studio Recordings]]'' (1996) won the [[Grammy Award for Best Historical Album]] and [[Best Album Notes]] in 1997.

In March and April 1959, Davis recorded what some consider his greatest album, ''[[Kind of Blue]]''. He named the album for its mood.{{sfn|''The Complete Illustrated History''|2007|p=106}} He called back Bill Evans, as the music had been planned around Evans's piano style.{{sfn|Kahn|2001a|p=95}} Both Davis and Evans were familiar with [[George Russell (composer)|George Russell]]'s ideas about modal jazz.{{sfn|Kahn|2001a|pp=29–30, 74}} But Davis neglected to tell pianist Wynton Kelly that Evans was returning, so Kelly appeared on only one song, "[[Freddie Freeloader]]".{{sfn|Kahn|2001a|p=95}} The sextet had played "[[So What (instrumental)|So What]]" and "[[All Blues]]" at performances, but the remaining three compositions they saw for the first time in the studio.

Released in August 1959, ''Kind of Blue'' was an instant success, with widespread radio airplay and rave reviews from critics.{{sfn|''The Complete Illustrated History''|2007|p=106}} It has remained a strong seller over the years. In 2019, the album achieved [[RIAA certification|5× platinum]] certification from the [[Recording Industry Association of America]] for sales of over five million copies in the US, making it one of the most successful jazz albums in history.<ref name=riaa>{{cite web|url=https://www.riaa.com/gold-platinum/?tab_active=default-award&se=miles+davis#search_section|title=Gold & Platinum – Search "Miles Davis"|publisher=Recording Industry Association of America|access-date=May 7, 2017|archive-url=https://web.archive.org/web/20160624062920/http://www.riaa.com/gold-platinum/?tab_active=default-award&se=Miles+Davis#search_section|archive-date=June 24, 2016|url-status=live}}</ref> In 2009, the US House of Representatives passed a resolution that honored it as a national treasure.<ref name="autogenerated1">{{cite web |title=US politicians honour Miles Davis album |url=http://www.rnw.nl/english/article/us-politicians-honour-miles-davis-album |url-status=dead |archive-url=https://web.archive.org/web/20131203024206/http://www.rnw.nl/english/article/us-politicians-honour-miles-davis-album |archive-date=December 3, 2013 |access-date=July 17, 2015 |publisher=Rnw.nl}}</ref><ref>{{cite news |url=http://www.abc.net.au/news/stories/2009/12/16/2773218.htm |title=US House of Reps honours Miles Davis album – ABC News (Australian Broadcasting Corporation) |newspaper=ABC News |publisher=Australian Broadcasting Corporation |date=December 16, 2009 |access-date=January 6, 2011 |archive-url=https://web.archive.org/web/20101205045139/http://www.abc.net.au/news/stories/2009/12/16/2773218.htm |archive-date=December 5, 2010 |url-status=dead }}</ref>

In August 1959, during a break in a recording session at the [[Birdland (jazz club)|Birdland]] nightclub in New York City, Davis was escorting a blonde-haired woman to a taxi outside the club when policeman Gerald Kilduff told him to "move on".{{sfn|The Complete Illustrated History |2007 |p=100 }}<ref name="arrest"/> Davis said that he was working at the club, and he refused to move.<ref>{{cite news |title=Jazz Trumpeter Miles Davis In Joust With Cops |url=https://news.google.com/newspapers?id=3PQeAAAAIBAJ&pg=2499,2153156&dq=miles-davis+arrested&hl=en |access-date=August 27, 2010 |newspaper=Sarasota Journal |date=August 26, 1959 |archive-url=https://web.archive.org/web/20130809082309/http://news.google.com/newspapers?id=3PQeAAAAIBAJ&sjid=4ooEAAAAIBAJ&pg=2499,2153156&dq=miles-davis+arrested&hl=en |archive-date=August 9, 2013 |url-status=live }}</ref> Kilduff arrested and grabbed Davis as he tried to protect himself. Witnesses said the policeman hit Davis in the stomach with a nightstick without provocation. Two detectives held the crowd back, while a third approached Davis from behind and beat him over the head. Davis was taken to jail, charged with assaulting an officer, then taken to the hospital where he received five stitches.<ref name="arrest">{{cite news|title=Was Miles Davis beaten over blonde?|url=https://news.google.com/newspapers?nid=JkxM1axsR-IC&dat=19590901&printsec=frontpage&hl=en|access-date=December 20, 2020|newspaper=Baltimore Afro-American|date=September 1, 1959|archive-url=https://web.archive.org/web/20130809091016/http://news.google.com/newspapers?id=5JslAAAAIBAJ&sjid=SfUFAAAAIBAJ&dq=was%20miles%20davis%20beaten%20over%20blonde&pg=3151%2C5145962|archive-date=August 9, 2013|url-status=live|pages=1–13}}</ref> By January 1960, he was acquitted of disorderly conduct and third-degree assault. He later stated the incident "changed my whole life and whole attitude again, made me feel bitter and cynical again when I was starting to feel good about the things that had changed in this country".{{sfn|Early|2001|p=89}}

Davis and his sextet toured to support ''Kind of Blue''.{{sfn|''The Complete Illustrated History''|2007|p=106}} Cannonball Adderley left the group September of that year reducing the band back to a quintet. Coltrane was ready to leave as well but Davis persuaded him to play with the group on one final European tour in the spring of 1960. Coltrane then departed to form his quartet, though he returned for a couple tracks on Davis's album ''[[Someday My Prince Will Come (Miles Davis album)|Someday My Prince Will Come]]'' (1961). Its front cover shows a photograph of his wife, [[Frances Taylor Davis|Frances Taylor]], after Davis demanded that Columbia depict black women on his album covers.{{sfn|Davis|Troupe|1989|p=252}}

===1963–1968: Second quintet===
[[File:Miles Davis (Antibes Juan-les-Pins 1963).jpg|thumb|Davis performing in Antibes, France, in July 1963]]
In December 1962, Davis, Rollins, Kelly, Chambers and Cobb played together for the last time as the latter three wanted to leave and play as a trio. Rollins left them soon after, leaving Davis to pay over $25,000 ({{Inflation|US|25000|1962|r=-2|fmt=eq}}{{Inflation/fn|US}}) to cancel upcoming gigs and quickly assemble a new group. Following auditions, he found his new band in tenor saxophonist [[George Coleman]], bassist [[Ron Carter]], pianist [[Victor Feldman]] and drummer [[Frank Butler (musician)|Frank Butler]].{{sfn|Davis|Troupe|1989|pp=260–262}} By May 1963, Feldman and Butler were replaced by 23-year-old pianist [[Herbie Hancock]] and 17-year-old drummer [[Tony Williams (drummer)|Tony Williams]] who made Davis "excited all over again".{{sfn|Davis|Troupe|1989|p=262}} With this group, Davis completed the rest of what became ''[[Seven Steps to Heaven]]'' (1963) and recorded the live albums ''[[Miles Davis in Europe]]'' (1964), ''[[My Funny Valentine (Miles Davis album)|My Funny Valentine]]'' (1965) and ''[[Four & More]]'' (1966). The quintet played essentially the same bebop tunes and standards that Davis's previous bands had played, but they approached them with structural and rhythmic freedom and occasionally breakneck speed.

In 1964, Coleman was briefly replaced by saxophonist [[Sam Rivers (jazz musician)|Sam Rivers]] (who recorded with Davis on ''[[Miles in Tokyo]]'') until [[Wayne Shorter]] was persuaded to leave the [[Jazz Messengers]]. The quintet with Shorter lasted through 1968, with Shorter becoming the group's principal composer. The album ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965) was named after his composition. While touring Europe, the group made its first album, ''[[Miles in Berlin]]'' (1965).{{sfn|Einarson|2005|pp=56–57}}

[[File:Miles-Davis-1964-Helsinki.jpg|thumb|Davis performing at [[Töölö Sports Hall]] (Messuhalli) in [[Helsinki]], Finland, in October 1964]]
Davis needed medical attention for hip pain, which had worsened since his Japanese tour during the previous year.{{sfn|Carr|1998|p=202}} He underwent hip replacement surgery in April 1965, with bone taken from his shin, but it failed. After his third month in the hospital, he discharged himself due to boredom and went home. He returned to the hospital in August after a fall required the insertion of a plastic hip joint.{{sfn|Carr|1998|p=203}} In November 1965, he had recovered enough to return to performing with his quintet, which included [[The Complete Live at the Plugged Nickel 1965|gigs at the Plugged Nickel]] in Chicago. Teo Macero returned as his record producer after their rift over ''Quiet Nights'' had healed.{{sfn|Davis|Troupe|1989|pp=282–283}}{{sfn|Carr|1998|p=204}}

In January 1966, Davis spent three months in the hospital with a liver infection. When he resumed touring, he performed more at colleges because he had grown tired of the typical jazz venues.{{sfn|Davis|Troupe|1989|p=283}} Columbia president [[Clive Davis]] reported in 1966 his sales had declined to around 40,000–50,000 per album, compared to as many as 100,000 per release a few years before. Matters were not helped by the press reporting his apparent financial troubles and imminent demise.{{sfn|Carr|1998|pp=209–210}} After his appearance at the 1966 Newport Jazz Festival, he returned to the studio with his quintet for a series of sessions. He started a relationship with actress [[Cicely Tyson]], who helped him reduce his alcohol consumption.{{sfn|Davis|Troupe|1989|p=284}}

Material from the 1966–1968 sessions was released on ''[[Miles Smiles]]'' (1966), ''[[Sorcerer (Miles Davis album)|Sorcerer]]'' (1967), ''[[Nefertiti (Miles Davis album)|Nefertiti]]'' (1967), ''[[Miles in the Sky]]'' (1968) and ''[[Filles de Kilimanjaro]]'' (1968). The quintet's approach to the new music became known as "time no changes"—which referred to Davis's decision to depart from chordal sequences and adopt a more open approach, with the rhythm section responding to the soloists' melodies.{{sfn|Morton|2005|p=49}} 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 concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of change. His bands performed this way until his hiatus in 1975.

''Miles in the Sky'' and ''Filles de Kilimanjaro''—which tentatively introduced electric bass, electric piano and electric guitar on some tracks—pointed the way to the [[jazz fusion|fusion]] phase of Davis's career. He also began experimenting with more rock-oriented rhythms on these records. By the time the second half of ''Filles de Kilimanjaro'' was recorded, bassist [[Dave Holland (bassist)|Dave Holland]] and pianist [[Chick Corea]] had replaced Carter and Hancock. Davis soon took over the compositional duties of his sidemen.

===1968–1975: The electric period===
''[[In a Silent Way]]'' was recorded in a single studio session in February 1969, with Shorter, Hancock, Holland and Williams alongside keyboardists [[Chick Corea]] and [[Joe Zawinul]] and guitarist [[John McLaughlin (musician)|John McLaughlin]]. The album contains two side-long tracks that Macero pieced together from different takes recorded at the session. When the album was released later that year, some critics accused him of "selling out" to the rock and roll audience. Nevertheless, it reached number 134 on the US [[Billboard 200|''Billboard'' Top LPs]] chart, his first album since ''My Funny Valentine'' to reach the chart. ''In a Silent Way'' was his entry into jazz fusion. The touring band of 1969–1970—with Shorter, Corea, Holland and DeJohnette—never completed a studio recording together, and became known as Davis's "lost quintet", though radio broadcasts from the band's European tour have been extensively bootlegged.<ref>{{Cite news|url=https://www.npr.org/2013/01/30/170662462/a-1969-bootleg-unearths-miles-davis-lost-quintet|title=A 1969 Bootleg Unearths Miles Davis' 'Lost' Quintet| first= Tom |last= Moon|publisher=NPR|date=January 30, 2013|access-date=April 5, 2018|archive-url=https://web.archive.org/web/20180427120809/https://www.npr.org/2013/01/30/170662462/a-1969-bootleg-unearths-miles-davis-lost-quintet|archive-date=April 27, 2018|url-status=live}}</ref><ref>{{Cite news |url=https://pitchfork.com/reviews/albums/17676-the-bootleg-series-volume-2-live-in-europe-1969/ |title=Miles Davis | first= Hank |last= Shteamer |website=Pitchfork |date=January 31, 2013 |access-date=April 20, 2020 |archive-url=https://web.archive.org/web/20190411222550/https://pitchfork.com/reviews/albums/17676-the-bootleg-series-volume-2-live-in-europe-1969/ |archive-date=April 11, 2019 |url-status=live }}</ref>

[[File:Miles Davis-140916-0016-103WPA.jpg|right|thumb|upright|Davis performing in 1971]]

For the double album ''[[Bitches Brew]]'' (1970), he hired [[Jack DeJohnette]], [[Harvey Brooks (bassist)|Harvey Brooks]] and [[Bennie Maupin]]. The album contained long compositions, some over twenty minutes, that more often than not, were constructed from several takes by Macero and Davis via splicing and tape loops amid epochal advances in multitrack recording technologies.{{sfn|Freeman|2005|pp=83–84}} ''Bitches Brew'' peaked at No. 35 on the ''Billboard'' Album chart.<ref name="Bitches">{{cite magazine |title=Miles Davis |url=https://www.billboard.com/music/miles-davis |magazine=Billboard |access-date=May 10, 2018 |archive-url=https://web.archive.org/web/20180316122024/https://www.billboard.com/music/miles-davis |archive-date=March 16, 2018 |url-status=live }}</ref> In 1976, it was certified gold for selling over 500,000 records. By 2003, it had sold one million copies.<ref name=riaa/>

In March 1970, Davis began to perform as the opening act for rock bands, allowing Columbia to market ''Bitches Brew'' to a larger audience. He shared a [[Fillmore East]] bill with the [[Steve Miller Band]] and [[Neil Young]] with [[Crazy Horse (band)|Crazy Horse]] on March 6 and 7.{{sfn|''The Complete Illustrated History''|2007|p=150}} Biographer [[Paul Tingen]] wrote, "Miles' newcomer status in this environment" led to "mixed audience reactions, often having to play for dramatically reduced fees, and enduring the 'sell-out' accusations from the jazz world", as well as being "attacked by sections of the black press for supposedly genuflecting to white culture".{{sfn|Tingen|2001|p=114}} The 1970 tours included the [[1970 Isle of Wight Festival]] on August 29 when he performed to an estimated 600,000 people, the largest of his career.{{sfn|''The Complete Illustrated History''|2007|p=153}} Plans to record with Hendrix ended after the guitarist's death; his funeral was the last one that Davis attended.{{sfn|Davis|Troupe|1989|pp=318–319}} Several live albums with a transitional sextet/septet including Corea, DeJohnette, Holland, [[Airto Moreira]], saxophonist [[Steve Grossman (saxophonist)|Steve Grossman]] and keyboardist [[Keith Jarrett]] were recorded during this period, including ''[[Miles Davis at Fillmore]]'' (1970) and ''[[Black Beauty: Miles Davis at Fillmore West]]'' (1973).<ref name="Miles Davis">{{cite web |url=http://www.rockhall.com/inductees/miles-davis/bio/ |title=Miles Davis |access-date=May 1, 2016 |website=Rock and Roll Hall of Fame |archive-url=https://web.archive.org/web/20160503025255/http://www.rockhall.com/inductees/miles-davis/bio/ |archive-date=May 3, 2016 |url-status=live }}</ref>

By 1971, Davis had signed a contract with Columbia that paid him $100,000 a year ({{Inflation|US|100000|1971|r=-1|fmt=eq}}{{inflation-fn|US}}) for three years in addition to royalties.{{sfn|Carr|1998|p=302}} He recorded a soundtrack album (''[[Jack Johnson (album)|Jack Johnson]]'') for the [[Jack Johnson (film)|1970 documentary film]] about heavyweight boxer [[Jack Johnson (boxer)|Jack Johnson]], containing two long pieces of 25 and 26 minutes in length with Hancock, McLaughlin, [[Sonny Sharrock]] and [[Billy Cobham]]. He was committed to making music for African-Americans who liked more commercial, pop, groove-oriented music. By November 1971, DeJohnette and Moreira had been replaced in the touring ensemble by drummer [[Leon "Ndugu" Chancler]] and percussionists [[James Mtume]] and [[Don Alias]].<ref>{{cite web|url=http://bigozine2.com/roio/?p=191 |title=roio » Blog Archive » MILES – BELGRADE 1971 |publisher=Bigozine2.com |access-date=July 17, 2015 |url-status=dead |archive-url=https://web.archive.org/web/20150721032949/https://bigozine2.com/roio/?p=191 |archive-date=July 21, 2015 }}</ref> ''[[Live-Evil (Miles Davis album)|Live-Evil]]'' was released in the same month. Showcasing bassist [[Michael Henderson]], who had replaced Holland in 1970, the album demonstrated that Davis's ensemble had transformed into a funk-oriented group while retaining the exploratory imperative of ''Bitches Brew''.

[[File:Miles Davis-140916-0018-105WPa.jpg|thumb|Davis's septet in November 1971; left to right: [[Gary Bartz]], Davis, [[Keith Jarrett]], [[Michael Henderson]], [[Leon "Ndugu" Chancler]], [[James Mtume]] and [[Don Alias]]]]
In 1972, composer-arranger [[Paul Buckmaster]] introduced Davis to the music of avant-garde composer [[Karlheinz Stockhausen]], leading to a period of creative exploration. Biographer J. K. Chambers wrote, "The effect of Davis' study of Stockhausen could not be repressed for long ... Davis' own 'space music' shows Stockhausen's influence compositionally."{{sfn|Chambers|1998|p=246}} His recordings and performances during this period were described as "space music" by fans, Feather and Buckmaster, who described it as "a lot of mood changes—heavy, dark, intense—definitely space music".{{sfn|Carr|1998}}<ref>{{cite web |last=Tingen |first=Paul |author-link=Paul Tingen |year=1999 |title=The Making of The Complete Bitches Brew Sessions |url=http://www.miles-beyond.com/bitchesbrew.htm |url-status=live |archive-url=https://web.archive.org/web/20170305160246/http://www.miles-beyond.com/bitchesbrew.htm |archive-date=March 5, 2017 |access-date=April 15, 2017}}</ref> The studio album ''[[On the Corner]]'' (1972) blended the influence of Stockhausen and Buckmaster with funk elements. Davis invited Buckmaster to New York City to oversee the writing and recording of the album with Macero.{{sfn|Morton|2005|pp=72–73}} The album reached No. 1 on the ''Billboard'' jazz chart but peaked at No. 156 on the more heterogeneous Top 200 Albums chart. Davis felt that Columbia marketed it to the wrong audience. "The music was meant to be heard by young black people, but they just treated it like any other jazz album and advertised it that way, pushed it on the jazz radio stations. Young black kids don't listen to those stations; they listen to R&B stations and some rock stations."{{sfn|Davis|Troupe|1989|p=328}} In October 1972, he broke his ankles in a car crash. He took painkillers and cocaine to cope with the pain.{{sfn|Cole|2005|p=28}} Looking back at his career after the incident, he wrote, "Everything started to blur."{{sfn||''The Complete Illustrated History''|2007|p=154}}

After recording ''On the Corner'', he assembled a group with Henderson, Mtume, [[Carlos Garnett]], guitarist [[Reggie Lucas]], organist [[Lonnie Liston Smith]], tabla player [[Badal Roy]], sitarist [[Khalil Balakrishna]] and drummer [[Al Foster]]. In striking contrast to that of his previous lineups, the music emphasized rhythmic density and shifting textures instead of solos. This group was recorded live in 1972 for ''[[In Concert (Miles Davis album)|In Concert]]'', but Davis found it unsatisfactory, leading him to drop the tabla and sitar and play organ himself. He also added guitarist [[Pete Cosey]]. The compilation studio album ''[[Big Fun (Miles Davis album)|Big Fun]]'' contains four long improvisations recorded between 1969 and 1972.
{{Quote box
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| quote = This was music that polarized audiences, provoking boos and walk-outs amid the ecstasy of others. The length, density, and unforgiving nature of it mocked those who said that Miles was interested only in being trendy and popular. Some have heard in this music the feel and shape of a musician's late work, an egoless music that precedes its creator's death. As [[Theodor Adorno]] said of the late [[Beethoven]], the disappearance of the musician into the work is a bow to mortality. It was as if Miles were testifying to all that he had been witness to for the past thirty years, both terrifying and joyful.
| source = — [[John Szwed]] on ''[[Agharta (album)|Agharta]]'' (1975) and ''[[Pangaea (album)|Pangaea]]'' (1976){{sfn|Szwed|2004|p=343}}
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Studio sessions throughout 1973 and 1974 led to ''[[Get Up with It]]'', an album which included four long pieces alongside four shorter recordings from 1970 and 1972. The track "He Loved Him Madly", a thirty-minute tribute to the recently deceased Duke Ellington, influenced [[Brian Eno]]'s [[ambient music]].<ref>{{cite web |last=Tingen |first=Paul |author-link=Paul Tingen |date=October 26, 2007 |title=The most hated album in jazz |url=https://www.theguardian.com/music/2007/oct/26/jazz.shopping |url-status=live |archive-url=https://web.archive.org/web/20190802180624/https://www.theguardian.com/music/2007/oct/26/jazz.shopping |archive-date=August 2, 2019 |access-date=June 13, 2019 |work=The Guardian}}</ref> In the United States, it performed comparably to ''On the Corner'', reaching number 8 on the jazz chart and number 141 on the pop chart. He then concentrated on live performance with a series of concerts that Columbia released on the double live albums ''[[Agharta (album)|Agharta]]'' (1975), ''[[Pangaea (album)|Pangaea]]'' (1976) and ''[[Dark Magus]]'' (1977). The first two are recordings of two sets from February 1, 1975, in Osaka, by which time Davis was troubled by several physical ailments; he relied on alcohol, codeine and morphine to get through the engagements. His shows were routinely panned by critics who mentioned his habit of performing with his back to the audience.{{sfn|''The Complete Illustrated History''|2007|p=177}} Cosey later asserted that "the band really advanced after the Japanese tour",{{sfn|Tingen|2001|p=167}} but Davis was again hospitalized, for his ulcers and a hernia, during a tour of the US while opening for Herbie Hancock.

After appearances at the 1975 Newport Jazz Festival in July and the [[Schaefer Music Festival]] in New York in September, Davis dropped out of music.{{sfn|The Complete Illustrated History |2007 |p=177 }}<ref>{{cite web| first= Laurent |last= Cugny|title=1975: the end of an intrigue? For a new periodization of the history of jazz|url=http://omf.paris-sorbonne.fr/IMG/pdf/cugny_1975_the_end_of_an_intrigue.pdf |website= paris-sorbonne.fr |publisher= Université Paris-Sorbonne|access-date=February 3, 2016 |archive-url= https://web.archive.org/web/20141129032928/http://omf.paris-sorbonne.fr/IMG/pdf/cugny_1975_the_end_of_an_intrigue.pdf |archive-date= November 29, 2014}}</ref>

===1975–1980: Hiatus===
In his autobiography, Davis wrote frankly about his life during his hiatus from music. He called his [[Upper West Side]] brownstone a wreck and chronicled his heavy use of alcohol and cocaine, in addition to sexual encounters with many women.{{sfn|Carr|1998|p=330}} He also stated that "Sex and drugs took the place music had occupied in my life." Drummer Tony Williams recalled that by noon (on average) Davis would be sick from the previous night's intake.<ref name=":11"/>

In December 1975, he had regained enough strength to undergo a much needed hip replacement operation.{{sfn|Morton|2005|p=76}} In December 1976, Columbia was reluctant to renew his contract and pay his usual large advances. But after his lawyer started negotiating with [[United Artists Records|United Artists]], Columbia matched their offer, establishing the Miles Davis Fund to pay him regularly. Pianist [[Vladimir Horowitz]] was the only other musician with Columbia who had a similar status.{{sfn|Carr|1998|p=329}}

In 1978, Davis asked fusion guitarist [[Larry Coryell]] to participate in sessions with keyboardists [[Masabumi Kikuchi]] and George Pavlis, bassist [[T. M. Stevens]] and drummer [[Al Foster]].{{sfn|Cole|2005|p=36}} Davis played the arranged piece uptempo, abandoned his trumpet for the organ, and had Macero record the session without the band's knowledge. After Coryell declined a spot in a band that Davis was beginning to put together, Davis returned to his reclusive lifestyle in New York City.{{sfn|Szwed|2004|p=347}}{{sfn|Morton|2005|p=77, 78}} Soon after, Marguerite Eskridge had Davis jailed for failing to pay child support for their son Erin, which cost him $10,000 ({{Inflation|US|10000|1978|r=-1|fmt=eq}}{{inflation-fn|US}}) for release on bail.{{sfn|Morton|2005|p=76}}{{sfn|Cole|2005|p=36}} A recording session that involved Buckmaster and Gil Evans was halted,{{sfn|Cole|2005|p=38}} with Evans leaving after failing to receive the payment he was promised. In August 1978, Davis hired a new manager, Mark Rothbaum, who had worked with him since 1972.{{sfn|Szwed|2004|p=358}}

===1980–1985: Comeback===
Having played the trumpet little throughout the previous three years, Davis found it difficult to reclaim his [[embouchure]]. His first post-hiatus studio appearance took place in May 1980.{{sfn|Morton|2005|p=79}} A day later, Davis was hospitalized due to a leg infection.{{sfn|Carr|1998|p=349}} He recorded ''[[The Man with the Horn]]'' from June 1980 to May 1981 with Macero producing. A large band was abandoned in favor of a combo with saxophonist [[Bill Evans (saxophonist)|Bill Evans]] and bassist [[Marcus Miller]]. Both would collaborate with him during the next decade.

''The Man with the Horn'' received a poor critical reception despite selling well. In June 1981, Davis returned to the stage for the first time since 1975 in a ten-minute guest solo as part of [[Mel Lewis]]'s band at the [[Village Vanguard]].{{sfn|Cole|2005|p=92}} This was followed by appearances with a new band.{{sfn|Carr|1998|p=363}}{{sfn|Morton|2005|p=77}} Recordings from a mixture of dates from 1981, including from the Kix in Boston and Avery Fisher Hall, were released on ''[[We Want Miles]]'',{{sfn|Morton|2005|p=78}} which earned him a Grammy Award for Best Jazz Instrumental Performance by a Soloist.{{sfn|''The Complete Illustrated History''|2007|p=180}}

[[File:Miles Davis 23.jpg|thumb|left|upright|Davis performing in 1985]]
In January 1982, while Tyson was working in Africa, Davis "went a little wild" with alcohol and suffered a stroke that temporarily paralyzed his right hand.{{sfn|Davis|Troupe|1989|pp=348–350}}{{sfn|Early|2001|p=222}} Tyson returned home and cared for him. After three months of treatment with a Chinese acupuncturist, he was able to play the trumpet again. He listened to his doctor's warnings and gave up alcohol and drugs. He credited Tyson with helping his recovery, which involved exercise, piano playing and visits to spas. She encouraged him to draw, which he pursued for the rest of his life.{{sfn|Davis|Troupe|1989|pp=348–350}} [[Takao Ogawa]], a Japanese jazz journalist who befriended Davis during this period, took pictures of his drawings and put them in his book along with the interviews of Davis at his apartment in New York. Davis told Ogawa: "I'm interested in line and color, line is like phrase and coating colors is like code. When I see good paintings, I hear good music. That is why my paintings are the same as my music. They are different than any paintings."<ref>{{Cite book |last=Ogawa |first=Takao |title=Miles Speaks – Everything That Miles Davis Told/マイルス・デイヴィスが語った全てのこと |publisher=Kawade Shobo Shinsha |year=2017 |isbn=978-4-309-27770-7 |location=Tokyo, Japon |pages=238 |language=ja}}</ref>

Davis resumed touring in May 1982 with a lineup that included percussionist [[Mino Cinelu]] and guitarist [[John Scofield]], with whom he worked closely on the album ''[[Star People]]'' (1983). In mid-1983, he worked on the tracks for ''[[Decoy (album)|Decoy]]'', an album mixing soul music and [[electronica]] that was released in 1984. He brought in producer, composer and keyboardist [[Robert Irving III]], who had collaborated with him on ''The Man with the Horn''. With a seven-piece band that included Scofield, Evans, Irving, Foster and [[Darryl Jones]], he played a series of European performances that were positively received. In December 1984, while in Denmark, he was awarded the [[Léonie Sonning Music Prize]]. Trumpeter [[Palle Mikkelborg]] had written "Aura", a contemporary classical piece, for the event which impressed Davis to the point of returning to Denmark in early 1985 to record his next studio album, ''[[Aura (Miles Davis album)|Aura]]''.{{sfn|''The Complete Illustrated History''|2007|p=183}} Columbia was dissatisfied with the recording and delayed its release.

In May 1985, one month into a tour, Davis signed a contract with [[Warner Bros. Records|Warner Bros.]] that required him to give up his publishing rights.{{sfn|Cole|2005|p=352}}{{sfn|''The Complete Illustrated History''|2007|p=194}} ''[[You're Under Arrest (Miles Davis album)|You're Under Arrest]]'', his final album for Columbia, was released in September. It included cover versions of two pop songs: "[[Time After Time (Cyndi Lauper song)|Time After Time]]" by [[Cyndi Lauper]] and [[Michael Jackson]]'s "[[Human Nature (Michael Jackson song)|Human Nature]]". He considered releasing an album of pop songs, and he recorded dozens of them, but the idea was rejected. He said that many of today's jazz standards had been pop songs in [[Broadway theater]] and that he was simply updating the standards repertoire.

Davis collaborated with a number of figures from the British post-punk and new wave movements during this period, including [[Scritti Politti]].<ref>{{cite web |url=http://www.intro.de/magazin/musik/23035596?current_page=1 |title=Scritti Politti – Pop – INTRO | website= Intro.de |access-date=July 17, 2015 |archive-url=https://web.archive.org/web/20131203000939/http://www.intro.de/magazin/musik/23035596?current_page=1 |archive-date=December 3, 2013 |url-status=live }}</ref> This period also saw Davis move from his funk inspired sound of the early 1970s to a more melodic style.<ref name=":12">{{Cite journal |last=Cook |first=Richard |author-link=Richard Cook (journalist) |date=July 13, 1985 |title=Miles Davis: Miles Runs The Voodoo Down |journal=NME |via=Rock's Backpages}}</ref>

===1986–1991: Final years===
[[File:Miles Davis Strasbourg face 2.jpg|thumb|right|upright|Davis performing in [[Strasbourg]], 1987]]
After taking part in the recording of the 1985 protest song "[[Sun City (song)|Sun City]]" as a member of [[Artists United Against Apartheid]], Davis appeared on the instrumental "Don't Stop Me Now" by [[Toto (band)|Toto]] for their album ''[[Fahrenheit (Toto album)|Fahrenheit]]'' (1986). Davis collaborated with [[Prince (artist)|Prince]] on a song titled "Can I Play With U," which went unreleased until 2020.<ref>{{Cite news |url= https://www.bbc.co.uk/programmes/articles/nDS9d4z119XrWm57H2SDFD/when-miles-met-prince-superstars-secret-collaboration|title=When Miles met Prince: Superstars' secret collaboration|last=Campbell|first=Allen|date=April 25, 2016|work=BBC Arts|access-date=December 3, 2019|archive-url= https://web.archive.org/web/20191203205726/https://www.bbc.co.uk/programmes/articles/nDS9d4z119XrWm57H2SDFD/when-miles-met-prince-superstars-secret-collaboration|archive-date=December 3, 2019|url-status=live}}</ref> Davis also collaborated with Zane Giles and [[Randy Hall]] on the ''[[Rubberband (Miles Davis album)|Rubberband]]'' sessions in 1985 but those would remain unreleased until 2019.<ref name="announce">{{Cite web |title=Miles Davis' Lost Album ''Rubberband'' Set for Release |last=Yoo |first=Noah |publisher=[[Pitchfork (website)|Pitchfork]] |date=June 13, 2019 |access-date=June 17, 2019 |url=https://pitchfork.com/news/miles-davis-lost-album-rubberband-set-for-release/ |archive-url= https://web.archive.org/web/20190614160521/https://pitchfork.com/news/miles-davis-lost-album-rubberband-set-for-release/ |archive-date=June 14, 2019 |url-status= live }}</ref> Instead, he worked with Marcus Miller, and ''[[Tutu (album)|Tutu]]'' (1986) became the first time he used modern studio tools such as programmed synthesizers, [[sampling (music)|sampling]] and drum loops. Released in September 1986, its front cover is a photographic portrait of Davis by [[Irving Penn]].{{sfn|''The Complete Illustrated History''|2007|p=194}} In 1987, he won a Grammy Award for [[Best Jazz Instrumental Performance, Soloist]]. Also in 1987, Davis contacted American journalist [[Quincy Troupe]] to work with him on his autobiography.<ref name=":8">{{Cite news|last=Broeske|first=Pat H.|date=November 19, 2006|title=Wrestling With Miles Davis and His Demons| language= en-US| work= [[The New York Times]]|url=https://www.nytimes.com/2006/11/19/movies/19broe.html|url-status=live|access-date=June 28, 2020|issn=0362-4331|archive-url=https://web.archive.org/web/20200404131646/https://www.nytimes.com/2006/11/19/movies/19broe.html|archive-date=April 4, 2020}}</ref> The two men had met the previous year when Troupe conducted a two-day-long interview, which was published by ''[[Spin (magazine)|Spin]]'' as a 45-page article.<ref name=":8"/>

In 1988, Davis had a small part as a street musician in the Christmas comedy film ''[[Scrooged]]'' starring [[Bill Murray]]. He also collaborated with [[Zucchero Fornaciari]] in a version of ''Dune Mosse'' (''[[Blue's]]''), published in 2004 in ''[[Zu & Co.]]'' of the Italian bluesman. In November 1988 he was inducted into the [[Sovereign Military Order of Malta]] at a ceremony at the [[Alhambra Palace]] in Spain.{{sfn|Troupe|2002|p=388}}{{sfn|Carr|1998|p=496}}{{sfn|Gelbard|2012|pp=73–74}} Later that month, Davis cut his European tour short after he collapsed and fainted after a two-hour show in Madrid and flew home.<ref>{{cite web |url=http://www.upi.com/Archives/1988/11/17/Davis-cuts-tour-short-following-collapse/9622595746000/ |title=Davis cuts tour short following collapse |work=United Press International |date=November 17, 1988 |access-date=April 29, 2017 |archive-url= https://web.archive.org/web/20170903120317/http://www.upi.com/Archives/1988/11/17/Davis-cuts-tour-short-following-collapse/9622595746000/ |archive-date= September 3, 2017 |url-status=live }}</ref> There were rumors of more poor health reported by the American magazine ''Star'' in its February 21, 1989, edition, which published a claim that Davis had contracted AIDS, prompting his manager Peter Shukat to issue a statement the following day. Shukat said Davis had been in the hospital for a mild case of pneumonia and the removal of a benign polyp on his vocal cords and was resting comfortably in preparation for his 1989 tours.<ref name=latimes1989>{{cite web |url=https://www.latimes.com/archives/la-xpm-1989-02-22-ca-88-story.html |title=Jazz Notes: Manager Denies Miles Davis AIDS Report |first=Zan |last=Stewart |date=February 22, 1989 |work=Los Angeles Times |access-date= April 15, 2017 |archive-url=https://web.archive.org/web/20170416125526/http://articles.latimes.com/1989-02-22/entertainment/ca-88_1_locke-high-school |archive-date= April 16, 2017 |url-status=live }}</ref> Davis later blamed one of his former wives or girlfriends for starting the rumor and decided against taking legal action.{{sfn|Tingen|2001|p=263}} He was interviewed on ''[[60 Minutes]]'' by Harry Reasoner. In October 1989, he received a Grande Medaille de Vermeil from Paris mayor [[Jacques Chirac]].{{sfn|Chambers|1998|p=Introduction, xv}} In 1990, he received a [[Grammy Lifetime Achievement Award]].{{sfn|Cole|2005|p=443}} In early 1991, he appeared in the [[Rolf de Heer]] film ''[[Dingo (film)|Dingo]]'' as a jazz musician.

[[File:Miles Davis 22.jpg|thumb|Davis at the [[North Sea Jazz Festival]], 1991]]
Davis followed ''Tutu'' with ''[[Amandla (album)|Amandla]]'' (1989) and soundtracks to four films: ''[[Street Smart (1987 film)|Street Smart]]'', ''[[Siesta (film)|Siesta]]'', ''[[The Hot Spot]]'' and ''[[Dingo (soundtrack)|Dingo]].'' His last albums were released posthumously: the hip hop-influenced ''[[Doo-Bop]]'' (1992) and ''[[Miles & Quincy Live at Montreux]]'' (1993), a collaboration with Quincy Jones from the 1991 [[Montreux Jazz Festival]] where, for the first time in three decades, he performed songs from ''Miles Ahead'', ''Porgy and Bess'', and ''Sketches of Spain''.<ref>{{cite web|first= Ron |last= Wynn |url=https://www.allmusic.com/album/r189935 |title=Miles & Quincy Live at Montreux |website=AllMusic |access-date= July 17, 2015}}</ref>

On July 8, 1991, Davis returned to performing material from his past at the 1991 Montreux Jazz Festival with a band and orchestra conducted by Quincy Jones.{{sfn|''The Complete Illustrated History''|2007|p=200}} The set consisted of arrangements from his albums recorded with Gil Evans.{{sfn|Cole|2005|p=404}} The show was followed by a concert billed as "Miles and Friends" at the [[Grande halle de la Villette]] in Paris two days later, with guest performances by musicians from throughout his career, including John McLaughlin, Herbie Hancock and Joe Zawinul.{{sfn|Cole|2005|p=404}} In Paris he was awarded a knighthood, the [[Chevalier of the Legion of Honour]] by French Culture Minister, Jack Lang, who called him "the Picasso of Jazz."{{sfn|Cole|2005|p=443}} After returning to America, he stopped in New York City to record material for ''Doo-Bop and'' then returned to California to play at the Hollywood Bowl on August 25, his final live performance.{{sfn|''The Complete Illustrated History''|2007|p=200}}{{sfn|Cole|2005|p=408}}
{{clear}}

==Personal life==
In 1957,<ref>{{Cite journal|date=November 14, 1957|title=New York Beat|url=https://books.google.com/books?id=XrcDAAAAMBAJ&pg=PA64|journal=Jet|volume=13 |issue=2|pages=64}}</ref> Davis began a relationship with [[Frances Taylor Davis|Frances Taylor]], a dancer he had met in 1953 at [[Ciro's]] in Los Angeles.<ref>{{Cite web|url=http://thehollywood360.com/an-interview-with-frances-davis-miles-daviss-1st-wife/|title=An Interview with Frances Davis (Miles Davis's First Wife)|last=Aronson|first=Sheryl|date=September 26, 2017|website=The Hollywood 360|language=en-US|url-status=live|archive-url=https://web.archive.org/web/20191028201704/http://thehollywood360.com/an-interview-with-frances-davis-miles-daviss-1st-wife|archive-date=October 28, 2019|access-date=December 15, 2019}}</ref>{{sfn|Davis|Troupe|1989|p=227}} They married in December 1959 in [[Toledo, Ohio]].<ref>{{Cite journal|date=January 7, 1960|title=Miles Davis, Frances Taylor Wed In Toledo|url=https://books.google.com/books?id=064DAAAAMBAJ&q=frances+Taylor+jet+1960+miles+davis&pg=PA59|journal=Jet|volume= 17| issue =  11|pages=59}}</ref> Due to Miles Davis's physical abuse of Frances Taylor, their relationship suffered. He later wrote, "Every time I hit her, I felt bad because a lot of it really wasn't her fault but had to do with me being temperamental and jealous."{{sfn|Davis|Troupe|1989|p=228}}{{sfn|Davis|Troupe|1989|p=290}}<ref>{{cite web|url=http://santafe.com/blogs/read/the-matra-diva-the-iconic-frances-davis|title=Blogs|access-date=February 9, 2017|archive-url=https://web.archive.org/web/20170211081342/http://santafe.com/blogs/read/the-matra-diva-the-iconic-frances-davis|archive-date=February 11, 2017|url-status=live}}</ref> One theory for his behavior was that in 1963 he had increased his use of alcohol and cocaine to alleviate joint pain caused by [[sickle cell anemia]].{{sfn|Davis|Troupe|1989|p=267}}{{sfn|The Complete Illustrated History |2007 |p=109}} He hallucinated, "looking for this imaginary person" in his house while wielding a kitchen knife. Soon after the photograph for the album ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965) was taken, Taylor left him for the final time.{{sfn|Davis|Troupe|1989|pp=281–282}} She filed for divorce in 1966; it was finalized in February 1968.<ref>{{Cite journal|date=February 15, 1968|title=Miles Davis And Wife Now 'Miles Apart' |url= https://books.google.com/books?id=LrgDAAAAMBAJ&q=frances+miles+davis+jet&pg=PA23|journal=Jet|volume= 33| issue= 19|pages= 23}}</ref>{{sfn|Szwed|2004|p=268}}

In September 1968, Davis married 23-year-old model and songwriter [[Betty Mabry]].<ref>{{Cite journal|date=October 17, 1968|title=One Of Sexiest Men Alive|url=https://books.google.com/books?id=hTgDAAAAMBAJ&q=betty+davis+miles+davis+jet+1968&pg=PA48|journal=Jet|volume=35|issue=2|pages=48|access-date=December 16, 2019|archive-url=https://web.archive.org/web/20200528035130/https://books.google.com/books?id=hTgDAAAAMBAJ&pg=PA48&dq=betty+davis+miles+davis+jet+1968&hl=en&sa=X&ved=2ahUKEwj6_d7Qz7nmAhXPWc0KHQfUC0wQ6AEwAHoECAIQAg#v=onepage&q=betty%20davis%20miles%20davis%20jet%201968&f=false|archive-date=May 28, 2020|url-status=live}}</ref> In his autobiography, Davis described her as a "high-class groupie, who was very talented but who didn't believe in her own talent".{{sfn|Davis|Troupe|1989}} Mabry, a familiar face in the New York City counterculture, introduced Davis to popular rock, soul and funk musicians.{{sfn|''The Complete Illustrated History''|2007|p=143}} Jazz critic [[Leonard Feather]] visited Davis's apartment and was shocked to find him listening to albums by [[the Byrds]], [[Aretha Franklin]] and [[Dionne Warwick]]. He also liked [[James Brown]], [[Sly and the Family Stone]], and [[Jimi Hendrix]],{{sfn|''The Complete Illustrated History''|2007|p=145}} whose group [[Band of Gypsys]] particularly impressed Davis.<ref>{{cite magazine |last=Murphy |first=Bill |date=October 2003 |title=Raging Bullhorn: Miles Davis and A Tribute to Jack Johnson |issue=236 |page=32 |magazine=The Wire}}</ref> Davis filed for divorce from Mabry in 1969, after accusing her of having an affair with Hendrix.{{sfn|Davis|Troupe|1989}}

[[File:Miles Davis and Cicely Tyson 1982.jpg|thumb|Davis and Cicely Tyson in 1982]]
On October 10, 1969, Davis was shot at five times while in his Ferrari with Marguerite Eskridge, one of his lovers. One bullet grazed his hip; Eskridge was unharmed.{{sfn|''The Complete Illustrated History''|2007|p=150}} 
Davis later wrote that the incident arose from a dispute among nightclub promoters.<ref>{{cite web |last=Granger |first=Greg |title=50 Years Ago: Who Tried to Kill Miles Davis on a New York City Street? |url=https://somethingelsereviews.com/2019/10/10/miles-davis-shot-1969/ |website=somethingelsereviews.com |date=October 10, 2019 |publisher=Something Else |access-date=8 April 2025}}</ref>

In 1970, Marguerite gave birth to their son Erin. By 1979, Davis rekindled his relationship with actress [[Cicely Tyson]], who helped him to overcome his cocaine addiction and regain his enthusiasm for music. The two married in November 1981,{{sfn|Davis|Troupe|1989|p=348}}{{sfn|The Complete Illustrated History |2007 |p=180}} but their tumultuous marriage ended with Tyson filing for divorce in 1988, which was finalized in 1989.{{sfn|Davis|Troupe|1989|pp=390–391}}

In 1984, Davis met 34-year-old sculptor Jo Gelbard.<ref name=":9">{{Cite web|title=Interview: Jo Gelbard: The Dark Arts |url= https://www.thelastmiles.com/interviews-jo-gelbard/|access-date=June 28, 2020|website=The Last Miles|language=en-GB|archive-url= https://web.archive.org/web/20200424103257/https://www.thelastmiles.com/interviews-jo-gelbard/|archive-date=April 24, 2020|url-status=live}}</ref> She taught Davis how to paint; the two were frequent collaborators and were soon romantically involved, eventually leaving their respective partners and living together.<ref name=":8"/><ref name=":9"/><ref>{{cite web | url=https://www.theguardian.com/music/2010/dec/09/miles-davis-art | title=Art – Miles Davis's last addiction | work=The Guardian | date=December 9, 2010 | last1=Williams | first1=Richard }}</ref> 

By 1985, Davis was diabetic and required daily injections of insulin.{{sfn|Davis|Troupe|1989|pp=363–64}} Davis became increasingly aggressive in his final year due in part to the medication he was taking,<ref name=":9"/> and his aggression manifested as violence towards Gelbard.<ref name=":9"/>

==Death==
[[File:Sir Miles Davis Gravesite.JPG|thumb|Davis's grave in [[Woodlawn Cemetery (Bronx, New York)|Woodlawn Cemetery]], with headstone inscribed with the beginning notes of one of his compositions, "[[Solar (composition)|Solar]]"<ref>{{cite magazine|last=Meyer|first=Robinson|date=July 9, 2012|url=https://www.theatlantic.com/technology/archive/2012/07/the-time-miles-davis-stole-or-borrowed-a-song-151and-how-it-ended-up-on-his-tombstone/259556/|title=The Time Miles Davis Stole (or Borrowed) a Song and How It Ended Up on His Tombstone|magazine=[[The Atlantic]]|access-date=November 22, 2021|archive-date=November 22, 2021|archive-url=https://web.archive.org/web/20211122213751/https://www.theatlantic.com/technology/archive/2012/07/the-time-miles-davis-stole-or-borrowed-a-song-151and-how-it-ended-up-on-his-tombstone/259556/|url-status=live}}</ref>]]
In early September 1991, Davis checked into [[Saint John's Health Center|St. John's Hospital]] near his home in Santa Monica, California, for routine tests.{{sfn|Morton|2005|p=149}} Doctors suggested he have a [[tracheal tube]] implanted to relieve his breathing after repeated bouts of [[bronchial pneumonia]]. The suggestion provoked an outburst from Davis that led to an [[intracerebral hemorrhage]] followed by a coma. According to Jo Gelbard, on September 26, Davis painted his final painting—and that painting, composed of dark, ghostly figures dripping blood "was full of his imminent demise".<ref name=":11"/> After several days on life support, his machine was turned off and he died on September 28, 1991, in the arms of Gelbard.<ref name=":8"/>{{sfn|Morton|2005|p=150}} He was 65 years old. 

Davis's death was attributed to the combined effects of a stroke, pneumonia and respiratory failure.<ref name="Miles Davis"/> According to Troupe, Davis was taking [[azidothymidine]] (AZT), a type of [[antiretroviral drug]] used for the treatment of HIV and AIDS, during his treatments in the hospital.{{sfn|Szwed|2004|p=393}} 

A funeral service was held on October 5, 1991, at [[Citigroup Center#St. Peter's Lutheran Church|St. Peter's Lutheran Church]] on [[Lexington Avenue]] in New York City<ref>{{cite web |url= http://www.nycago.org/Organs/NYC/html/StPeterLuth.html| title= St. Peter Lutheran Church – New York City |website= nycago.org|access-date=June 13, 2019|archive-url=https://web.archive.org/web/20101223045109/http://nycago.org/Organs/NYC/html/StPeterLuth.html|archive-date=December 23, 2010|url-status=live}}</ref><ref>{{cite news|url=https://www.nytimes.com/1998/02/08/nyregion/john-g-gensel-80-the-pastor-to-new-york-s-jazz-community.html |title=John G. Gensel, 80, the Pastor to New York's Jazz Community|first=Ben|last=Ratliff|newspaper=The New York Times|date=February 8, 1998|access-date=June 13, 2019| archive-url=https://web.archive.org/web/20160815210027/http://www.nytimes.com/1998/02/08/nyregion/john-g-gensel-80-the-pastor-to-new-york-s-jazz-community.html|archive-date=August 15, 2016|url-status=live}}</ref> that was attended by around 500 friends, family members and musical acquaintances, with many fans standing in the rain.<ref>{{Cite news|url=https://www.nytimes.com/1991/10/06/nyregion/fans-remember-the-eternal-music-of-miles-davis.html|title=Fans Remember the 'Eternal Music' of Miles Davis|newspaper=New York Times|date=October 6, 1991}}</ref><ref>{{Cite web|url=https://www.upi.com/Archives/1991/10/05/Gabriel-Move-over-for-Miles/7838686635200/|title=Gabriel: Move over for Miles|website=United Press International|date=October 5, 1991}}</ref>{{sfn|Cole|2005|p=409}} He was buried in [[Woodlawn Cemetery (Bronx, New York)|Woodlawn Cemetery]] in [[the Bronx]], New York City, with one of his trumpets, near the site of [[Duke Ellington]]'s grave.{{sfn|Cole|2005|p=409}}{{sfn|Davis|Sussman|2006}} <!-- He was agnostic.<ref>{{cite book |last=Grella |first=George |title=Miles Davis' Bitches Brew |date=October 22, 2015 |publisher=Bloomsbury Publishing |isbn=9781628929454 |quote=Miles, by consistently going against the prevailing flow, was not just demonstrating that he was his own man, he was marking himself as an apostate. Not that he cared: he was agnostic. But jazz cared.}}</ref> --- this passage, in Grella (2015), seems to have nothing to do with religious beliefs -->

At the time of his death, Davis's estate was valued at more than $1 million (equivalent to roughly ${{Inflation|US|1|1991|r=1}}&nbsp;million in {{Inflation/year|US}}{{Inflation/fn|US}}). In his will, Davis left 20 percent to his daughter Cheryl Davis; 40 percent to his son Erin Davis; 10 percent to his nephew Vincent Wilburn Jr. and 15 percent each to his brother Vernon Davis and his sister Dorothy Wilburn. He excluded his two sons Gregory and Miles IV.<ref>{{Cite journal|date=November 11, 1991|title=Miles Davis Excludes Two Of His Sons From His Will|url=https://books.google.com/books?id=jLkDAAAAMBAJ&q=cicely+tyson+miles+davis+jet&pg=PA58|journal=Jet|volume= 81| issue =  4|pages=58}}</ref>

==Views on his earlier work==
Late in his life, from the "electric period" onwards, Davis repeatedly explained his reasons for not wishing to perform his earlier works, such as ''[[Birth of the Cool]]'' or ''[[Kind of Blue]]''. In his view, remaining stylistically static was the wrong option.{{sfn|Davis|Sultanof|2002|pp=2–3}} He commented: {{"'}}So What' or ''Kind of Blue'', they were done in that era, the right hour, the right day, and it happened. It's over&nbsp;... What I used to play with Bill Evans, all those different modes, and substitute chords, we had the energy then and we liked it. But I have no feel for it anymore, it's more like warmed-over turkey."{{sfn|Kahn|2001b}} When [[Shirley Horn]] insisted in 1990 that Miles reconsider playing the ballads and modal tunes of his ''Kind of Blue'' period, he said: "Nah, it hurts my lip."{{sfn|Kahn|2001b}} [[Bill Evans]], who played piano on ''Kind of Blue'', said: "I would like to hear more of the consummate melodic master, but I feel that big business and his record company have had a corrupting influence on his material. The rock and pop thing certainly draws a wider audience."{{sfn|Kahn|2001b}} Throughout his later career, Davis declined offers to reinstate his 1960s quintet.<ref name=":11"/>

Many books and documentaries focus on his work before 1975.<ref name=":11"/> According to an article by ''[[The Independent]]'', from 1975 onwards a decline in critical praise for Davis's output began to form, with many viewing the era as "worthless": "There is a surprisingly widespread view that, in terms of the merits of his musical output, Davis might as well have died in 1975."<ref name=":11"/> In a 1982 interview in ''[[DownBeat]]'', [[Wynton Marsalis]] said: "They call Miles's stuff jazz. That stuff is not jazz, man. Just because somebody played jazz at one time, that doesn't mean they're still playing it."<ref name=":11"/> Despite his contempt for Davis' later work, Marsalis' work is "laden with ironic references to Davis' music of the '60s".<ref name=":12"/> Davis did not necessarily disagree; lambasting what he saw as Marsalis's stylistic conservatism, Davis said "Jazz is dead&nbsp;... it's finito! It's over and there's no point apeing the shit."<ref name="gilroy1993">{{cite book |last=Gilroy |first=Paul |title=The Black Atlantic: Modernity and Double Consciousness |date=1993 |publisher=[[Harvard University Press]] |location=Cambridge, MA |isbn=0674076060 |page=97}}</ref> Writer [[Stanley Crouch]] criticized Davis's work from ''In a Silent Way'' onwards.<ref name=":11"/>

==Legacy and influence==
[[File:Pomnik Milesa Davisa Kielce 01 ssj 20060304.jpg|thumb|upright|left|[[Miles Davis Monument]], unveiled in 2001, by Grzegorz Łagowski, in [[Kielce]], Poland]]
Miles Davis is considered one of the most innovative, influential and respected figures in the history of music. ''[[The Guardian]]'' described him as "a pioneer of 20th-century music, leading many of the key developments in the world of jazz."<ref name="guardian">{{cite web |title=Miles Davis voted greatest jazz artist of all time |url= https://www.theguardian.com/music/2015/nov/16/miles-davis-voted-greatest-jazz-artist-of-all-time |website=The Guardian |access-date=December 15, 2018 |date= November 16, 2015 |archive-url=https://web.archive.org/web/20160616230028/https://www.theguardian.com/music/2015/nov/16/miles-davis-voted-greatest-jazz-artist-of-all-time |archive-date=June 16, 2016 |url-status=live }}</ref> He has been called "one of the great innovators in jazz",<ref>{{cite web |last=Tingen |first=Paul |author-link=Paul Tingen |date=September 30, 2003 |title=Music – Review of Miles Davis – The Complete Jack Johnson Sessions |url=https://www.bbc.co.uk/music/reviews/6zdp |url-status=live |archive-url=https://web.archive.org/web/20150925111639/http://www.bbc.co.uk/music/reviews/6zdp |archive-date=September 25, 2015 |access-date=July 17, 2015 |publisher=BBC}}</ref> and had the titles Prince of Darkness and the Picasso of Jazz bestowed upon him.{{sfn|''The Complete Illustrated History''|2007|p=8}} ''The Rolling Stone Encyclopedia of Rock & Roll'' said, "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."<ref>{{cite magazine |url= https://www.rollingstone.com/artists/milesdavis/biography |title=Miles Davis Biography |access-date=January 26, 2009 |url-status=dead |archive-url= https://web.archive.org/web/20090126002444/http://www.rollingstone.com/artists/milesdavis/biography |magazine=[[Rolling Stone]]| archive-date= January 26, 2009 }}</ref>

William Ruhlmann of [[AllMusic]] wrote, "To examine his career is to examine the history of jazz from the mid-1940s to the early 1990s, since he was in the thick of almost every important innovation and stylistic development in the music during that period&nbsp;... It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward."<ref name="allmusic">{{cite web |last=Ruhlmann |first=William |title=Miles Davis Biography |url=https://www.allmusic.com/artist/miles-davis-mn0000423829/biography |website=[[AllMusic]] |access-date=June 16, 2016 |archive-url=https://web.archive.org/web/20160621230319/http://www.allmusic.com/artist/miles-davis-mn0000423829/biography |archive-date=June 21, 2016 |url-status=live }}</ref> Francis Davis of ''[[The Atlantic]]'' noted that Davis's career can be seen as "an ongoing critique of bebop: the origins of 'cool' jazz..., hard bop, or 'funky'..., modal improvisation..., and jazz-rock fusion... can be traced to his efforts to tear bebop down to its essentials."<ref name=":7">{{Cite web|last=Davis|first=Francis|date=March 29, 2016|title=The Book on Miles |url= https://www.theatlantic.com/magazine/archive/1990/01/the-book-on-miles/475422/|url-status=live|archive-url= https://web.archive.org/web/20200413123807/https://www.theatlantic.com/magazine/archive/1990/01/the-book-on-miles/475422/|archive-date=April 13, 2020| access-date= June 27, 2020|website=[[The Atlantic]]|language=en-US}}</ref>

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.<ref name="possible">{{cite journal |last=Smith |first= Christopher |title=A Sense of the Possible: Miles Davis and the Semiotics of Improvised Performance |journal=TDR |year=1995 |volume=39 |issue= 3 |pages=41–55|doi=10.2307/1146463 |jstor=1146463 }}</ref> In 2016, digital publication ''[[The Pudding]]'', in an article examining Davis's legacy, found that 2,452 Wikipedia pages mention Davis, with over 286 citing him as an influence.<ref>{{Cite web| last1= Daniels|first1=Matt |first2=Hanah |last2=Anderson |title=Miles Davis' legacy, represented by every Wikipedia page that mentions him | url= https://pudding.cool/2017/03/miles/index.html|url-status=live|archive-url= https://web.archive.org/web/20170513054423/https://pudding.cool/2017/03/miles/index.html|archive-date=May 13, 2017|access-date=June 27, 2020| website= The Pudding|language=en}}</ref>

[[File:Miles Davis Way, NYC IMG 5819.JPG|thumb|The westernmost part of 77th Street in New York City has been named Miles Davis Way. He once lived on the block.]]

On November 5, 2009, U.S. Representative [[John Conyers]] of Michigan sponsored a measure in the United States House of Representatives to commemorate ''Kind of Blue'' 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".<ref>{{cite news|url=https://www.google.com/hostednews/ap/article/ALeqM5iUiZ2PQojIOgYW99dtMTcpluXfmwD9CJTRPO0 |title=House honors Miles Davis' 'Kind of Blue' |website=Google News |access-date=December 21, 2009 |url-status=dead |archive-url=https://web.archive.org/web/20091221173335/http://www.google.com/hostednews/ap/article/ALeqM5iUiZ2PQojIOgYW99dtMTcpluXfmwD9CJTRPO0 |agency=Associated Press|date=December 15, 2009|archive-date=December 21, 2009 }}</ref> It passed with a vote of 409–0 on December 15, 2009.<ref>{{cite web |url=http://clerk.house.gov/evs/2009/roll971.xml |title=House Resolution H.RES.894 |publisher=Office of the Clerk, U.S. House of Representatives |date=December 15, 2009 |access-date=July 18, 2011 |archive-url=https://web.archive.org/web/20110216185614/http://clerk.house.gov/evs/2009/roll971.xml |archive-date=February 16, 2011 |url-status=live }}</ref> The trumpet Davis used on the recording is displayed 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.<ref>{{cite web|url=http://www.news-record.com/content/2009/10/17/article/taking_care_of_buddy |archive-url=https://archive.today/20091021043826/http://www.news-record.com/content/2009/10/17/article/taking_care_of_buddy |url-status= dead |archive-date=October 21, 2009 |title=Taking care of Buddy |publisher=News-Record.com |date=October 18, 2009| last= Rowe| first= Jeri}}</ref>

In 1986, the [[New England Conservatory]] awarded Davis an honorary doctorate for his contributions to music.<ref>{{cite web|url=http://necmusic.edu/about-nec/awards-honors/nec-honorary-doctor-music-degree |title=NEC Honorary Doctor of Music Degree |work=New England Conservatory |access-date=July 20, 2011 |archive-url=https://web.archive.org/web/20110720015522/http://necmusic.edu/about-nec/awards-honors/nec-honorary-doctor-music-degree |archive-date=July 20, 2011 }}</ref> Since 1960, the [[National Academy of Recording Arts and Sciences]] (NARAS) honored him with eight Grammy Awards, a Grammy Lifetime Achievement Award and three Grammy Hall of Fame Awards.

In 2001, ''The Miles Davis Story'', a two-hour documentary film by [[Mike Dibb]], won an [[International Emmy Award]] for arts documentary of the year.<ref name="Deans">{{cite web |last=Deans |first=Jason |title=Norton in Emmy triumph |url= https://www.theguardian.com/media/2001/nov/20/broadcasting |website=The Guardian |access-date=May 11, 2018 |date=November 20, 2001 |archive-url= https://web.archive.org/web/20160920234950/https://www.theguardian.com/media/2001/nov/20/broadcasting |archive-date=September 20, 2016 |url-status=live }}</ref> Since 2005, the Miles Davis Jazz Committee has held an annual Miles Davis Jazz Festival.<ref name=":2">{{Cite news| last= Moon |first= Jill |date=May 25, 2016|title=Bringing it 'home' — Community's passion keeps Miles Davis' legacy alive| url= https://www.thetelegraph.com/features/article/Bringing-it-home-Community-s-passion-12597441.php|access-date=June 26, 2020|website=Alton Telegraph}}</ref> Also in 2005, the Davis biography, ''[[The Last Miles]]'' was published,<ref>{{Cite news |date=April 7, 2005 |title=Miles Davis: The London Exhibition, coincides w publication of George Cole's biography The Last Miles |url=https://www.newspapers.com/article/evening-standard-miles-davis-the-london/147273135/ |access-date=September 4, 2024 |work=Evening Standard |pages=A46}}</ref> and a London exhibition was held of his paintings, ''The Last Miles: The Music of Miles Davis, 1980–1991'', was released detailing his final years and eight of his albums from the 1960s and 1970s were reissued in celebration of the 50th anniversary of his signing to Columbia Records.<ref name=":11">{{Cite web |last=Byrnes |first=Sholto |date=April 1, 2005 |title=Blowing up a storm |url=https://www.independent.co.uk/arts-entertainment/music/features/blowing-up-a-storm-530683.html |url-status=live |archive-url=https://web.archive.org/web/20171005204950/http://www.independent.co.uk/arts-entertainment/music/features/blowing-up-a-storm-530683.html |archive-date=October 5, 2017 |access-date=June 20, 2025 |website=[[The Independent]] |language=en}}</ref> In 2006, Davis was inducted into the Rock and Roll Hall of Fame.<ref name="Rolling Stone Stamp">{{Cite magazine |date=January 25, 2012|title=Postal Service to Issue Miles Davis Stamp |url= https://www.rollingstone.com/music/music-news/postal-service-to-issue-miles-davis-stamp-243839/|access-date= June 27, 2020|magazine=[[Rolling Stone]]|language=en-US}}</ref> In 2012, the U.S. Postal Service issued commemorative stamps featuring Davis.<ref name="Rolling Stone Stamp"/>

''[[Miles Ahead (film)|Miles Ahead]]'' was a 2015 American music film directed by [[Don Cheadle]], co-written by Cheadle with [[Steven Baigelman]], Stephen J. Rivele and [[Christopher Wilkinson]], which interprets the life and compositions of Davis. It premiered at the [[New York Film Festival]] in October 2015. The film stars Cheadle, [[Emayatzy Corinealdi]] as Frances Taylor, [[Ewan McGregor]], [[Michael Stuhlbarg]] and [[Lakeith Stanfield]].<ref>{{cite web |last=McNary |first=Dave |author-link=Dave McNary |date=July 22, 2015 |title=Don Cheadle's 'Miles Ahead' to Close New York Film Festival |url=https://www.variety.com/2015/film/news/miles-ahead-new-york-film-festival-don-cheadle-1201545792/ |url-status=live |archive-url=https://web.archive.org/web/20180901003747/https://variety.com/2015/film/news/miles-ahead-new-york-film-festival-don-cheadle-1201545792/ |archive-date=September 1, 2018 |access-date=April 20, 2020 |work=[[Variety (magazine)|Variety]]}}</ref> That same year a statue of him was erected in his home city, [[Alton, Illinois]], and listeners of BBC Radio and Jazz FM voted Davis the greatest jazz musician.<ref name=":2"/><ref>{{Cite news| last= Savage |first= Mark |date=November 15, 2015|title=Miles Davis voted greatest jazz artist|language=en-GB|work=BBC News|url=https://www.bbc.com/news/entertainment-arts-34827355|access-date=June 22, 2020|archive-url=https://web.archive.org/web/20180703172309/https://www.bbc.com/news/entertainment-arts-34827355|archive-date= July 3, 2018|url-status=live}}</ref> Publications such as ''[[The Guardian]]'' have also ranked Davis among the best of all jazz musicians.<ref>{{Cite news |last=Cullum |first=Jamie |author-link=Jamie Cullum |date=May 22, 2010 |title=The 10 best jazz musicians |url=https://www.theguardian.com/culture/2010/may/23/jamie-cullum-best-jazz-musicians |url-status=live |archive-url=https://web.archive.org/web/20200622143202/https://www.theguardian.com/culture/2010/may/23/jamie-cullum-best-jazz-musicians |archive-date=June 22, 2020 |access-date=June 22, 2020 |work=The Guardian |language=en-GB |issn=0261-3077}}</ref>

In 2018, American rapper [[Q-Tip (musician)|Q-Tip]] played Miles Davis in a theater production, ''My Funny Valentine''.<ref name=":4">{{Cite web |last= Yoo|first=Noah|date=March 23, 2018|title=Q-Tip to Play Miles Davis in New Theater Production|url=https://pitchfork.com/news/q-tip-to-play-miles-davis-in-new-theater-production/|url-status=live|archive-url=https://web.archive.org/web/20200424095351/https://pitchfork.com/news/q-tip-to-play-miles-davis-in-new-theater-production/|archive-date=April 24, 2020|access-date=June 27, 2020|website=[[Pitchfork (website)|Pitchfork]] |language= en-us}}</ref> Q-Tip had previously played Davis in 2010.<ref name=":4"/> In 2019, the documentary ''[[Miles Davis: Birth of the Cool]]'', directed by [[Stanley Nelson]], premiered at the [[Sundance Film Festival]].<ref>{{cite news |last=Gleiberman |first=Owen |author-link=Owen Gleiberman |date=January 30, 2019 |title=Sundance Film Review: 'Miles Davis: Birth of the Cool' |url=https://variety.com/2019/film/reviews/miles-davis-birth-of-the-cool-review-1203124379/ |archive-url=https://web.archive.org/web/20200320120812/https://variety.com/2019/film/reviews/miles-davis-birth-of-the-cool-review-1203124379/ |archive-date=March 20, 2020 |work=Variety}}</ref> It was later released on [[PBS]]' ''American Masters'' series.<ref name="Rolling Stone 2020">{{Cite magazine|last=Kreps|first=Daniel|date=February 19, 2020|title='Miles Davis: Birth of the Cool': PBS Shares New Trailer, Clip for Doc|url=https://www.rollingstone.com/music/music-news/miles-davis-birth-of-the-cool-trailer-pbs-american-masters-955005/|url-status=live|archive-url= https://web.archive.org/web/20200408042151/https://www.rollingstone.com/music/music-news/miles-davis-birth-of-the-cool-trailer-pbs-american-masters-955005/|archive-date=April 8, 2020|access-date=June 27, 2020|magazine=Rolling Stone|language=en-US}}</ref> Davis is the subject of the upcoming period romance film ''[[Miles & Juliette|Davis & Juliette]]'' about his meeting Juliette Gréco in Paris in 1949. In a statement to accompany the film's announcement, English musician and co-producer [[Mick Jagger]] regarded Davis as "inarguably one of the most influential and important musicians of the 20th Century."<ref>{{Cite web |last=Goldbart |first=Max |date=2025-05-12 |title=Mick Jagger Producing Miles Davis Romance Movie Starring Damson Idris & Anamaria Vartolomei; Goodfellas Launching Sales At Cannes |url=https://deadline.com/2025/05/mick-jagger-producing-miles-davis-movie-damson-idris-1236393415/ |access-date=2025-05-17 |website=Deadline |language=en-US}}</ref>

Davis has, however, been subject to criticism. In 1990, writer [[Stanley Crouch]], a prominent critic of jazz fusion, labeled Davis "the most brilliant sellout in the history of jazz."<ref name=":11"/> A 1993 essay by Robert Walser in ''The Musical Quarterly'' claims that "Davis has long been infamous for missing more notes than any other major trumpet player."<ref name=":5">{{Cite journal|last=Walser|first=Robert|year=1993|title=Out of Notes: Signification, Interpretation, and the Problem of Miles Davis|url=https://www.jstor.org/stable/742559|journal=The Musical Quarterly|volume=77|issue=2|pages=343–365|doi=10.1093/mq/77.2.343|jstor=742559|issn=0027-4631|url-access=subscription}}</ref> Also in the essay is a quote by music critic [[James Lincoln Collier]] who states that "if his influence was profound, the ultimate value of his work is another matter", and calls Davis an "adequate instrumentalist" but "not a great one".<ref name=":5"/> In 2013, ''[[The A.V. Club]]'' published an article titled "Miles Davis beat his wives ''and'' made beautiful music". In the article, writer Sonia Saraiya praises Davis as a musician, but criticizes him as a person, in particular, his abuse of his wives.<ref name=":6">{{Cite web| last= Saraiya|first=Sonia|date=November 22, 2013|title=Miles Davis beat his wives and made beautiful music|url=https://www.avclub.com/miles-davis-beat-his-wives-and-made-beautiful-music-1798242163|url-status=live|archive-url=https://web.archive.org/web/20200531160423/https://music.avclub.com/miles-davis-beat-his-wives-and-made-beautiful-music-1798242163|archive-date=May 31, 2020|access-date=June 27, 2020|website=[[The A.V. Club]]|language=en-us}}</ref> Others, such as Francis Davis, have criticized his treatment of women, describing it as "contemptible".<ref name=":7"/>

In 2025 [[Reservoir Media]] acquired the rights to Davis' publishing catalog.<ref>{{Cite web |last=Millman |first=Ethan |date=September 9, 2025 |title=Miles Davis Publishing Catalog Acquired by Reservoir Media |url=https://www.hollywoodreporter.com/music/music-industry-news/reservoir-media-acquires-miles-davis-catalog-1236366143/ |access-date=September 11, 2025 |website=[[The Hollywood Reporter]] |language=en-US}}</ref>

==Awards and honors==
'''Grammy Awards'''
* Miles Davis won eight Grammy Awards and received thirty-two nominations.<ref name="Grammy">{{cite web |title=Miles Davis |url= https://www.grammy.com/grammys/artists/miles-davis |publisher=National Academy of Recording Arts and Sciences |access-date=May 11, 2018 |date=May 14, 2017 |archive-url= https://web.archive.org/web/20200515055129/https://www.grammy.com/grammys/artists/miles-davis |archive-date=May 15, 2020 |url-status=live }}</ref>

{| class="wikitable sortable"
|-
! Year !! Category !! Work
|-
| 1960 || [[Grammy Award for Best Original Jazz Composition|Best Jazz Composition of More Than Five Minutes Duration]] || ''[[Sketches of Spain]]'' 
|-
| 1970 || [[Grammy Award for Best Large Jazz Ensemble Album|Best Jazz Performance, Large Group or Soloist with Large Group]] || ''[[Bitches Brew]]'' 
|-
| 1982 || [[Best Jazz Instrumental Performance, Soloist]] || ''[[We Want Miles]]''
|-
| 1986 || Best Jazz Instrumental Performance, Soloist || ''[[Tutu (album)|Tutu]]''
|-
| 1989 || Best Jazz Instrumental Performance, Soloist || ''[[Aura (Miles Davis album)|Aura]]'' 
|-
| 1989 || [[Best Jazz Instrumental Performance, Big Band]] || ''[[Aura (Miles Davis album)|Aura]]''
|-
| 1990 || [[Grammy Lifetime Achievement Award|Lifetime Achievement Award]] || 
|-
| 1992 || [[Best R&B Instrumental Performance]] || ''[[Doo-Bop]]'' 
|-
| 1993 || [[Best Large Jazz Ensemble Performance]] || ''[[Miles & Quincy Live at Montreux]]'' 
|}

'''Other awards'''
{| class="wikitable sortable"
|-
! Year!! Award !! Source
|-
| 1955 || Voted Best Trumpeter, ''DownBeat'' Readers' Poll ||
|-
| 1957 || Voted Best Trumpeter, ''DownBeat'' Readers' Poll ||
|-
| 1961 || Voted Best Trumpeter, ''DownBeat'' Readers' Poll ||
|-
| 1984 || [[Sonning Award]] for Lifetime Achievement in Music ||
|-
| 1986 || Doctor of Music, ''[[honoris causa]]'', [[New England Conservatory]] ||
|-
| 1988 || Knighthood by the Knights of Malta || {{sfn|Gelbard|2012|pp=73–74}}
|-
| 1989 || Governor's Award from the [[New York State Council on the Arts]] ||<ref name=latimes19890615>{{cite web |url= https://www.latimes.com/archives/la-xpm-1989-06-15-ca-2638-story.html|title=Miles Davis to Get Intimate in San Juan's Coach House|date=June 15, 1989|first=Leonard|last=Feather|access-date=April 16, 2017|work=Los Angeles Times|archive-url= https://web.archive.org/web/20170417070132/http://articles.latimes.com/1989-06-15/entertainment/ca-2638_1_miles-davis-miles-iv-san-juan-capistrano |archive-date=April 17, 2017|url-status=live}}</ref>
|-
| 1990 || [[St. Louis Walk of Fame]] ||<ref>{{cite web|url=http://www.stlouiswalkoffame.org/inductees/?view=achievement|title=St. Louis Walk of Fame Inductees| publisher= St. Louis Walk of Fame|access-date=April 25, 2013|archive-url= https://web.archive.org/web/20121031162946/http://www.stlouiswalkoffame.org/inductees/?view=achievement|archive-date=October 31, 2012|url-status= dead}}</ref>
|-
| 1991 || [[Australian Film Institute Award for Best Original Music Score]] for ''[[Dingo (film)|Dingo]]'', shared with [[Michel Legrand]] ||
|-
| 1991 || Knight of the [[Legion of Honor]] ||
|-
| 1998 || [[Hollywood Walk of Fame]] ||
|-
| 2006 || [[Rock and Roll Hall of Fame]] ||<ref name="Rolling Stone Stamp"/>
|-
| 2006 || [[Hollywood's Rockwalk]] ||
|-
| 2008 || [[Quadruple platinum]] certification for ''[[Kind of Blue]]'' ||
|-
| 2019 || [[Music recording sales certification|Quintuple platinum]] certification for ''[[Kind of Blue]]'' ||
|}

==Discography==
{{Main|Miles Davis discography}}

The following list intends to outline Davis's major works, particularly studio albums. A more comprehensive discography can be found at the main article.

{{Div col|colwidth=25em}}
# ''[[The New Sounds]]'' (1951)
# ''[[Young Man with a Horn (Miles Davis album)|Young Man with a Horn]]'' (1952)
# ''[[Blue Period (album)|Blue Period]]'' (1953)
# ''[[The Compositions of Al Cohn]]'' (1953)
# ''[[Miles Davis Volume 2]]'' (1954)
# ''[[Miles Davis Volume 3]]'' (1954)
# ''[[Miles Davis Quintet (album)|Miles Davis Quintet]]'' (1954)
# ''[[Miles Davis with Sonny Rollins|With Sonny Rollins]]'' (1954)
# ''[[Miles Davis Quartet]]'' (1954)
# ''[[Miles Davis All Stars, Volume 1|All-Stars, Volume 1]]'' (1955)
# ''[[Miles Davis All Stars, Volume 2|All-Stars, Volume 2]]'' (1955)
# ''[[Miles Davis All Star Sextet (album)|All Star Sextet]]'' (1955)
# ''[[The Musings of Miles]]'' (1955)
# ''[[Blue Moods]]'' (1955)
# ''[[Miles Davis Vols. 1 & 2|Miles Davis, Vol. 1]]'' (1956)
# ''[[Miles Davis Vols. 1 & 2|Miles Davis, Vol. 2]]'' (1956)
# ''[[Dig (Miles Davis album)|Dig]]'' (1956)
# ''[[Miles: The New Miles Davis Quintet]]'' (1956)
# ''[[Quintet/Sextet]]'' (1956)
# ''[[Collectors' Items]]'' (1956)
# ''[[Birth of the Cool]]'' (1957)
# ''[['Round About Midnight]]'' (1957)
# ''[[Walkin']]'' (1957)
# ''[[Cookin' with the Miles Davis Quintet|Cookin']]'' (1957)
# ''[[Miles Ahead (album)|Miles Ahead]]'' (1957)
# ''[[Relaxin']]'' (1958)
# ''[[Milestones (Miles Davis album)|Milestones]]'' (1958)
# ''[[Miles Davis and the Modern Jazz Giants]]'' (1959)
# ''[[Porgy and Bess (Miles Davis album)|Porgy and Bess]]'' (1959)
# ''[[Kind of Blue]]'' (1959)
# ''[[Workin' with the Miles Davis Quintet|Workin']]'' (1960)
# ''[[Sketches of Spain]]'' (1960)
# ''[[Steamin']]'' (1961)
# ''[[Someday My Prince Will Come (Miles Davis album)|Someday My Prince Will Come]]'' (1961)
# ''[[Seven Steps to Heaven]]'' (1963)
# ''[[Quiet Nights (Miles Davis album)|Quiet Nights]]'' (1963)
# ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965)
# ''[[Miles Smiles]]'' (1967)
# ''[[Sorcerer (Miles Davis album)|Sorcerer]]'' (1967)
# ''[[Nefertiti (Miles Davis album)|Nefertiti]]'' (1968)
# ''[[Miles in the Sky]]'' (1968)
# ''[[Filles de Kilimanjaro]]'' (1968)
# ''[[In a Silent Way]]'' (1969)
# ''[[Bitches Brew]]'' (1970)
# ''[[Jack Johnson (album)|Jack Johnson]]'' (1971)
# ''[[Live-Evil (Miles Davis album)|Live-Evil]]'' (1971)
# ''[[On the Corner]]'' (1972)
# ''[[In Concert (Miles Davis album)|In Concert]]'' (1973)
# ''[[Big Fun (Miles Davis album)|Big Fun]]'' (1974)
# ''[[Get Up with It]]'' (1974)
# ''[[Agharta (album)|Agharta]]'' (1975)
# ''[[Pangaea (album)|Pangaea]]'' (1976)
# ''[[Dark Magus]]'' (1977)
# ''[[The Man with the Horn]]'' (1981)
# ''[[We Want Miles]]'' (1982)
# ''[[Star People]]'' (1983)
# ''[[Decoy (album)|Decoy]]'' (1984)
# ''[[You're Under Arrest (Miles Davis album)|You're Under Arrest]]'' (1985)
# ''[[Tutu (album)|Tutu]]'' (1986)
# ''[[Amandla (album)|Amandla]]'' (1989)
# ''[[Aura (Miles Davis album)|Aura]]'' (1989)
# ''[[Doo-Bop]]'' (1992)
# ''[[Rubberband (Miles Davis album)|Rubberband]]'' (2019)
{{div col end}}

==Filmography==
{| class="wikitable"
|-
! rowspan=2 | Year
! rowspan=2 | Film
! colspan=3 | Credited as
! rowspan=2 | Role
! rowspan=2 | Notes
|-
! width=65 | Composer
! width=65 | Performer
! width=65 | Actor
|-
| 1958
| ''[[Elevator to the Gallows]]''
| {{Yes}}
| {{Yes}}
|
| —
| Described by critic Phil Johnson as "the loneliest trumpet sound you will ever hear, and the model for sad-core music ever since. Hear it and weep."<ref>{{cite news| first= Phil |last= Johnson| title= Discs: Jazz—Miles Davis/''Ascenseur Pour L'Echafaud'' (Fontana)| work= [[Independent on Sunday]]| date= March 14, 2004}}</ref>
|-
|1968
|''[[Symbiopsychotaxiplasm]]''
| {{Yes}}
| {{Yes}}
|
| —
|Music by Davis, from ''[[In a Silent Way]]''<ref>{{cite news |last=Dargis |first=Manohla |author-link=Manohla Dargis |date=October 26, 2005 |title=Film Within a Film in 60's Time Capsule? Groovy |url=https://www.nytimes.com/2005/10/26/movies/film-within-a-film-in-60s-time-capsule-groovy.html |access-date=October 14, 2022 |work=[[The New York Times]] |archive-date=October 14, 2022 |archive-url=https://web.archive.org/web/20221014203049/https://www.nytimes.com/2005/10/26/movies/film-within-a-film-in-60s-time-capsule-groovy.html |url-status=live }}</ref><ref>{{cite journal |last=Linscott |first=Charles "Chip" P. |title=In a (Not So) Silent Way: Listening Past Black Visuality in Symbiopsychotaxiplasm |journal=Black Camera |year=2016 |volume=8 |issue=1 |pages=169–190 |doi=10.2979/blackcamera.8.1.0169 |s2cid=152125865 }}</ref>
|-
|1970
|''[[Jack Johnson (film)|Jack Johnson]]''
| {{Yes}}
| {{Yes}}
|
|
|Basis for the 1971 album [[Jack Johnson (album)|''Jack Johnson'']]
|-
| 1972
| ''[[Imagine (1972 film)|Imagine]]''
|
|
| {{Yes}}
| Himself
| Cameo, uncredited
|-
| 1985
| ''[[Miami Vice]]''
|
|
| {{Yes}}
| Ivory Jones
| TV series (1 episode – "Junk Love")
|-
| 1986
| ''[[Crime Story (U.S. TV series)|Crime Story]]''
|
|
| {{Yes}}
| Jazz musician
| Cameo, TV series (1 episode – "The War")
|-
| 1987
| ''[[Siesta (film)|Siesta]]''
| {{Yes}}
| {{Yes}}
|
| —
|| Only one song is composed by Miles Davis in cooperation with [[Marcus Miller]] ("Theme For Augustine").
|-
| 1988
| ''[[Scrooged]]''
|
| {{Yes}}
| {{Yes}}
| Street musician
| Cameo
|-
| 1990
| ''[[The Hot Spot]]''
|
| {{Yes}}
|
||
| Composed by [[Jack Nitzsche]], also featuring [[John Lee Hooker]]
|-
| 1991
| ''[[Dingo (film)|Dingo]]''
| {{Yes}}
| {{Yes}}
| {{Yes}}
| Billy Cross
| Soundtrack is composed by Miles Davis in cooperation with [[Michel Legrand]].
|}

<small>
</small>

==Notes==
{{Notelist}}

==References==
===Citations===
{{Reflist |20em}}

=== Sources ===
{{Refbegin |30em |indent=yes}}
* {{cite book |last=Carr |first=Ian |author-link=Ian Carr |title=Miles Davis: The Definitive Biography |year=1998 |publisher=Thunder's Mouth Press |isbn=978-1-560-25241-2 |url-access=registration |url=https://archive.org/details/milesdavisdefini0000carr}}
* {{cite book |last=Chambers |first=Jack |title=Milestones: The Music and Times of Miles Davis |year=1998 |publisher=Da Capo Press |isbn=978-0-306-80849-4}}
* {{cite news |last=Christgau |first=Robert |author-link=Robert Christgau |year=1997 |url=http://www.robertchristgau.com/xg/rock/davis-97.php |title=Miles Davis' '70s: The Excitement! The Terror! |newspaper=The Village Voice |access-date=April 24, 2012 |archive-url=https://web.archive.org/web/20120127031737/http://www.robertchristgau.com/xg/rock/davis-97.php |archive-date=January 27, 2012 |url-status=live}}
* {{cite book |last=Cole |first=George |title=The Last Miles: The Music of Miles Davis (1980–1991) |year=2005 |publisher=Equinox Publishing Ltd. |isbn=978-1-84553-122-5}}
* {{cite book |last=Cook |first=Richard |author-link=Richard Cook (journalist) |year=2007 |title=It's About That Time: Miles Davis On and Off Record |publisher=Oxford University Press |isbn=978-0-19-532266-8 |url=https://archive.org/details/itsaboutthattime00cook}}
* {{cite book |last1=Davis |first1=Gregory |last2=Sussman |first2=Les |title=Dark Magus: The Jekyll and Hyde Life of Miles Davis |year=2006 |publisher=Hal Leonard |isbn=978-0-879-30875-9}}
* {{cite book |last1=Davis |first1=Miles |last2=Troupe |first2=Quincy |author-link2=Quincy Troupe |title=Miles: The Autobiography |isbn=978-0-671-72582-2 |publisher=Simon & Schuster |year=1989 |url-access=registration |url=https://archive.org/details/milesautobiograp0000davi}}
* {{cite book |last1=Davis |first1=Miles |last2=Sultanof |first2=Jeff |title=Miles Davis – Birth of the Cool: Transcribed Score |year=2002 |publisher=Hal Leonard |isbn=978-0-634-00682-1}}
* {{cite book |last=Early |first=Gerald |author-link=Gerald Early |date=2001 |title=Miles Davis and American Culture |publisher=Missouri History Museum |isbn=978-1-883982-38-6}}
* {{cite book |last=Einarson |first=John |year=2005 |title=Mr. Tambourine Man: The Life and Legacy of The Byrds' Gene Clark |publisher=Backbeat Books |isbn=978-0-879-30793-6}}
* {{cite book |last=Freeman |first=Philip |year=2005 |title=Running the Voodoo Down: The Electric Music of Miles Davis |publisher=Hal Leonard |isbn=978-1-617-74521-8}}
* {{cite book |last=Gelbard |first=Jo |title=Miles and Jo: Love Story in Blue |date=2012 |publisher=AuthorHouse |isbn=978-1-477-28957-0 |url=https://books.google.com/books?id=BdxYD5Jm8W4C&q=miles+davis+knights+of+malta+1988&pg=PA73 |access-date=November 13, 2016 |archive-url=https://web.archive.org/web/20170223145729/https://books.google.com/books?id=BdxYD5Jm8W4C&pg=PA73&lpg=PA73&dq=miles+davis+knights+of+malta+1988&source=bl&ots=XLd-sKd9t6&sig=Yq7pHXruAC5M9pjoYJbVcBcugNM&hl=en&sa=X&ved=0ahUKEwjp3rnE0abQAhXHJiYKHQtRDcMQ6AEIQDAG#v=onepage&q=miles%20davis%20knights%20of%20malta%201988&f=false |archive-date=February 23, 2017 |url-status=live}}
* {{cite book |last=Kahn |first=Ashley |author-link=Ashley Kahn |title=Kind of Blue: The Making of the Miles Davis Masterpiece |year=2001a |publisher=Da Capo Press Inc. |isbn=978-0-306-81067-1 |url=https://archive.org/details/kindofblue00kahn |url-access=registration}}
* {{cite web |last=Kahn |first=Ashley |author-link=Ashley Kahn |date=September 1, 2001b |title=Miles Davis and Bill Evans: Miles and Bill in Black & White |url=https://jazztimes.com/features/miles-davis-and-bill-evans-miles-and-bill-in-black-white/ |url-status=live |archive-url=https://web.archive.org/web/20180322143448/https://jazztimes.com/features/miles-davis-and-bill-evans-miles-and-bill-in-black-white/ |archive-date=March 22, 2018 |access-date=December 15, 2018 |website=JazzTimes}}
* {{cite book |last=McCurdy |first=Ronald C. |year=2004 |title=Meet the Great Jazz Legends: Short Sessions on the Lives, Times & Music of the Great Jazz Legends |publisher=Alfred Music |isbn=978-1-457-41813-6}}
* {{cite book |last=Morton |first=Brian |title=Miles Davis |year=2005 |publisher=Haus Publishing |isbn=978-1-904-34179-6}}
* {{cite book |last=Orr |first=Tamra |orig-year=2001 |title=American Jazz: Miles Davis |publisher=Mitchell Lane Publishers, Inc. |date=2012 |isbn=978-1-612283-41-8}}{{unreliable source?|reason=Why is this book of juvenile nonfiction considered a reliable source for an encyclopedia article?|date=October 2017}}
* {{cite book |last=Szwed |first=John |author-link=John Szwed |year=2004 |url=https://archive.org/details/sowhatlifeofmile00szwe |url-access=registration |page=[https://archive.org/details/sowhatlifeofmile00szwe/page/343 343] |title=So What: The Life of Miles Davis |publisher=Simon & Schuster |isbn=978-0-684-85983-5}}
* {{cite book |last=Tingen |first=Paul |author-link=Paul Tingen |year=2001 |title=Miles Beyond: The Electric Explorations of Miles Davis, 1967–1991 |publisher=Billboard Books |isbn=978-0-8230-8346-6 |url=https://archive.org/details/milesbeyondelect00ting |access-date=August 6, 2019 |archive-url=https://web.archive.org/web/20191215064620/https://archive.org/details/milesbeyondelect00ting |archive-date=December 15, 2019 |url-status=live}}
* {{cite book |last=Troupe |first=Quincy |author-link=Quincy Troupe |title=Miles and Me |year=2002 |publisher=University of California Press |isbn=978-0-520-23471-0 |url-access=registration |url=https://archive.org/details/milesme00trou}}
* {{cite book |author=Various |title=Miles Davis: The Complete Illustrated History |publisher=Voyageur Press |date=2012 |isbn=978-0-7603-4262-6 |ref={{harvid|''The Complete Illustrated History''|2007}}}}
* {{cite book |last=Yanow |first=Scott |author-link=Scott Yanow |year=2005 |title=Jazz: A Regional Exploration |publisher=Greenwood Publishing Group |isbn=978-0-313-32871-8}}
* {{Cite book |last=Warner |first=Jennifer |url=https://books.google.com/books?id=Z18XBQAAQBAJ&q=miles+davis+being+chased+by+kids&pg=PT7 |title=Miles Davis: A Biography |date=October 27, 2014 |publisher=BookCaps Study Guides |isbn=978-1-62917-393-1 |language=en}}
{{Refend}}

==Further reading==
{{Refbegin |30em |indent=yes}}
* {{cite book |last1=Cook |first1=Richard |author-link1=Richard Cook (journalist) |last2=Morton |first2=Brian |author2-link=Brian Morton (Scottish writer) |title=[[Penguin Guide to Jazz]] |year=1994 |publisher=Penguin Books |isbn=978-0-140-17949-1}}
* {{cite book |last=Lees |first=Gene |year=2001 |title=You Can't Steal a Gift: Dizzy, Clark, Milt, and Nat |publisher=Yale University Press |isbn=978-0-300-08965-3 |url-access=registration |url=https://archive.org/details/youcantstealgift0000lees}}
* {{cite book |last=Nisenson |first=Eric |title='Round About Midnight: A Portrait of Miles Davis |year=1996 |orig-year=1982 |publisher=Da Capo Press |isbn=978-0-306-80684-1 |url=https://archive.org/details/roundaboutmidnig0000nise}}
* {{cite journal |last=Olsen |first=Susan |title=Nicknames and Rememberance: Memorials to Woodlawn's Jazz Greats |journal=[[Names (journal)|Names]] |publisher=[[Taylor & Francis]] |location=Chico |date=2006 |volume=54 |issue=2 |pages=103–120 |doi=10.1179/nam.2006.54.2.103 |s2cid=191446083 |doi-access=free }}
* {{cite book |last=Waters |first=Keith |title=The Studio Recordings of the Miles Davis Quintet, 1965–68 |publisher=Oxford University Press |year=2011 |isbn=978-0-19-539383-5}}
* {{cite book |last=Williams |first=Richard |title=The Blue Moment: Miles Davis's Kind of Blue and the Remaking of Modern Music |publisher=Norton |year=2010 |isbn=978-0-393-07663-9}}
{{Refend}}

==External links==
{{Library resources box|by=no|onlinebooks=no|about=yes|wikititle=Miles Davis}}
{{sister project links|d=Q93341|n=no|b=no|v=no|voy=no|m=no|mw=no|wikt=no|s=no|species=no|c=Category:Miles Davis}}
* {{Official website}}
* {{webarchive |url=https://web.archive.org/web/20060424082036/http://www.miles-davis.com/ |title=Miles-Davis.com official Sony Music website |date=mdy}}
* {{New York Times topic|new_id=person/miles-davis}}
* {{Guardian topic}}
* {{discogs artist|Miles Davis}}
* {{IMDb name|0002537}}

{{Miles Davis|state=expanded}}
{{navboxes 
|title = Awards for Miles Davis
|list1=
{{AACTAAward BestMusicScore 1980-1999}}
{{Grammy Lifetime Achievement Award}}
{{Léonie Sonning Music Prize laureates}}
{{NAACP Image Award for Outstanding Jazz Artist}}
{{2006 Rock and Roll Hall of Fame}}
{{American Book Awards}}
}}

{{Portal bar|Biography|Music|Jazz}}

{{Authority control}}

{{DEFAULTSORT:Davis, Miles}}
[[Category:Miles Davis| ]]
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[[Category:20th-century African-American male actors]]
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