Miles Davis Lyrics
All Songs
52nd Street Theme
A Foggy Day
A Night in Tunisia
Ain't Misbehavin'
All Blues
All the Things You Are
Autumn Leaves
Baby Wont You Make Up Your Mind
Basin Street Blues
Blue In Green
Blue Room
Blue Xmas (To Whom It May Concern)
Bluing Pt. 1
Bluing Pt 1 andamp; 2
Bluing Pt. 3
Body and Soul
Budo
But Not for Me
Bye Bye Blackbird
Bye Bye Blackbird Pt 1
Bye Bye Blackbird Pt. 2
Bye Bye Blackbird (Version 2)
Camptown Races
Come Rain or Come Shine
Darn That Dream
Deception Cd02
Devil May Care
Dig
Donna
Don't Blame Me
Doo-Bop Song
Down
East of the Sun
Embraceable You
Fall
Feio
Flamenco Sketches
For Adults Only
Four
Freddie Freeloader
Goodnight My Love
How Deep Is the Ocean?
How High the Moon
I Could Write a Book
I Fall in Love Too Easily
I Got It Bad (And That Ain't Good)
I Surrender, Dear
If I Were a Bell
Ife
I'll Be Around
I'll Remember April
In a Sentimental Mood
In the Still of the Night
Indiana
It Might as Well Be Spring
It Never Entered My Mind
It's Only a Paper Moon
Jelly, Jelly
Jeru
June Night
Just Squeeze Me
Just You, Just Me
Lady Be Good
Love for Sale
Love Me Or Leave Me
Mean to Me
Moon Dreams
Morpheus
Move
My Old Flame
My Silent Love
Nice Work If You Can Get It
Oh, Lady Be Good
Old Devil Moon
On Green Dolphin Street
On the Sunny Side of the Street
Pennies from Heaven
Rated X
'Round Midnight
Rubberband Of Life
So Emotional
So Near, So Far
So What
Solar
Someday My Prince Will Come
Spring Is Here
Star Eyes
Stardust
Stella by Starlight
Sticky Wicked
That Old Black Magic
The Doo Bop Song
The Man I Love
The Man I Love [Album Version - (Take 1)]
The Trolley Song
There is No Greater Love
Time After Time
Time on My Hands
Way You Look Tonight
When Lights Are Low
You Don't Know What Love Is
You Go to My Head
You Won't Forget Me
Miles Dewey Davis III was an American jazz 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 jazz.
Born into an upper-middle-class 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, Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction.
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. 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 Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S.
Davis made several lineup changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another commercial success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, 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. (1965) and Miles Smiles (1967), 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.
This period, beginning with Davis's 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.
After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981), You're Under Arrest (1985) and 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.
In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". 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," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.
Birth Name: Miles Dewey Davis IIIBorn into an upper-middle-class 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, Davis recorded some of the earliest hard bop music while on Prestige Records but did so haphazardly due to a heroin addiction.
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. 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 Spanish music-influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time, having sold over five million copies in the U.S.
Davis made several lineup changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another commercial success that introduced bassist Ron Carter, pianist Herbie Hancock, and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, 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. (1965) and Miles Smiles (1967), 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.
This period, beginning with Davis's 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed.
After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981), You're Under Arrest (1985) and 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.
In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". 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," while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.
Born: May 26, 1926 in Alton, Illinois, U.S.
Died: September 28, 1991 (at age of 65) in Santa Monica, California, U.S.
Spouse(s): Frances Taylor (m. 1959; div. 1968)
Betty Mabry (m. 1968; div. 1969)
Cicely Tyson (m. 1981; div. 1989)
Genre(s): Jazz, fusion
Instrument(s): Trumpet, flugel, horn, cornet, piano, electric organ
Occupation(s): Musician, band, leader, composer
Active From: 1944-1975, 1980-1991