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Miles worked past his acoustic 60s quintet, a group that played as if it were suspended in vast, airless darkness, and soaked in the electric bath of Bitches Brew. It remains a voice as personal as Billie Holiday's, Louis Armstrong's, James Brown's, Michael Jackson's: a small, funky, hip, spare, wisely sinful sound.
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Through it all was the silvery swathe of the trumpet. Sketcher in Spain, and purveyor of various kinds of blue. Scuffler in and out of junk, then presiding maestro of the Great Quintet with Coltrane. Charlie Parker's hesitant partner in Bird's Savoy masterpieces from 1945 touchstone in the genesis of the Cool, four years later. A modern sound, terse, fresh-minted, newly-spoken – it always sounds like it was made just now. The Prince of Darkness, the little organiser, the cat everybody knows by one name – Miles.įorty years have seen a thousand changes in his music, yet it all retains the spearing imprint of an extraordinarily particular trumpet sound. He is the last, grandest and most imperious figure from a jazz tradition that has broken up in disarray. Miles is smiling, though, in the crescent of a particularly bright period. He grants me an hour or so in his Montreal hotel room. His eyes are mild but unbearably penetrating: he will look up from the pad, slowly, and freeze a question in its tracks. When he smiles, which is rarely, he frowns, too.
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When he laughs, it's like a gargle in the throat. His voice is a legendary rasp: words come out in a long guttural cough.