What the Trumpet Player Revealed
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Search News by title. What Miles heard was a sound that, though still developing, was singular and unheard. Almost all tenor players at that point blew under the spell of one of two, massively influential pioneers: the brash, highly rhythmic Coleman Hawkins or the breathy, understated Lester Young. Even the much-heralded, innovative playing of Dexter Gordon — an early stylistic model for Coltrane — vacillated between those two stylistic poles. But Coltrane was searching for something original, and that search was part of his sound.
He repeated phrases as if he was wringing every possibility out of note combinations. He was determined never to play predictable melodic lines; instead, unusual flourishes and rhythmic fanfares cut through the structure of the tune.
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Many writers would puzzle over — some actively denounce — this new, 'exposed' style. They were familiar with polish, not process. Was he practising or performing? Was that harsh rasp intentional, or just a loose mouthpiece? Why were his solos so long? As Davis proved time and again through his career, he had an uncanny ability to detect greatness in the bud.
Miles recognised it at that first rehearsal, but kept his excitement hidden. Coltrane, unaware of his reaction and used to a sideman role, requested direction. Davis responded curtly and discourteously, unnerved that a self-professed jazz player required spoken instruction. Meeting an unexpectedly cold draft, Coltrane packed his horn and returned home disgruntled, ready to rejoin Jimmy Smith. It was a lesson in nuance Coltrane later exploited with great consequence in his own groups.
But at that point, whether or not the saxophonist was hip or original enough was suddenly less important than Miles' immediate need. And beyond differences in temperament, their backgrounds predicted discord. Coltrane was the scion of a middle-class, religious family — both his grandfathers were ministers — and came from a small country hamlet in central North Carolina. A series of deaths left him the sole male figure in his family at the age of 13, causing him hardship both financial and emotional.
Turning inward, he relied on music for solace and spiritual strength; outwardly he remained quiet and serious, with an air of innocence about him.
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Miles II, a college-educated dentist and landowner, bankrolled his son's musical education and errant, drug-filled years. By , he was recording under his own name and topping jazz critic polls. But to the two intrepid jazz men, it was the music that mattered above all else, set them on parallel paths and ultimately brought them together.
Both Coltrane and Davis were charter members of a determined jazz brotherhood who saw themselves as serious artists rather than entertainers, and their music as deserving the same respect and regard as other high-brow forms of culture. Both matured from the big band era of the s, fell under the spell of bebop, and spearheaded jazz through its small-group heyday of the 50s and well into the 60s. Both were junkies who traded heroin for harmony, going cold turkey for the sake of their music.
Predictably, as their music developed, and as Coltrane's confidence grew, so the bonds of that union were tested and retested. Like so many fertile musical unions, they loved and respected, suffered and fought with each other. Coltrane solemnly and ceaselessly studied music exercise books; Miles would write out chord sequences on matchbooks, ruminating for hours on one musical puzzle.
Most importantly, both were musical explorers, driven by a gnawing hunger to learn, to change and to hone their craft. As they eventually grew comfortable in the close proximity of the road, Davis opened up and shared his passion.
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So that means you got 18, 19 different things to play in two bars. Free from the more limited musical challenges of big bands, earning and learning in the greenhouse that was Davis' group, Coltrane blossomed. His self-education was pushed into high gear nightly, propelled by an ace rhythm section. Miles consented, sat at a table and watched as his new protege blew one of the prime purveyors of the California-based, 'Cool' jazz school off the bandstand.
As the sound of the entire quintet was a sizzling, ear-grabbing study in contrasts — sophisticated yet funky, swinging hard but with a laid-back, lyrical ease — so Miles soon realised that he had found not just a great sideman in Coltrane, but the perfect counterpoint to his own subdued trumpet. Serene and poised, Miles phrases his solo like an off-hand chat, playing off the light swing of the tune, pausing, allowing space to breathe in between the notes.
A slight drum roll introduces Coltrane. More assertive in tone, he answers Davis, building a rougher, more urgent reply, but still finding loose, melodic lines that lead him to longer statements. Their contrasting approach was even more pronounced during performances, and less balanced.
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Often, Coltrane would take three, four, even five times as much time for his improvisations. Solo lengths notwithstanding, the quintet coalesced and clicked, its success and popularity growing at a swift rate. Unfortunately, as it toured coast-to-coast, the group — and particularly Coltrane — carried a pernicious problem that was growing just as rapidly: the burden of drug addiction. Davis reported his star saxophonist showing up to gigs in rumpled clothing, picking his nose distractedly and nodding out onstage, drinking heavily at the bar when he could not score.
Miles initially resisted judgment, knowing only too well the suffering Coltrane was experiencing. October, Miles could take it no longer.