![]() ![]() “Their concept of music was more rather than less. “Diz and Bird played a lot of real fast notes and chord changes because that's the way they heard everything that's the way their voices were: fast, up in the upper register,” Davis observes in Miles, which was written in collaboration with the poet and journalist Quincy Troupe. But an early mark of Davis's singularity was that soon after becoming Gillespie's protege and Parker's sideman, he also became their loyal opposition. It was all they wanted to hear and all they wanted to play. ![]() What thrilled them about bebop was its impossible combination of the breakneck and the Byzantine. “The way that band was playing music-that was all I wanted to hear.”ĭavis's reaction was typical of that of most young musicians in the 1940s. It was his first in-person exposure to bebop, and also his baptism by fire as a musician-just eighteen at the time, he was pressed into service as an emergency fill-in. In Miles: The Autobiography the trumpeter Miles Davis remembers his excitement at hearing the Billy Eckstine Orchestra, with Charlie Parker and Dizzy Gillespie, in a St. ![]()
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