Joe all the things chords
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He played Thelonious Monk’s “‘Round Midnight” using a mute on his trumpet the crowd gave him a long ovation, and producer George Avakian signed him to an exclusive contract at Columbia Records. He got sober, returned to New York City in 1954, and was asked to play the first-ever Newport Jazz Festival a year later. He retreated to Detroit to finally kick his habit. Over the next four years, Davis recorded a handful of albums for Prestige-albeit recklessly, given his drug dependence.
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The resulting album, Dig, was his first step toward establishing his own sound. Alongside Rollins, drummer Art Blakey, double-bassist Tommy Potter, pianist Walter Bishop, Jr., and saxophonist Jackie McLean, Davis sounded rejuvenated and turned in some of his best work. Before then, during a short-lived deal with Capitol Records under the 78 RPM format, he wasn’t allowed to improvise.
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With Prestige, Davis was given the space to explore the full breadth of his creative expression. It would also be a revolutionary gig: Using a new technology called microgroove, Davis would be able to record tracks longer than three minutes, with extended solos-the way they were intended. For the next Prestige recording session in October, he knew he needed to play better, even if his drug habit still had the best of him. He remembered not playing that well he’d started shooting heroin again, and his body wasn’t in the best shape. Around mid-January 1951, he assembled an all-star team for his first recording session for Prestige: saxophonist Sonny Rollins, bassist Percy Heath, drummer Roy Haynes, trombonist Benny Green, and pianist John Lewis. “I figured there wasn’t nowhere for me to go but up. “1950 was the worst year of my life,” he continued in his book. He signed a one-year deal for $750 per album. Davis soon got a lifeline: Record producer Bob Weinstock had just launched a jazz label called Prestige Records and wanted Davis to make an album for him. He also developed a strong heroin addiction, and the gigs simply weren’t coming in. “I loved being in Paris and loved the way I was treated…I had never felt that way in my life.” Against the wishes of his then-girlfriend-the French actress Juliette Gréco-and drummer and collaborator Kenny Clarke, Davis moved back to the States in the summer of 1949 with a renewed sense of Black pride. “This was my first trip out of the country and it changed the way I looked at things forever,” Davis said in his autobiography. Like other Black musicians at the time, Davis moved there to escape the suffocating racism of the United States. A year later, Davis played the Paris International Jazz Festival with the Tadd Dameron Quintet and fell in love with the city. By 1948, he started paving the road toward his own work as a bandleader, rehearsing with a nonet that included the acclaimed pianist Gil Evans, with whom he’d create some of his most lauded recordings. In the late ‘40s, he was mostly a sideman who played with other would-be legends like Max Roach, Charlie “Bird” Parker, and Charles Mingus. Though Davis might be the biggest face on the Mount Rushmore of Jazz, it’s easy to forget that he was once an upstart trying to eke out a living. And who could blame them? He changed the direction of jazz at least three times: first in 1959 on Kind of Blue, where his modal approach allowed improvised melody atop scaled-down chord progressions then again in ‘69 and ‘70 on In a Silent Way and Bitches Brew, respectively-the former marked the dawn of his electric period, the latter trekked through ambitious strains of pitch-black psychedelic funk and rock. For certain jazz fans, a list of the genre’s all-time greats begins and ends with Miles Davis.