Customer Reviews

Miles Davis: The Definitive Biography

5 star:		(2)
4 star:		(8)
3 star:		(2)
2 star:		(1)
1 star:		(1)

 

 

First, you need to know that this is an update of Carr's 1982 biography of Miles Davis. To begin with, there is some definite updating of the early chapters. In particular, recorded material that wasn't available in 1982 is discussed, such as the Plugged Nickel performances, and recent Columbia/Legacy releases such as Carnegie Hall 1961 are specifically mentioned. There are also surprising little nuggets of new information sprinkled throughout the first half. However, these chapters would have benefited from more careful or consistent editing. Statements of fact in 1982 that were later made inaccurate have not been revised. For example, Carr remarks that Miles' days as a sideman were over after LEGRAND JAZZ, a statement belied by the his later sessions with Toto, Chaka Khan, Cameo, Scritti Politti, Shirley Horn, Paolo Rustichelli, et al. Also, Carr marks FILLES DE KILIMANJARO as the last album with Gil Evans, although I suppose STAR PEOPLE is arguable as a matter of degree.

Another aspect that consistent editing would have fixed is that statements are presented as more or less current opinions, when the speakers have passed away since the first edition. Even when referring to historical events, Red Rodney, Philly Joe Jones, and others are quoted as contemporary figures. True in 1982, but not today. This is a little disconcerting.

In these respects, reading this edition is almost like reading two books, which I suppose it is in a way. But the transition from the old material to the new is seamless, and it always seemed to me that the ending of the first edition was rather rushed, anyway.

Initially it seemed to me that the coverage devoted to the post-retirement years (not quite half the book) was more than a little out of balance. However, the space allotted to these years is largely due to the amount of interview material from this period. Many of the interviews were conducted by Carr himself, and the interviewees include Miles (not extensive), many of his sidemen, and other acquaintances. My favorite piece of this new material is a story related by Lydia DeJohnette about Miles coming upon her and Jack arguing in a parking lot in 1981.

Upon first reading the new material, I found Carr to be unfailingly complimentary of Miles' post-retirement playing. After reflection, though, while it's still my impression that he is a big fan of 1980's Miles, I have decided that Carr is in fact quite objective. I did find his critiques of actual performances to be more balanced than his generalizations. He recognizes, for example, the sheer tedium (my words, not Carr's) of some of the live dates, as he does with a 20 July 1985 Royal Festival Hall performance. That said, however, when he quotes from his notes and reviews made onsite at live performances, they are often more favorable than his assessment of recorded material. It's interesting to contrast his review of the 1965 Plugged Nickel performances with almost any review of the 1980's live dates. I never saw Miles live, but I've seen enough artists to appreciate the added dimension that being in the same space as the performance brings, so I'm not complaining. It's just an observation.

The book presents the most in-depth assessment of Miles since his death. A studied treatment of Miles' later years has been long overdue. It is well researched and enjoyable to read. The focus is very much on the making of Miles' art, visual as well as musical. It is not at all a "celebrity biography." As an indication of where the focus lies, Carr deals with the rumors of AIDS and bisexuality in only a paragraph each. There is valuable new insight about Miles' health and his overall outlook in the months prior to his death. It seems Miles was in a very positive frame of mind, was considering retiring from the road, and had plans for painting and recording. After paying the band and expenses from the Montreux/Quincy gig, he paid cash for a new Ferrari. Carr does a good job of contrasting this image with the more common one of Miles as the shaman who has foreseen his own demise and is bidding farewell (which Jack Chambers depicts in the new introduction to MILESTONES).

As with Miles Davis' music, biographies of the man are likely to elicit widely varying reactions. However, one needn't agree with all of Carr's critical analyses in order to appreciate the professionalism and effort that went into the reviews. And as with his music, so it is with well informed and well presented writings about him-more Miles is always better than less Miles. Ian Carr's new volume is a welcome addition.

This seems to be a balanced and sympathetic account of Miles' artistic life. The focus is largely on the music, sometimes to the detriment of the narrative and a fuller understanding of Miles' personal life. For example, in the next to the last chapter there is the first and only reference to Miles' bisexuality. In addition, there is very little follow-up on the lives of his parents, siblings, wives and children. Carr also assumes you have a basic grasp of the history of jazz and popular music of the 20th century, not bothering to explain background such as the recording bans of the 40's. But if you want to sink your teeth into what made Miles a great artist and innovator, then this book should satisfy your hunger.

This was the 4th biography about Miles Davis I had read. I guess once you read 2 or 3 biographies about a person you don't learn much new information. Although well written I don't think this is the best account of Miles Davis life a fan could read. I recommend Miles Davis Autobiography or Milestones before reading this one.

Carr's book does an outstanding job discussing the musical evolution of Miles Davis, providing (for some albums) astute, song by song analysis. The wealth of detail, seemingly accurate for the most part, does make this a definitive biography. Unfortunately the book is marred by an extremely narrow thesis, namely that Davis progressively rejected white, Western music for a more "organic" black music. This thesis manages to be both racially offensive (Carr routinely dismisses white jazz players, even those Davis admired himself), as well as providing a very limited view of the musician's career. Indeed Carr has very odd (and negative) ideas of "Western" music, suggesting that it encompasses both the "free" elements of atonality and randomness as well as the "planned" elements of musical notation and arrangement. Carr also verges on hero worship in some passages of the book, conveniently explaining away various temper tantrums, acts of violence, and rudeness toward fans on his subject's behalf. Despite these misgivings, the work still provides a unique vantage on Davis' life and creative drive.

As I sure has already been pointed out, this is not, as Carr claims, a definitive biography of Miles Davis. Rather, it is simply a pretty good analysis of his musical career. You do not come away from the book feeling like you really know who Miles Davis was. While Carr does talk some about Miles' personal life, he does not dig too far beneath the surface, and does not provide the intimacy or the detail necessary for the reader to gain a real understanding of Miles the person. One gets the sense that Carr would have viewed a more extensive discussion of Miles' personal life as somehow sensationalistic. This is unfortunate, as it is difficult to fully understand the music without understanding the man.

As far as the musical analysis of Miles' work goes, it is quite extensive and generally pretty decent. However, Carr does tend to be VERY opinionated about just about every major issue in jazz and this can be frustrating as he has a tendency to dismiss opinions contrary to his own as stupid or ignorant without debating the merits. As a result, Carr often comes off as arrogant and condecending. Also, as I believe has already been pointed out, he goes to great pains to set up what I believe to be a false dichotomy between "Western" and "Non-Western" influences in jazz. He sees Western influences as inferior and scorns jazz musicians who incorporate too much Western influence into jazz (i.e. the cool jazz movement). He even implies that Wynton Marsalis is somehow less of a jazz musician because his classical trumpet playing.

Overall, it is a useful guide to Miles' musical career, but don't expect anything close to a "definitive biography".

This book was very disapointing. It is a great book if you understand all the musical terms. Cords, etc. However, the story I wanted to read was about Miles.
For example, the author writes about Miles and states that "by now Miles was having trouble with his legs." Then goes on to discuss his band. WHAT happened? The book was so hard to get through I put it down.

Ian Carr's book on Miles is complete, fairly even-handed and really tries to capture Miles as both a Musician and a budding painter and importantly as an individual. It relates the large roller coaster of Miles decade by decade at the top of his game and then coming down, getting involved with seedier elements and then somehow surviving and coming back up to ascension. Anyone who respects the Jazz genre owes it to themselves to read this book if only for the history involved, because during all the twists and turns in Jazz, especially from the Bebop era on, Miles was there, and his place as a central character is assurred, among the Jazz Greats.

The only reason I just gave it 4 stars instead of 5 is that I read Miles' own autobiography a bit later, and although he throws f-bombs throughout that book, I feel that it is still a better book because it comes from the mind of the Man himself.. This is still a great chronology, definitely worth checking out.

This is the best biography on Davis. Carr does a great job of covering both his life and his music in prose that is detailed, but not unreadable. I wish there had been an even great discussion of his music, but I'd argue that such an approach would have left less more for information on his personal relationships and life. I wish I'd have had time to listen to all his albums while reading this.

Ian Carr's MILES DAVIS: The Definitive Biography is one of the more meticulous lives of the great jazz innovator. Published first in 1982, it was thoroughly revised in 1998 to cover Miles' final years as well as shed greater light on his entire career.

A strong aspect of the book is Carr's access to various recordings which the average fan wouldn't have a chance to listen to, such as early projects in the 40s and concerts during the 1980s. Carr very thoroughly charts Miles' health problems and the horrendous squalor he was living in during the late 1970s, making the reader impressed that he held out as long as he did. The book is also well-researched, and Carr occasionally corrects mistakes made by other biographers, such as the claim that Miles recorded with Karlheinz Stockhausen (they never met). Carr knows the trumpet well and can speak on technical aspects of Miles' playing better than other commentators. One might also mention that the book is admirably typeset, and its ease on the eyes makes it a pleasure to read.

There are a few downsides to the work. Carr rarely attempts to show matters from the viewpoint of Miles' antagonists. His marriage to Cicely Tyson, for instance, is presented as if she was the one responsible for its demise. His coverage of the 80s too often is a dry counting of tour dates, and it would be nice to have some amusing anecdotes thrown in to allow the content to breathe. Also, the book holds no serious musicological analysis of Davis' work, although there are some superficial comments and some examples from various scores at the back of the book.

If you are looking for an overview of Miles' entire career that treats all of his phases fairly, from his early traditional jazz to fusion to the almost-pop of his 80s efforts, then Ian Carr's biography, in spite of its negative aspects, is probably the best available.

Describing any book as "definitive" is absurdly presumptious, especially when the subject is as well-known and widely discussed as Miles Davis. But Carr deserves to be credited with having produced a thorough and meticulous narrative of Miles' life and works. Frequently Miles' music is described to an excessively detailed degree, as if every single piece he recorded was a masterpiece. More judiciously selective analysis would have been preferable. The insights into Miles' working practices and relationships with his musicians are, however, of substantial interest to the jazz fan.