Published in the year of Miles Davis' Centenary
R E T H I N K I N G / M i l e s D a v i s
Published by Oxford University Press
Rethinking Miles Davis
The forthcoming publication of Rethinking Miles Davis in the centenary of the birth of this defining figure of jazz.
I have contributed a the cover photograph and a chapter in my role as Visiting Research Fellow in Photographing Popular Music Culture.
The forthcoming publication of Rethinking Miles Davis in the centenary of the birth of this defining figure of jazz.
I have contributed a chapter in my role as Visiting Research Fellow in Photographing Popular Music Culture us in exploring some of the chapters of the book, many written by researchers at Birmingham City University.
Rethinking Miles Davis
[Oxford University Press May 2026]
Edited by
Roger Fagge,
Nicolas Pillai and
Tim Wall
Photo Credit: Miles Davis, Apollo, Manchester, 1989 by
William Ellis @williamellisfoto
The forthcoming publication of Rethinking Miles Davis in the centenary of the birth of this defining figure of jazz. We invite you to join us in exploring some of the chapters of the book, many written by researchers at Birmingham City University.
The book challenges the orthodoxy of jazz criticism, repositioning Miles Davis within a larger framework of modernism and mass culture and exploring: the ways Davis pushed jazz into new genre forms, re-envisioned jazz standards, and collaborated musically, to his role in the record companies that released his music, the persona he developed in video, film, and fashion, and how his masculinity manifested both professionally and personally.
Some of the authors will present their own chapters and there will be an opportunity to discuss the life and music of Miles Davis. Speakers so far confirmed include:
- Introduction – Tim Wall, BCU on behalf of the editors
- Miles Behind: Jazz Studies, Masculinity and #MeToo – Tony Whyton, BCU
- Locating Tutu and Miles on a Second Major – Tim Wall, BCU
- My One LP - by Miles Davis; a photo essay – William Ellis, independent photographer and researcher
My chapter, co-authored with long time collaborator Prof Tim Wall is based and interviews with some leading artists who discuss a
Miles Davis
album which is of particularly significant to them.
This concept was first applied in the One LP Project I rolled out in 2011.
Each image in the gallery below links to an enlarged portrait and interview with the subject.
- Encounter, Surprise, and Acceptance: Revisiting Miles Davis on and off stage in Portugal – Pedro Cravinho, BCU
- It’s never too late: Miles Davis and modernism – Nicholas Gebhardt, BCU
- Orchestrating Miles: Collaboration, Orchestration, and the Black Aesthetic - Bobbie-Jane Gardner, BCU
T H E O C R O K E R
O N E L P - Miles Smiles
(1967)
So there's all this music on that album – ‘Gingerbread Boy’, too – there's all this music on that album ‘Orbits’ and ‘Dolores’ and ‘Freedom Jazz Dance’ that they, kind of, only played on the record. So, it really showed how – to me – how adventurous Miles was when he was making records.
He was really reaching for something different every time and not so concerned with making a record that would you know sell like Kind of Blue. It's still selling you know! So I think that's really cool.”
Theo Croker was born in Leesburg, Florida, USA in 1985, coming to prominence as one of twenty-first century jazz innovators as a trumpeter and singer, composer and producer.
Portrait taken at Band on the Wall, Manchester 16th July 2024
TOMASZ STANKO
O N E L P - Kind of Blue (1959)
'
WE “ Mr. Stanko you’ve chosen an album you love very much, I wonder if you can say what it is and why it’s so special for you please?TS “All life for me is Kind of Blue - very simple.
What is most (more) important?
Beautiful sound and Miles - Kind of Blue.”
Described by the New York Times as “one of the most acclaimed improvising musicians in Europe”, Polish trumpeter Tomasz Stanko was born in 1942 and made his debut in Krakow in the late 1950s. In the 1960s he joined Krzysztof Komeda’s quintet, soon becoming its mainstay, and recorded a masterpiece of European jazz with it, the LP Astigmatic.
Portrait taken at the Kirk Douglas Theatre, Culver City CA, 29th March 2015
T E R E N C E B L A N C H A R D
O N E L P - Four & More (1966 recorded 1964)
Photographed at the Old Fruit Market, Glasgow, 30th June 2011
"It's Miles Davis 'Four and More' and the reason why it's so special for me because I remember the first time I heard it as a kid.
Listening to that live performance blew me way because you know I had been listening to a very different style of trumpet playing and improvisation.
Those guys just kept me in a tail spin trying to figure out what they were doing, where they were going and I remember I was trying to get a handle on what jazz was so I would play each track - and this was back in the days of albums so you're trying to find that spot on the record with the needle!
So I used to play 'em over and over and over again. I would play you know, like ‘Four’, I would listen to Miles play then I would only listen to Herbie, go back then only listen to Ron, go back, only listen to Tony.
I kept doing man until in my mind - the whole album man, that album had such an impact on my life - you know because it was so forward thinking in the realms of this music - and think about the date that it was recorded.To think that it still stands the test of time today speaks volumes about how important it is."
Portrait taken at Old Fruit Market, Glasgow, 30th June 2011
S T E V E K U H N
O N E L P - Cookin' with the Miles Davis Quintet
(1957)
Miles had some other great bands and he influenced the music quite a bit but this particular quintet captured my heart."
Steve Kuhn was born New York City, USA in 1938, making a name for himself as a versatile jazz pianist, composer, and educator. He has led trios with a number of Miles Davis alumni.
Portrait taken at Birdland New York City, 2nd May 2013
R O D Y O U N G S
O N E L P - Water Babies (1975)
Phootographed at Llandudno Jazz Festival, 26th July 2015
“The album is entitled ‘Water Babies’ by Miles Davis, and the reason that album is special to me is it’s the first album I heard Tony Williams on – yeah – that I sort of hap hazardly discovered in my fathers record collection.
That album just completely blew my mind. Blew my mind cos I didn’t, hadn’t, realised a drummer could be so ... express themselves the way he did. There was lots of imagery in his drumming and that was the first time that I actually heard a drummer playing like that – you know – conceptually playing like that – you know – colours, but time and you know – really using the entire kit as a – you know – all the textures."
W "It was like a landscape almost"
Rod "Yeah – absolutely – absolutely exactly – a landscape of different colours and textures and using the cymbals. But that particular record is definitely one that really changed my whole thinking in terms of drumming and what the possibilities are you know – so, yeah”
Rod Youngs was born in Washington DC, USA, where he graduated in Applied Percussion from Howard University, and went on to work extensively across styles in the UK.
Portrait taken at Llandudno Jazz Festival, 26th July 2015
L A U R A J U R D
O N E L P - Miles Ahead (1975)
You’ve got this large ensemble environment and Miles is playing a lot of the melody and improvising in between sections and he plays such simple things so amazingly. I think you know it's a two -way thing. Gill Evans has carved these spaces which he knows Miles is going to fill in this magic way.
I actually played this music once which felt very bizarre it's like being inside. It almost feels like you're an intruder; being inside something so familiar you know being inside something that's so familiar. I played the (Miles) part and it felt really mad because I didn’t want to copy. I know all the notes he plays very well, but I didn’t want to do that I wanted to bring something of myself to it but also it’s important to bring the essence of him somehow.
So much about how he plays on that is very inspiring to me, like how to fit into the context in a really complimentary exciting way.”
Laura Jurd was born in Medstead, Hampshire, England in 1990, emerging as a prestigious prize-winning young British trumpet player in her twenties.
Portrait taken at Band on the Wall, Manchester 26th May 2024
M A R C U S. M I L L E R
O N E L P - Milestones (1958)
Photographed at Band on the Wall, Manchester, 2025
But I really love how the combination of soulfulness and intelligence that these guys played with - 'Trane and Red Garland, Paul Chambers, Philly Joe, Cannonball and Miles - just an unbelievable group and this record is just - Philly Joe - Paul Chambers - they're just killin’ on this record."
Marcus Miller was born in New York City, USA in 1959 establishing himself as a multi-instrumentalist, composer and record producer. He played bass with Miles Davis from to and was the primary composer and producer Davis’ Tutu (1986), Music from Siesta (1987), and Amandla (1989) albums.
Portrait taken at Band on the Wall, Manchester, November 2011
M I K E S T E R N
O N E L P - Kind of Blue (1959)
"Kind of Blue has obviously captured a lot of people hearts, it's a huge success in terms of getting out there and people hearing the music - and for good reason. It just has an amazing an balance of a lot of space and a lot information too. Man - 'Trane and Cannonball play their asses off on it!
And of course Bill Evans and Wynton Kelly are both on the record - and Jimmy Cobb - I love getting the chance to play with him - and actually this whole band - this particular band (Four Generations of Miles - with whom Mike was performing that night) with Sonny Fortune and Buster Williams – who are phenomenal musicians and really great people too. And of course Jimmy..Buster was telling me when Paul Chambers died he was called to play in the Wynton Kelly Trio with Jimmy, and then when Kelly died three months later....
I hear a lot of stories now with this band - there's a whole bunch of history these cats run down.
But this record just really knocked me out, it's really hard to pick your favourite record - there a million of 'em, and I don't really have a favourite but this is certainly one of the greatest records ever I think and for obvious reasons.
And Miles of course just played his heart out all the time - he just played from the heart and everybody on that record did.
So they gave amazing performances, amazing amazing beautiful record."
Mike Stern was born in Boston, Massachusetts, USA in 1953, establishing himself as a major jazz guitarist of the fusion era. Mike played with Miles Davis from 1981 to 1983 and then again in 1985.
Portrait taken at Band on the Wall, Manchester, March 2011
N O R M A W I N S T O N E
O N E L P - Kind of Blue (1959)
But, I think I joined a club, and we saved up so much a week and then this guy would come round and he'd say 'Well this album’s new ... and this one’s new ... and I can order it for you', and he said 'there's a new one by Miles Davis, John Coltrane Kind of Blue and I thought 'Oh have to have that!'".
Norma Winstone was born in London, England in 1941 and became one of Britain’s leading jazz singers contributing to a body of innovative European jazz.
Portrait taken at The Midland Hotel, Manchester, England, 26th July 2018.
R I C S A N D E R S
O N E L P - On The Corner (1972)
Miles.
I’ve got all The Beatles albums - we’re in Liverpool now while we’re speaking. I listen to The Beatles a lot - can’t get away from The Beatles - I love ‘em.
Miles is the only artist I listen as much or sometimes even more than the Fab Four, and I love every period of his work, whether it’s the early beboprecordings, or Birth Of The Cool, Kind of Blue, Bitches Brew
or the later stuff after he came out of retirement - I love every period of Miles.
Sometimes people like only certain periods of his career and albums because he changed so much – always moving forwards.
The album that i’ve chosen comes from one of his most far out periods - I think far out is a good term to use!
Kicking in about 1968, 1969 with In A Silent Way
and Bitches Brew
he started to get really out there! 1972’s album ‘On The Corner’ wasn’t particularly well received - the world wasn’t ready for it - it was ahead of its time - I think it’s still ahead of its time. It’s supposed to be one of his most ‘difficult’ albums but I loved it from day one and I’ve listened to it most days since!
It predates a lot of techniques now used in recording, he used drum and bass loops and dub techniques. It’s a mixture of live playing and editing which Miles and his producer Teo Macero were much into at the time, recording long long jams which they would edit into kind of suites, you know.It’s got some fabulous musicians on it - obviously Miles himself playing electric trumpet, Chick Corea and Herbie Hancock playing keyboards, John McLaughlin on guitar, Dave Liebman on saxophone, and the great Michael Henderson playing bass, to name but a few.
These were long groove pieces. I remember when the album came out on vinyl it had track names but as the side went through the needle just carried on with no change - that was pretty hip I thought!
I love lots of groove based music - I love The Prodigy for instance - people don’t expect me to like The Prodigy but I do, aways did. I don’t know ifLiam Howlett who writes most of that stuff for The Prodigy ever heard On The Corner
- I don’t know if it influenced him. Maybe he never heard it, but I think if he did hear it he’d probably dig it. I must ask him if we ever have The Prod at Cropredy!!!
On The Corner also mixed tabla and sitar in there - so Miles was doing “World Music” long before the term was coined. He also said at this time
that he’d been influenced by the great composer Karlheinz Stockhausen.
The British cellist Paul Buckmaster contributed some arrangements and played cello on there - so it’s got the lot!
The cover art was by a hip artist and friend of Miles called Corky McCoy. I still think On The Corner
is waiting for the world to catch
up, you know!"
Ric Sanders was born in Birmingham, England in 1952, taking up the violin in British jazz-rock, folk and folk-rock bands, including Soft Machine and Fairport Convention.
Portrait taken at Camp and Furnace, Liverpool, 27th February 2016
J O N HENDRICKS
O N E L P - Miles Ahead (1958)
Photographed at home, New York City, 26th March, 2016
The treatment that Spain received from Franco is awful. So we can tell the story in that album and then tell whatever Miles did
Miles got into it himself - he said 'it sounds as if like I'm Spanish' you know. He's into it, he’s really into it.
I told Judith that people are gonna think that those lyrics* wrote themselves - cos they come from nowhere, but they cover a whole lot.
WE - "Your current project with Pete Churchill based on Miles Ahead - so that record has inspired you both to discover and create your own response to the album?"
Jon - I like those things that open.
Jon starts to sing, laughs and says - “Now after that you gotta have somethin’! You and me are gonna work! Soon as I find out how to write!!”
Judith enters the room. Jon “What you got?” Judith - “I have some albums – the Miles Ahead, Freddie Freeloader, Evolution of the Blues Song, Thelonious Monk, the first Hendricks, Lambert and Ross, another Miles Davis Porgy and Bess then I have Basie from ’41 to ’51.”
WE - “The cover (of Miles Ahead) matches your jacket Jon!!”
Judith – “Yes the colours are right!”
Jon laughs – “Oh man!”
After the photographs were taken Jon spoke warmly about two of his close friends Kurt Elling and Erroll Garner.
How Kurt seized a great opportunity at one of Jon's vocal workshops when Jon asked for a volunteer to come onto the rehearsal room stage. Kurt sprang up and their friendship began.
Jon thought about 'His brother' - Erroll Garner.
“When Erroll Garner came back home from tour he would call me up to sing. When we met we'd embrace and say "I love you man."
Concert by the Sea is a great favourite of Jon's, he asked his wife Judith to play the recording - he was moved to mime Erroll playing an invisible piano, his heart was with his great friend.
On the wall hangs the powerful poetic picture of another old friend. John Coltrane playing soprano sax signed by one of my favourite photographers - the peerless Roy DeCarava.
It's a masterpiece in a moment.
Jon talked about it how DeCarava seemed to have made the notes visible - as Jon said "they were "flying from the horn!"
Jon Hendricks helped create the singing style known as "vocalese," or crafting songs and lyrics out of the note sequences of famous jazz instrumental solos, as a member of the great jazz vocal ensemble Lambert, Hendricks & Ross. A gifted lyricist, he added words to classics by Count Basie, Horace Silver, Miles Davis, and Art Blakey, brilliantly mirroring the instrumental effects.
Portrait taken at home, New York City, 26th March 2015
J O E Y R A N I E R I
O N E L P - Miles Davis in Europe (1964)
Photographed at home Greenwich Village, New York City, 12th October 2025
And this is kind of a seminal album for me because it was gifted to me, I think, by my grandma during Christmas when I was about, I want to say, 13 or 14.
I had been playing music you know, just casually as an amateur around the house, rock and roll, funk, stuff like that, but I had never really been introduced to jazz.
And I remember that when I first heard that record, the feeling of it really, you know, captured me instantly.
And just the kind of symbiosis of the musicians and how they played together and the space they used really just caught my ear.
I didn't know what they were doing harmonically or rhythmically or anything like that and it was worlds above me but I could just remember the way it made me feel and I'll never forget that - I was hooked instantly.”
Joey Ranieri is a Chicago-born jazz bassist and a 2019 participant in the Vail Jazz Workshop. He has performed and worked in Chicago and New York City, collaborating with musicians such as Emmet Cohen and Houston Person.
Portrait taken at home Greenwich Village, New York City, 12th October 2025
Portrait taken at home Greenwich Village, New York City, 12th October 2025
J O E L O V A N O
O N E L P - Round About Midnight (1957)
Photographed at Birdland, New York City, 21st September 2014
“Well, I would have to say Miles Davis ‘Round About Midnight’.
I grew up listening to this recording as a kid and the poetic expression - the ensemble playing between John Coltrane and Miles Davis, Red Garland, Paul Chambers and Philly Joe Jones just captured my attention from an early age. And of course their solos within each tune were just so masterful you know.
But yet, as a quintet, there was a real ensemble sound that gave me a lot of direction through the years.”
Portrait taken at Birdland, New York City, 21st September 2014
J O E F A R N S W O R T H
O N E L P - Four & More (1957)
Photographed at Birdland, New York City, 21st September 2014
“Well, I would have to say Miles Davis ‘Round About Midnight’.
I grew up listening to this recording as a kid and the poetic expression - the ensemble playing between John Coltrane and Miles Davis, Red Garland, Paul Chambers and Philly Joe Jones just captured my attention from an early age. And of course their solos within each tune were just so masterful you know.
But yet, as a quintet, there was a real ensemble sound that gave me a lot of direction through the years.”
Joe Lovano:
E D D I E H E N D E R S O N
O n e L P - Kind of Blue (1959)
Photographed at Universal Rehearsal Studios, New York City, April 2013
"Well, that record is the world-famous Kind of Blue album by Miles Davis, which was the most-sold jazz record in history. The reason it’s dear to my heart is because Miles Davis was staying at my parents’ house when he made that album. I was in high school and my stepfather was his doctor and I was playing trumpet and going to the conservatory and Miles gave my stepfather the test pressing – you know with no grooves on one side – and so I became enthralled with Miles Davis and then just the music on there is just so classic, you know, with Coltrane on it, you know, and Paul Chambers, Jimmy Cobb…Wynton Kelly, Bill Evans.
Yeah, Bill Evans and Cannonball. It was just like the quintessential music of that era, almost of all time.
I mean, it really changed the face of quote-unquote jazz music and really changed my life, because seeing him in person - and he took me to a gig when I was 17, 18 years. He stayed at the house.. So that album and just that experience is dear to my heart, you know.."
WE: "Beautiful - beautiful. That is so special. Thank you.
EH: Yeah. Yeah. You know, I could go on and on for hours.
WE: I’ll bet!
EH: But, you know, I think everybody... with that album and that music.
WE: Your experience of Miles staying at your house is so unique.
EH: Absolutely….and me playing the trumpet too. It made it ever so much more significant to me.
WE: When you were very young at that time, did you talk to Miles about the trumpet, and did he talk to you?
EH: Well, he wouldn’t just come by like a normal person and say this is this and this is that, it’s just by observation. In fact I may have played one of his records, you know, and he just smiled and said - 'you sound good but that’s me' [laughs] That was an eye-opener right there, you know."
Eddie Henderson was born in New York, USA in 1940, becoming a jazz trumpet and flugelhorn player breaking new ground in American jazz and continuing a legacy of playing started by Miles Davis.
Portrait taken at Universal Rehearsal Studios, New York City, April 2013
Portrait taken at Universal Rehearsal Studios, New York City, April 2013
H E N R Y L O W T H E R
O n e L P - Milestones (1958)
Photographed at Llandudno Jazz Festival, 25th July, 2015
“I think it's a classic album of all time for me; an astonishingly good album. Philly Joe Jones on drums, Miles plays fantastic. The contrast between him, Cannonball Adderley and John Coltrane. That's just wonderful. Red Garland who played on, you know, in the, like, ‘Straight No Chaser’, where he traditionally used to end his solo with a chorus of block chords. Well, the block chords on that are actually Miles’ solo on the recording he made with ‘Now's the Time’ with Charlie Parker and he played Miles' solo in block chords.
You know, people don't realise that, but that's what he's playing at the end. It's a wonderful record, swings… And then there's the trio, of course, ‘Billy Boy’, just Red Garland, with the wonderful Philly Joe playing a fantastic force. Red Garland, and sometimes with brushes. Amazing. Wonderful, amazing record. It definitely does an island disc for me, that one.”
Henry Lowther was born in Leicester, England in 1941, emerging in the 1960s as a quiet revolutionary of British jazz. He contributed to many European large ensembles exploring the musical trails opened up by Davis bands of the 1970s.
D I C K. P E A R C E
O n e L P - E.S.P. (1957)
Photographed at Llandudno Jazz Festival, 25th July, 2015
“Well the most important album that I’ve ever listened to is an album called ESP by Miles Davis – which was with Wayne Shorter, Herbie Hancock, Ron Carter and Tony Williams and the first time I heard this album I didn’t like it but I bought it anyway and I took it home and listened to it a few times.
And then one day – I still didn’t like it – and then one day I was working in a music shop, I had only just left school, and I had some music going around in my head all day and I couldn’t think what it was and it suddenly dawned on me on the way home .. on the bus.. it’s E.S.P. - . it’s that album and that’s been my favourite album of all time since. And that’s it really.”
Dick Pearce was born in London, England in 1951 and became an important trumpet and flugelhorn player in British jazz from the 1970s onwards.
Portrait taken in Llandudno, 25th July, 2015
G E O R G E C A B L E S
O n e L P - My Funny Valentine (1965)
Photographed at the Village Vanguard, New York City, 7th February 2019
“Well, you know, I've got to tell you that when I started playing this music, when I (first) wanted to be involved with this music, the most important thing to me was just being in the music, being able to play in a band. Not necessarily being a band leader or anything like that but being able to be a part and have an influence on the direction of the music as a pianist as a rhythm section player. And this record is really indicative of that. The guys playing together - Miles Davis who's the captain of this ship - but everybody has a strong role and it's not like ... you don't get the feeling that Miles is there and the other guys are just kind of back up - backing musicians kind of doing their job period.
But everyone has an important role and a strong influence on the direction of the music. For me that's the big picture for this record and what happens in there is the way everybody uses colours, uses the harmonies. You know they're the same but they're different. A different way of approaching harmonies, a way approaching chords that kind of allow the chords to blossom and the music to really take another direction.
When I listen to Miles’ band, especially that band, I just felt that Miles was - that it was like watching magic being made right in front of you. And this record gave me ideas about how to use chords, how to approach chords, how to try to create colours or discover colours in the music and try to make those things blossom.”
George Cables was born in New York City, USA in 1944 becoming a leading American jazz pianist and composer in his own bands and in those of other significant players.
Portrait taken at Village Vanguard, New York City, 7th February 2019
Portrait taken at Village Vanguard, New York City, 7th February 2019
D A V E L I E B M A N
O n e L P - Miles Davis / Gil Evans, Sketches of Spain (1960)
“The album is Sketches of Spain -
Miles Davis in collaboration with Gil Evans.
The reason that I love it so much is because it goes beyond music, beyond idiom, beyond style - and even beyond Spain even though it’s dedicated to the culture of Spain in a certain way.
There’s just a feeling on that record between the writing and the way Miles plays that’s just the universal cry of blues, of joy, of humanity and everything .. I mean I get a feeling from that record beyond category and beyond vernacular .. it’s not even jazz it’s art at it’s highest level.I’ve recorded “Sketches of Spain” and played it many times and its a very challenging piece of music, Miles just handles it with such grace and so much class the way he plays the music that .. if it was only that it would have been a great piece - but the writing is great and Gil Evens
- I mean, they surpassed themselves on that record for me.”
David Liebman was born in Brooklyn, New York in 1946 and became a jazz saxophonist and flautist of international renown, playing with Miles Davis between 1970 and 1974.
Portrait taken at Jazz Standard, New York City, USA, 5th October 2018.
Portrait taken at Jazz Standard, New York City, USA, 5th October 2018.
F R E D H E R S C H
O n e L P - Miles Davis In Person at the Black Hawk, San Fransisco (1960)
“Just as a preface the first Miles Davis album that I ever bought I was still in high school I bought it at a yard sale for 25 cents because I liked the cover and it was Miles Smiles this bright orange cover I bought that and Canonnball and Coltrane for 25 cents a piece cos I liked the covers and I kinda knew their names.
Miles Smiles is one of the more sophisticated, in some ways abstract records of that Columbia period.
You know, Herbie Hancock is not playing a lot of chords - it’s even still now - it's like hard to figure out some of it.
But the one that really got me that made me kind of think I could be a jazz musician was Friday and Saturday Night at the Black Hawk live album,
“Miles had so much confidence in who he was that this was the very first week that that band had played together, and they recorded. And I love live jazz albums. I like this feeling of being in the audience. I like the applause that happens sometimes for the solos after the track, feeling like, wow, there was no studio magic with this. This was real.
But what really got me was well the I mean superb swing and rhythmic feel. The way Winton Kelly accompanied Miles, the way that he was so responsive and perfect. But also the way that Wynton Kelly played, the way that he swung, it felt, I guess, the quality that I would put on it is, it was happy. It wasn't so complicated that I couldn't kind of figure out what he was doing, chronically it wasn't, but it just felt great and had this kind of positivity and pop on the rhythm.
I would love to be able to not just swing like that, but also to be a part of a rhythm section and to be able to go with other musicians; and I still feel that that many times in a duo, say, it's more satisfying for me to play behind somebody else than it is to play a solo; I still value the supportive partnership aspect of playing jazz music.
And so, it went to me, had it all, and it just felt wonderful, and Miles is playing just impeccably, and yeah, it was like just the window opened up to me like, wow! this could be possible.”
Fred Hersch was born in Cincinnati, Ohio, USA in 1955, establishing himself in New York as a leading jazz pianist and composer.
He works across jazz styles and different scales of ensemble.
Portrait taken at home, New York City, June 2025
Let’s create together
G E O R G E C A B L E S
O n e L P - My Funny Valentine (1965)
Photographed at the Village Vanguard, New York City, 7th February 2019
“Well, you know, I've got to tell you that when I started playing this music, when I (first) wanted to be involved with this music, the most important thing to me was just being in the music, being able to play in a band. Not necessarily being a band leader or anything like that but being able to be a part and have an influence on the direction of the music as a pianist as a rhythm section player. And this record is really indicative of that. The guys playing together - Miles Davis who's the captain of this ship - but everybody has a strong role and it's not like ... you don't get the feeling that Miles is there and the other guys are just kind of back up - backing musicians kind of doing their job period.
But everyone has an important role and a strong influence on the direction of the music. For me that's the big picture for this record and what happens in there is the way everybody uses colours, uses the harmonies. You know they're the same but they're different. A different way of approaching harmonies, a way approaching chords that kind of allow the chords to blossom and the music to really take another direction.
When I listen to Miles’ band, especially that band, I just felt that Miles was - that it was like watching magic being made right in front of you. And this record gave me ideas about how to use chords, how to approach chords, how to try to create colours or discover colours in the music and try to make those things blossom.”
George Cables: Village Vanguard, New York City, 7th February 2019
By email
mymail@mailservice.com
In person
# Street name, city
Drop us a line
555-555-5555
Contact Us
T O M A S Z. S T A N K O
Mosaic Artist
Moss Theatre, Santa Monica CA
O N E L P
Elton John: 'Captain Fantastic and the Brown Dirt Cowboy
'
"Elton John – for me – ran at his peak in the years I was at high school. 'Madman Across The Water' came out around ’71, and he was the first person that I became a fan of and I would spend nights getting tickets.
And everything about his craziness was sort of inside me cos I came from a very repressed background and there was just something I could experience. Busting loose, being crazy and creative... And Captain Fantastic was sort of my ‘American Graffiti’ summer.
This came out in ’75 and it was a song everybody played. I was the editor of the yearbook and everybody talked about me being the crazy Elton John fan for four years and he’s finally leaving! (laughs) - but it was.
I was so absorbed and the song ‘Someone Saved My Life Tonight’ always made me think, ‘You can get out.’ You can somehow be different from