Miles Davis ... and Gil Evans
While Scofield's career was certainly off to a great start, a single event gave it its biggest liftoff yet: in 1983, the guitarist was asked to join Miles Davis' band. Guitarist Mike Stern
had been working with the iconic trumpeter since he "came back" in 1981, after a five- year forced retirement, with the admittedly spotty Man With The Horn
(Columbia). Scofield's first record with Davis, 1983's Star People
(Columbia), was a two-guitar affair (and a much better record). But Stern left soon after, leaving Scofield as the sole guitarist for another two years, during which time he recorded two more studio albums with Davis, both on Columbia: 1983's Decoy
and 1985's You're Under Arrest
. While Scofield's searing combination of overdriven grit, blues connotations and soaring bebop lines continued to evolve, his tenure with the trumpeter revived his interest in music beyond the jazz purview. Most importantly, however, Scofield would become the only band member to contribute compositionally to the group, with the exception of keyboardist Robert Irving III
. "I'm not even sure why it happened," Scofield begins, "but when I joined Miles, he was working with [composer/arranger] Gil Evans
. Gil lived in my apartment building, on west 7thI knew Gil before I played with Miles, and he was this towering jazz giant that was living there. I didn't know him well, but he lived down the hall, and I had access to him, got to know him some.
"I played some gigs with Gil's band; he was starting to do gigs at Sweet Basil around that time," Scofield continues, "and he was bugging Miles, because Miles was trying to come up with new music to play with his band. This was still when Mike Stern was in the band, before I joined, and he said, 'Miles, just improvise into a cassette player, then give it to me, and I will take your lines and they can be the heads of the songs.' So that's what Miles did; he had a cassette player that he could just turn off or on when he felt like it, when he heard some stuff on his trumpet. Gil made these lines into pieces, and they were so cool.
"So when I joined the band, Miles already had all this music. There were 10 pieces that Gil had gotten from this one cassette tape that Miles had given him, and Gil distilled these things into these 10 pieces," Scofield explains. "So Miles and Gil were in this process, and he [Davis] got me into the band because he wanted to have a second guitarist. He invited me up to his place the first time, after I'd played a couple gigs with him. And he said, 'OK, you improvise along with these chords,' and Gil had this set of chords. And so it was Gil and Miles, both on a Fender Rhodes; Miles was playing the chords and Gil was playing the bass line, and I was improvising over the top. We played for 15 minutes over this chord progression, and that became a tune called 'It Gets Better.' And I think it was really that they wanted to use me in the same way that Miles and Gil had been working on Miles' compositionsthey just added me to it. had been working on Miles' compositionsthey just added me to it.
"Then we went in the studio, and it was only like a couple weeks later, and there's this written music that we were playing. And Gil was therehe brought in the chartsand he said, 'You know that thing you improvised on over Miles' stuff back at his apartment?' And he pointed to the melody, and Miles said, 'Don't tell him that, Gil, he'll get a big head.' So we cut 'It Gets Better,' and I got co-writing credit on that one, because Gil busted Miles. Miles would have probably let it slide and credited it as all his tune or to Miles and Gil."
As things turned out, not only did Evans not receive co-composing credit for "It Gets Better," neither did Scofield, though he was given co-composer credit for the following track on Star People
, "Speak/That's What Happened," and the trumpeter gave Scofield even greater recognition on Decoy
, where he received co-writing credit on "That's Right," "What It Is" and a revisited "That's What Happened"the album's entire second sideand sole
compositional credit for the title track to Davis' Columbia follow-up, 1985's You're Under Arrest
. "Gil should have gotten credit for 'It Gets Better,'" Scofield asserts, "and the stuff we did on Decoy
was like that, too. Gil came up with the bass line for 'It Gets Better,' but it's a weird progressiona 12-bar blues that omits the first four bars. Miles, he was a genius, man, he'd just look at something and change it in the most basic way, but it would work, and you'd be going, 'Man, that's so simple, why didn't I
think of that?' Well, that's the hallmark of geniushe's the guy who thought of it."
Still, there was likely a very strong reason why Davis didn't credit Evansand why Evans didn't balk; for personal reasons, Evans had been having difficulties writing, so Davis lent him a tremendously generous helping hand. "Miles gave Gil an apartment on the Upper West Side, put keyboards in there and said, 'OK, Gil, now you can write.' So Gil kinda had two apartments, with one to work in, and I think, maybe, that Gil didn't say anything about the co-writing because of that."
By the time of the recording sessions for You're Under Arrest
, Scofield had been on a writing spree. "I'd written a bunch of tunes for
Miles," Scofield explains, "and I thought maybe he could record them. So I made a demo, where [drummer] Peter Erskine
was playing, and Darryl Jones
, the bassist from Miles' band, and [pianist] Don Grolnick
. I played the demo for Miles, and he liked one of the tunes. He said, 'I'm gonna record the other tunes, too, sometime,' but the only one we ever did was 'You're Under Arrest.' That was Miles' titlehe came up with the titlethat whole thing was his concept for the record, using my tune."