Miles: The Autobiography
By Miles Davis with Quincy Troupe
New York: Simon and Schuster Paperbacks, 2005
(Originally published in 1989)
Miles Davis knew how to keep himself on the radar screen. He did it musically throughout his life, except for a five year period of "silence" when he isolated himself in his Manhattan townhouse, by his own admission musically inert and completely caught up in drugs, alcohol, and sexual escapades, inaccessible to even his closest friends. Even then, his records continued to sell, and he made money. Today, nineteen years after his somewhat untimely death in 1991 at the age of 65, he continues to remain a musical legend, still quite popular as well, and undoubtedly his estate earns considerable royalties from his recordings and other productions. Part of Davis' enduring success is due to his enormous musical influence, creativity and productivity. Beginning with the Birth of the Cool
sessions, he showed his remarkable ability to bring a group of musicians together to create groundbreaking music. However, a significant part of his fame and success is also due to his well-cultivated image as the quintessentially rebellious, individualistic black musician, the artist against the Establishment, his insistence on being himself, the African American insisting on being free. This image is perpetuated by his autobiography, co-authored by Quincy Troupe, who in an Afterword, indicates that he spent countless hours with Davis, taking copious notes and taping extended conversations with him. Moreover, he devoted himself to capturing Davis' language and intention. So, in two decades retrospect, and without being able to question the primary author, we can assume that this is Miles speaking, not the pure construction of his co-writer.
To cap such a career and life with an outstanding written record of it put one more notch on Davis' list of accomplishments. Indeed, it is truly remarkable to read his autobiography a little more than two decades after it was written and find it still to be a vital and electrifying document and probably the best jazz biography of all time, if not one of the great memoirs of any historical or artistic personage. There are two reasons why this book deserves such praise. One is that it is supremely truthful, belonging among the veritable confessional masterpieces that only rarely appear in the literary landscape. Over and over again, Davis discloses his darkest moments and his failings as a human being (though he unrelentingly tells us how great a musician he is!), not so much seeking redemption as wanting to reveal his whole self. Davis' anger and impertinence, his drug and alcohol addiction, his periods of insanity, his machismo abuse of women, his financial ambition, his narcissistic displays, and his resentment of all authority are repeatedly put on the chopping block, frankly and directly, in the manner of one looking at his life with clear eyes, neither remorsefully nor with braggadocio. We see the man in all his glory, misery, and failings. It is a real credit to Davis that, given an opportunity for a written legacy, he put himself out there so honestly and completely.
Musically, the book is richly filled with story, analysis, and reflection. He takes us right on through his early influences and inspirations, such as the Billy Eckstine
band, Clark Terry
's interest and guidance, and his attraction to a slew of lesser known players; through his tailing Dizzy Gillespie
and Charlie Parker
in New York; to his co-creations with Gil Evans
as well as his remarkable quintets, and his landmark recording, Kind of Blue
; his sojourns in Paris and the rest of Europe; and his experiments with post-bop and fusion genres. He recalls everything in minute and vivid detail, for example, the time that J.J. Johnson
came up to his apartment to find out about one note in a Dizzy Gillespie transcriptionthat's how devoted these guys were to doing it right. The details make you feel that you are there when it's happening, and gives a genuine sense of the exchanges among these innovative musicians. With the exception of the very last chapter, when he struggles to sum it all up, and does so mostly in clichés, the narrative is powerful and absorbing, and often enlightening about the musical developments in which Davis played so crucial a role.
The style of writing is conversational and informal, and its use of profanity will take some readers aback, as Troupe acknowledges. It would be interesting to know if Davis actually spoke that way. The constant swearing has echoes of the great Rimbaud, and epithets are often paradoxically complimentary. For example, a "bad mf--" (Davis did not bleep these words) is jazz lingo high praise for a fellow-musician's capabilities. But I suspect that even some of Davis' closest friends, and particularly those who were deeply religious, would be put off by the frequent profanities, which in any case saturates the prose just a bit too much. In a way, the reader has to filter out some of the language to get at the real poignancy of Davis' experience, such as his troubles with family, co-musicians, and the music industry; his ignoring a handwritten note from his father just prior to the latter's death; and his absolute love and affection for Gil Evans. As one can hear especially in his expressive solos in Concerto de Aranjuez
and Porgy and Bess
, and with all his bravado, Davis was a sensitive and deeply emotional person, and his bonds with close friends and fellow-musicians contradicted his intolerance for audiences and critics.