Teo Macero, a record producer, composer and saxophonist most famous for his role in producing a series of albums by Miles Davis in the late 1960s and early 1970s, including editing that almost amounted to creating compositions after the recordings, died on Tuesday in Riverhead, N.Y. He was 82 and lived in Quogue, N.Y.
His death followed a long illness, his stepdaughter, Suzie Lightbourn, said.
Helping to build Miles Davis albums like Bitches Brew, In a Silent Way and Get Up With It, Mr. Macero (pronounced TEE-oh mah-SEH-roh) used techniques partly inspired by composers like Edgard Varse, who had been using tape-editing and electronic effects to help shape the music. Such techniques were then new to jazz and have largely remained separate from it since. But the electric-jazz albums he helped Davis create--especially Bitches Brew, which remains one of the best-selling albums by a jazz artist -- have deeper echoes in almost 40 years of experimental pop, like work by Can, Brian Eno and Radiohead.
Davis's routine in the late 1960s was to record a lot of music in the studio with a band, much of it improvised and based on themes and even mere chords that he would introduce on the spot. Later Mr. Macero, with Davis's help, would splice together vamps and bits and pieces of improvisation.
His death followed a long illness, his stepdaughter, Suzie Lightbourn, said.
Helping to build Miles Davis albums like Bitches Brew, In a Silent Way and Get Up With It, Mr. Macero (pronounced TEE-oh mah-SEH-roh) used techniques partly inspired by composers like Edgard Varse, who had been using tape-editing and electronic effects to help shape the music. Such techniques were then new to jazz and have largely remained separate from it since. But the electric-jazz albums he helped Davis create--especially Bitches Brew, which remains one of the best-selling albums by a jazz artist -- have deeper echoes in almost 40 years of experimental pop, like work by Can, Brian Eno and Radiohead.
Davis's routine in the late 1960s was to record a lot of music in the studio with a band, much of it improvised and based on themes and even mere chords that he would introduce on the spot. Later Mr. Macero, with Davis's help, would splice together vamps and bits and pieces of improvisation.
