Price: $1250.00

MINT CONDITION

MILES DAVIS - TRUMPETER & BAND LEADER
Text Box:  JAZZ autographs
Text Box: HARMONIE AUTOGRAPHS AND MUSIC INC.

MUSIC AUTOGRAPHS & ANTIQUARIAN
Text Box: MUSIC AUTOGRAPHS AND EPHEMERA BOUGHT AND SOLD

Phone: 212-860-5541  *  Fax: 917-677-8247

 

Autographed authentic 4” x 6” postcard photograph of the jazz trumpeter, innovator and band leader.

 

Davis (1926-1991) transcended the norms and various genres of jazz, rock and pop.  He infused jazz with a wide variety of genres from Gershwin, to Disney, to Jimi Hendrix. The Trumpeter was given his first instrument at the age of 9.  Davis’s Father was a dentist and one of his patients, Elwood Buchanan, a classically trained trumpet teacher, who at one time had played on Mississippi riverboats, taught him through high school. (He also took lessons from Joseph Gustat, Buchanan’s teacher and a member of the St. Louis Symphony Orchestra.) In July 1944, Davis sat in with a band in St. Louis featuring Charlie Parker, Dizzie Gillespie and Billy Eckstine, filling in for an indisposed Buddy Anderson and was hired by the band for a 2 week gig.   Davis came to New York City in September, 1944 with instructions from his Father to enroll in the precursor of Juilliard, The School of Musical Arts.  That said, he was excited to go to New York to find and play with his idol Charlie “Bird” Parker”.  Schooling was short lived and he dropped out in 1945 to play full-time.  By the way he did find Parker, who eventually became his room mate.  Davis played regularly with Parker’s quintet as of 1947 and recorded extensively with his group from 1945-1948.  To make rent, he played in big band led by Billy Eckstine and Benny Carter.  In 1948 Davis teamed up with pianist and arranger Gil Evans forming the Miles Davis Nonet and collaborating with the likes of Johnny Carisi, John Lewis and Gerry Mulligan among others looking towards the future of jazz. The Nonet began playing together made up of jazz players, both black and white who hung out at Evans loft and opened for Count Basie among others.  By 1949 they were in the studio working on the recording which became the “Birth of the Cool”.  Recorded in three session with varying personnel, January and April, 1949, with a final session in March, 1950, it became the sound of the new jazz.  (Composer Gunther Schuller, a jazz enthusiast and scholar who was playing French horn with the Metropolitan Opera at the time and later invented Third Stream Jazz played in the third session and also wrote out all the musicians parts which are now at the Library of Congress.) Davis also played his first European gigs in 1949, touring as a the trumpeter with the Tadd Dameron Quintet.  After Europe, Davis developed depression and under Parker’s earlier influence had started to experiment with drugs and eventually it led to problems with his career until 1953.  That said, at times he did record during this period and played with second class side men.  His next big step forward was an appearance at the Newport Jazz Festival in 1955 which was so successful he became in demand and established his first Quintet which lasted until 1957.  John Coltrane was part of this effort for the first year and when he left in 1956, Sonny Rollins stepped in. In Spring 1957 Davis went solo playing trumpet and flugelhorn to Gil Evans arrangements and by the Fall put together his second Quintet.  Short lived he went to Europe to record a film for Louis Malle.  When he returned, he reformed his original Quintet adding Cannonball Adderly to form a Sextet.  Difficult to work with and always changing sounds and rhythms in his head, Davis changed personnel regularly through 1963.  This group remained formed through 1968, though the personnel would play with other groups.  His next band ran from 1969-1975.  The configurations would change from time to time, recording sessions at times would include as many as 14 players.  In the end, the only player who remained loyal to Davis was the drummer Al Foster who played with Davis from 1975 to 1985.

 

The Rolling Stone’s November 1991 obituary for Davis was titled, “Miles Davis: The Man Who

 

 Changed Music”.  They were dead on with that title.  My favorite paragraph in the article

 

describes Davis’s story about a White House dinner in 1987,

 

 

 

“According to Davis's account, he

 

was sitting at a table with a woman he described as "a politician's wife" when she asked him an

 

apparently well-meant question about America's neglect of jazz. "Jazz is ignored here because

 

the white man likes to win everything," Davis responded with his usual asperity. Rattled, the

 

woman asked him, "What have you done that's so important in your life?"  Again, Davis had a

 

ready answer. "Well," he said, "I've changed music five or six times."

 

 

 

Our autographed postcard photograph was obtained by a collector in-person in Germany after a

 

 concert in Munich, 1987.  He signs with his customary “Miles” first name only signature which

 

 he used most often at that time.