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'''Miles Dewey Davis III''' (May 26, 1926{{spaced ndash}}September 28, 1991) was an American [[jazz]] trumpeter, bandleader, and composer. He is among the most influential and acclaimed figures in the history of jazz and [[20th century music|20th-century music]]. Davis adopted a variety of musical directions in a roughly five-decade career that kept him at the forefront of many major stylistic developments in jazz.<ref name="allmusic"/>
Born into an upper-middle-class<ref>{{Cite news |last=Agovino |first=Michael J. |date=March 11, 2016 |title=The Ensembles of Miles Davis Epitomized Cool |url=https://www.nytimes.com/2016/03/13/fashion/mens-style/miles-davis-style-icon.html |access-date=February 12, 2024 |work=The New York Times |language=en-US |issn=0362-4331}}</ref> family in [[Alton, Illinois]], and raised in [[East St. Louis]], Davis started on the trumpet in his early teens. He left to study at [[Juilliard School|Juilliard]] in New York City, before dropping out and making his professional debut as a member of saxophonist [[Charlie Parker]]'s [[bebop]] quintet from 1944 to 1948. Shortly after, he recorded the ''[[Birth of the Cool]]'' sessions for [[Capitol Records]], which were instrumental to the development of [[cool jazz]]. In the early 1950s, Davis recorded some of the earliest [[hard bop]] music while on [[Prestige Records]] but did so haphazardly due to a heroin addiction. After a widely acclaimed comeback performance at the [[Newport Jazz Festival]], he signed a long-term contract with [[Columbia Records]], and recorded the album ''[['Round About Midnight]]'' in 1955.{{sfn|Yanow|2005|p=176}} It was his first work with saxophonist [[John Coltrane]] and bassist [[Paul Chambers]], key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger [[Gil Evans]], such as the [[Music of Spain|Spanish music]]-influenced ''[[Sketches of Spain]]'' (1960), and band recordings, such as ''[[Milestones (Miles Davis album)|Milestones]]'' (1958) and ''[[Kind of Blue]]'' (1959).<ref name="aar" /> The latter recording remains one of the most popular jazz albums of all time,{{sfn|McCurdy|2004|p=61}} having sold over five million copies in the U.S.
Davis made several lineup changes while recording ''[[Someday My Prince Will Come (Miles Davis album)|Someday My Prince Will Come]]'' (1961), his [[In Person Friday and Saturday Nights at the Blackhawk, Complete|1961 Blackhawk concerts]], and ''[[Seven Steps to Heaven]]'' (1963), another commercial success that introduced bassist [[Ron Carter]], pianist [[Herbie Hancock]], and drummer [[Tony Williams (drummer)|Tony Williams]].<ref name="aar"/> After adding saxophonist [[Wayne Shorter]] to his new quintet in 1964,<ref name="aar">{{cite web|url=http://www.aaregistry.org/historic_events/view/miles-davis-innovative-influential-and-respected-jazz-legend|title=Miles Davis, innovative, influential, and respected jazz legend|publisher=African American Registry|access-date=June 11, 2016|archive-url=https://web.archive.org/web/20160809095005/http://www.aaregistry.org/historic_events/view/miles-davis-innovative-influential-and-respected-jazz-legend|archive-date=August 9, 2016|url-status=live}}</ref> Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the [[post-bop]] genre with albums such as ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965) and ''[[Miles Smiles]]'' (1967),<ref>{{cite web|last=Bailey|first=C. Michael|date=April 11, 2008|url=https://www.allaboutjazz.com/miles-davis-miles-smiles-and-the-invention-of-post-bop-by-c-michael-bailey.php|title=Miles Davis, Miles Smiles, and the Invention of Post Bop|work=[[All About Jazz]]|access-date=June 20, 2016|archive-url=https://web.archive.org/web/20160608090419/https://www.allaboutjazz.com/miles-davis-miles-smiles-and-the-invention-of-post-bop-by-c-michael-bailey.php|archive-date=June 8, 2016|url-status=live}}</ref> before transitioning into his electric period. During the 1970s, he experimented with rock, funk, [[Rhythm in Sub-Saharan Africa|African rhythms]], emerging [[Music technology (electronic and digital)|electronic music technology]], and an ever-changing lineup of musicians, including keyboardist [[Joe Zawinul]], drummer [[Al Foster]], and guitarist [[John McLaughlin (musician)|John McLaughlin]].{{sfn|Freeman|2005|pp=9–11, 155–156}} This period, beginning with Davis's 1969 studio album ''[[In a Silent Way]]'' and concluding with the 1975 concert recording ''[[Agharta (album)|Agharta]]'', was the most controversial in his career, alienating and challenging many in jazz.<ref>{{harvnb|Christgau|1997}}; {{harvnb|Freeman|2005|pp=10–11, back cover}}</ref> His million-selling 1970 record ''[[Bitches Brew]]'' helped spark a resurgence in the genre's commercial popularity with [[jazz fusion]] as the decade progressed.<ref>{{cite magazine|last=Segell|first=Michael|date=December 28, 1978|url=https://www.rollingstone.com/music/features/the-children-of-bitches-brew-19781228|title=The Children of 'Bitches Brew'|magazine=[[Rolling Stone]]|access-date=June 12, 2016|archive-url=https://web.archive.org/web/20160614211236/http://www.rollingstone.com/music/features/the-children-of-bitches-brew-19781228|archive-date=June 14, 2016|url-status=live}}</ref>
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