Miles Davis: The Definitive Biography Review

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Miles Davis: The Definitive Biography ReviewFirst, you need to know that this is an update of Carr's 1982 biography of Miles Davis. To begin with, there is some definite updating of the early chapters. In particular, recorded material that wasn't available in 1982 is discussed, such as the Plugged Nickel performances, and recent Columbia/Legacy releases such as Carnegie Hall 1961 are specifically mentioned. There are also surprising little nuggets of new information sprinkled throughout the first half. However, these chapters would have benefited from more careful or consistent editing. Statements of fact in 1982 that were later made inaccurate have not been revised. For example, Carr remarks that Miles' days as a sideman were over after LEGRAND JAZZ, a statement belied by the his later sessions with Toto, Chaka Khan, Cameo, Scritti Politti, Shirley Horn, Paolo Rustichelli, et al. Also, Carr marks FILLES DE KILIMANJARO as the last album with Gil Evans, although I suppose STAR PEOPLE is arguable as a matter of degree.
Another aspect that consistent editing would have fixed is that statements are presented as more or less current opinions, when the speakers have passed away since the first edition. Even when referring to historical events, Red Rodney, Philly Joe Jones, and others are quoted as contemporary figures. True in 1982, but not today. This is a little disconcerting.
In these respects, reading this edition is almost like reading two books, which I suppose it is in a way. But the transition from the old material to the new is seamless, and it always seemed to me that the ending of the first edition was rather rushed, anyway.
Initially it seemed to me that the coverage devoted to the post-retirement years (not quite half the book) was more than a little out of balance. However, the space allotted to these years is largely due to the amount of interview material from this period. Many of the interviews were conducted by Carr himself, and the interviewees include Miles (not extensive), many of his sidemen, and other acquaintances. My favorite piece of this new material is a story related by Lydia DeJohnette about Miles coming upon her and Jack arguing in a parking lot in 1981.
Upon first reading the new material, I found Carr to be unfailingly complimentary of Miles' post-retirement playing. After reflection, though, while it's still my impression that he is a big fan of 1980's Miles, I have decided that Carr is in fact quite objective. I did find his critiques of actual performances to be more balanced than his generalizations. He recognizes, for example, the sheer tedium (my words, not Carr's) of some of the live dates, as he does with a 20 July 1985 Royal Festival Hall performance. That said, however, when he quotes from his notes and reviews made onsite at live performances, they are often more favorable than his assessment of recorded material. It's interesting to contrast his review of the 1965 Plugged Nickel performances with almost any review of the 1980's live dates. I never saw Miles live, but I've seen enough artists to appreciate the added dimension that being in the same space as the performance brings, so I'm not complaining. It's just an observation.
The book presents the most in-depth assessment of Miles since his death. A studied treatment of Miles' later years has been long overdue. It is well researched and enjoyable to read. The focus is very much on the making of Miles' art, visual as well as musical. It is not at all a "celebrity biography." As an indication of where the focus lies, Carr deals with the rumors of AIDS and bisexuality in only a paragraph each. There is valuable new insight about Miles' health and his overall outlook in the months prior to his death. It seems Miles was in a very positive frame of mind, was considering retiring from the road, and had plans for painting and recording. After paying the band and expenses from the Montreux/Quincy gig, he paid cash for a new Ferrari. Carr does a good job of contrasting this image with the more common one of Miles as the shaman who has foreseen his own demise and is bidding farewell (which Jack Chambers depicts in the new introduction to MILESTONES).
As with Miles Davis' music, biographies of the man are likely to elicit widely varying reactions. However, one needn't agree with all of Carr's critical analyses in order to appreciate the professionalism and effort that went into the reviews. And as with his music, so it is with well informed and well presented writings about him-more Miles is always better than less Miles. Ian Carr's new volume is a welcome addition.Miles Davis: The Definitive Biography Overview

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