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Miles Dewey Davis III (May 26, 1926 - 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. Davis adopted a variety of musical directions in a five-decade career that kept him at the forefront of many major stylistic developments in jazz.[1]
After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981) and Tutu (1986).
Critics were generally unreceptive but the decade garnered the trumpeter his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film, and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure.[9}
Prior to the Amnesty International Concert in 1986 Miles joined with other artists speaking out about the racism of apartheid. His appearance at the Amnesty International Concert at Giants Stadium captured a "funky" Miles Davis sound and had Carlos Santana join him on stage.
After taking part in the recording of the 1985 protest song "Sun City" as a member of Artists United Against Apartheid, Davis appeared on the instrumental "Don't Stop Me Now" by Toto for their album Fahrenheit (1986). Davis intended to collaborate with Prince, but the project was dropped.[188] Davis also collaborated with Zane Giles and Randy Hall on the Rubberband sessions in 1985 but those would remain unreleased until 2019.[189] Instead, he worked with Marcus Miller, and Tutu (1986) became the first time he used modern studio tools such as programmed synthesizers, sampling, and drum loops. Released in September 1986, its front cover is a portrait of Davis by Irving Penn.[182] In 1987, he won a Grammy Award for Best Jazz Instrumental Performance, Soloist.
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n 2006, Davis was inducted into the Rock and Roll Hall of Fame,[10] which recognized him as "one of the key figures in the history of jazz."[10] Rolling Stone described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century,"[9] while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.[11]
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