Debate the contention that Miles was more significant as an arranger than as a soloist.

In order to address this issue it is first necessary to define what is meant by the term arranger. It can be understood in the conventional sense of arranging music for a big band: that is to say the formal adaptation of a pre-existing piece of music into another genre or medium. Seeing as Miles did very little arranging in this sense, this essay will take a much broader definition and explore Miles contribution as an arranger in the sense of placing musicians together and directing their interactions. It is also necessary to consider what criteria can be used in deciding Miles significance. Rather than attempting an objective comparison of Miles proficiency at soloing and arranging, this essay will assess their significance based on their lasting influence on jazz history. Miles Davis proficiency as a soloist has been rightly contested by various critics. It is widely accepted that Miles had a tendency to fluff notes and occasionally split notes at the extremes of his register. However the variation in quality through his career prevents a generalisation being made about his playing ability. This essay will look at some high points of Miles career in soloing terms, so as to ascertain the maximum potential significance he could have. A recording of Tadd Damerons Good Bait from the Paris Jazz Festival in 1949 is evidence of Miles technical skill as he plays an impressively dextrous solo over a medium tempo tune, jumping to extremes of the register and playing sustained semi-quaver runs. His struggle with drugs has been cited as one of the major contributors to a dip in his playing over the beginning of the 1950s, however by 1954 his return to form is evident in his playing on Walkin. The quality of Miles performance on this album is epitomised by his solo on Blue n Boogie. Miles combines his technical grasp of the instrument with undeniable musicality as he constructs a solo combining virtuosic extended quaver runs with simple bluesy sequences. His skill at constructing a solo is popularly exemplified by his solo on So What in 1959 as he develops the opening 3 note motif of his solo throughout his two choruses. The 1964 recording of My Funny Valentine demonstrates his ability to take ownership of a jazz standard through his interpretation as Stanley Crouch writes that his command of the poetic emotion made Miles Davis the greatest player of romantic songs to emerge since World War II. Miles skill as a band leader is very rarely brought into question. Miles proclaimed himself that he know*s+ who to pick for certain styles, and common opinions voiced by band members include the fact that Miles knew who to bring together in what context, and how to best to arrange the musicians so as to produce the best results. Miles intelligent choice of musicians can be seen in his sextet on Kind of Blue. The rhythm section for the majority of the album consisted of Jimmy Cobb, Paul Chambers and Bill Evans. Jimmy Cobb came from a jazz background, whereas Paul Chambers and Bill Evans were initially classical musicians. The latters preoccupation with Impressionism greatly influenced the aesthetic of the entire album. The combination of these players created the swinging yet floating essence of the album. The horn players of Coltrane, Cannonball and Miles himself complemented each other similarly. Coltranes jazz training and propensity for long, fast phrases contrasted with Cannonballs bluesy lyricism and reserved phrasing. Miles was able to float above with his introspective and sparse phrases. Without this combination of musicians, the album would not have been possible. Every member had a vital contribution and influence on the final product, and Miles was the leader of this synthesis of styles. A similar claim can be made about the Second Great Quintet. Wayne Shorters curiosity about working with musical rules (Davis & Troupe) led to a change in style of compositions, whereas Herbie Hancocks classical influence and interest in Debussys quartal harmonies added a new dimension to the ensemble. In fact throughout

his career Miles created the best groups using the best musicians, regardless of race, with Miles saying in a 1962 interview that if a cat could play like Lee, Id hire him. It is evident that Miles Davis was, at least at certain moments, a very proficient soloist. However it is necessary to ask whether these solos are irreplaceable: whether they could have been played by someone else. As Lee Konitz (Hamilton 2007) exposes, Miles tried to model himself after Dizzy Gillespie to an extent, perhaps suggesting that Dizzy Gillespie was a better bebop player than Miles. This claim is supported by various recordings, most probably because Dizzy Gillespie was more experienced in the playing style than Miles. There are also comparisons to draw with Chet Baker, winner of the 1953 Down Beat best trumpet poll. Miles, in his biography, acknowledges the similarities between his and Bakers playing styles and Shipton (2007) argues that Bakers lack of vibrato and clear sound were copied from Davis. At the beginning of the 1950s Chet Baker had overtaken Davis in terms of popularity and was immersed in the cooler jazz of the West Coast. Although Bakers playing may not have been particularly well suited to certain tracks on the Walkin album, he definitely had the technical proficiency to replace Davis in most playing situations. It could be argued that Davis was not one of a kind as a soloist, and that some of his albums could have been just as musically good if Miles had not been playing on the album. A similar argument is not as viable in the case of Miles arranging. His unique ability to bring contrasting players together forged bands that created new sounds. In a time of racial tension Miles chose musicians based on their suitability for the ensemble and their musical qualities rather than any other criteria. This led to the possibility of the inclusion of Bill Evans on Kind of Blue, and the various collaborations with Gil Evans. It is these creations which have a lasting place in jazz history, not Miles contributions as a soloist, and they would not have been possible without the creative drive and direction of Miles Davis.