1. Miles Runs The Voodoo Down
William Blake Holland
Music 1010

2. Miles Davis *Miles was born in Illinois in 1926
*In high school, he played with his heroes Charlie Parker and Dizzy Gillespie
*He attended Julliard in New York for one year before dropping out to play with Charlie Parker
Miles Davis was born in Alton, Illinois on May 26th, His family moved to East St. Louis soon after he was born. Davis was the son of a wealthy dental surgeon who was well respected in East St. Louis (DeVeaux and Giddins ). Davis began to play the trumpet in school when he was thirteen years old. He also took lessons from a trumpet player in the St. Louis symphony. His privileged upbringing made him stand out among other Jazz musicians of the time who generally grew up very poor (DeVeaux and Giddins ). When Davis was eighteen, Billy Eckstein’s band came through East St. Louis. Davis was good enough at the trumpet by then to sit in with the band, which included Charlie Parker and Dizzy Gillespie. These two musicians inspired Davis to want to move to New York to study music. He graduated from high school soon after his encounter with Parker and Gillespie and headed to New York to study at Julliard (DeVeaux and Giddins ). Davis stayed at Julliard for only a year however, before he dropped out to become a member of his hero, Charlie Parker’s band.

3. Birth of the Cool
*Davis left Parker’s band to form his own band, the Miles Davis Nonet
*Birth of the Cool sessions helped to launch the “Cool Jazz” movement
*Cool Jazz Stressed melody, harmony, and slower notes as opposed to the more chaotic Bebop
Davis was initially looked down on because he couldn’t match the virtuosity of Parker and Gillespie. After a while it became clear that Davis was developing a much different style than the older bebop musicians he was playing with. Davis “preferred the middle register to the more exciting high register, and focused on timbre and melody, playing fewer and longer notes”(DeVeaux and Giddins ). He eventually left Parker’s band to focus on his own music and to experiment with other young musicians. This period of experimentation led to the “birth of the cool” sessions, which helped to launch the cool jazz movement, one of the many styles of jazz Davis would eventually pioneer (DeVeaux and Giddins ). The Miles Davis Nonet was the nine-piece band headed by Davis during the Birth of the Cool sessions. They eventually became very influential but at the time were ignored by the public and critics. The new style the band was playing stressed melody, harmony and slower notes instead of the faster, more chaotic style of bebop. They also tried to strike a better balance between composition and improvisation (DeVeaux and Giddins ). Davis also worked closely and frequently with Jazz arranger Gil Evans throughout his career. Evans was very talented and influential in the Jazz world and arranged many famous Jazz songs with many famous Jazz musicians.

4. Paris 1949
*In 1949, Davis traveled to Paris for the first Festival International de Jazz.
*Davis was struck by how respectful people in France were. Especially compared to 1940’s Jim Crow America
*When Davis returned to the United States, he felt deeply disillusioned, and entered a dark period of his life
In 1949 Davis traveled to Paris for the first Festival International de Jazz. The festival featured both old and young musicians and Davis was surprised at how much respect Europeans had for his music and Jazz music in general (DeVeaux and Giddins ).
When Davis returned from Paris he was bitterly reminded of racial discrimination in the United States.

5. Dark Times
*Soon after returning from Paris, Davis developed a heroin habit that would plague him through the next 5 years
*Davis sometimes resorted to petty theft and even pimping to feed his habit
*Finally Davis was able to kick the habit and came back better than ever
When Davis returned from Paris he was bitterly reminded of racial discrimination in the United States. This disillusionment led him to develop a nasty heroin addiction (DeVeaux and Giddins ). He spent most of his mid twenties hustling, and even pimping to feed his habit. His musicianship suffered as a result of his addiction and began to gain a reputation of being an unreliable band member. After four years of street hustling, he finally decided to kick the habit. He went through withdrawal symptoms and recovered at his Father’s farm. Before long was ready to return to New York and the professional Jazz world (DeVeaux and Giddins ). His return to Jazz was triumphant; he immediately recorded five groundbreaking sessions with many of the best musicians of the day such as Thelonius Monk, and Milt Jackson. He also gave an acclaimed performance at the Newport Jazz Festival that confirmed his renewed presence as one of the best Jazz musicians in the world (DeVeaux and Giddins ).

6. Hard Bop
*Hard Bop was the second major jazz style Davis helped to pioneer
*was said to “reflect the intensity and hustling tempo of city life”
*”Walkin’” is a famous early example of Hard Bop
The growing popularity of Cool Jazz concerned Davis. He felt the music had become too intellectualized and soft (DeVeaux and Giddins ). The new music he started playing came to be known as hard bop. It was “tough, urban and straightforward… made a point of resisting overt experimentation…it was said to reflect the intensity and hustling tempo of city life” (DeVeaux and Giddins ). One famous early example of Davis playing hard bop was the song “Walkin’,” which was much harder and less smooth than the cool jazz he had been doing before (DeVeaux and Giddins ).

7. Kind of Blue
*Marked a movement away from virtuosic chromatic harmonies
*Characterized by “fewer chords and less concentrated harmonies where scales override harmonies.”
*Kind of Blue is the most famous Modal Jazz album, and is Davis’ best selling and most well known album
The next major style of Jazz Davis helped to invent was called Modal Jazz. He was first inspired to play this way after agreeing to improvise a score for a French film in one night (DeVeaux and Giddins ). “By 1959, jazz had been fixated for fifteen years on chromatic harmony and the technical challenge of improvising smoothing and efficiently within it.” (DeVeaux and Giddins ). Modal jazz was a reaction to the increasingly complicated chord progressions in solos and instead used “fewer chords and less concentrated harmonies where scales override harmonies, clearing away the hurdles” (DeVeaux and Giddins ). This kind of experimenting led to Davis’ best selling and most well known album, Kind of Blue which eventually went on to be certified platinum 4 times (DeVeaux and Giddins ). After the success of Kind of Blue, Davis organized his second great quintet in This new quintet began to use modal jazz in a way that blended more traditional sounds with newer avant-garde ideas.

8. Jazz Fusion
*Was a mixture of jazz and other newer genres of music such as Rock and Roll, and especially Funk
*Davis’ “In a Silent Way,” and “Bitches Brew,” are seminal jazz fusion albums
*Marked the first time Davis uses Electric Guitars in his music
By the end of the 1960’s jazz musicians, especially Miles Davis, began experimenting with a fusion of jazz and many other musical genres such as rock, R and B, and especially funk. He began working with much younger musicians and eventually recorded In a Silent Way, and Bitches Brew in These two albums invented the genre Jazz Fusion (DeVeaux and Giddins ). Davis took five years off from music in the mid 1970’s, but returned in the 1980’s and recorded many well-respected jazz and fusion albums. He continued to release albums until he died in September of 1991 of a stroke (DeVeaux and Giddins ).

9. Later Years
*Davis took 5 years off from making music in the the mid 1970’s
*Started making music again in the 1980’s, and continued to release albums until his death
Davis took five years off from music in the mid 1970’s, but returned in the 1980’s and recorded many well-respected jazz and fusion albums.

10. Miles Dies
*Miles Davis died of a stroke on September 28th, 1991 in Santa Monica, CA
*He is buried in Woodlawn cemetery in The Bronx, NY
He continued to release albums until he died in September of 1991 of a stroke (DeVeaux and Giddins ).

11. Miles Runs the Voodoo Down
*Miles Runs the Voodoo Down is the 3rd song on the second disc of the album Bitches Brew
*It is fourteen minutes long and features 11 musicians
The song Miles Runs the Voodoo Down is the third song on the second disc of the album “Bitches Brew,” by Miles Davis. “Bitches Brew,” is a seminal example of the jazz-fusion genre.

12. Bitches Brew *Considered a seminal Jazz Fusion album
*Funk music by artists like Sly and the Family Stone was influential to the sound of the record
Artists like Davis pioneered this style of music in the late 1960’s and early 1970’s. Jazz-fusion took ideas from genres outside of jazz like rock and roll, rhythm and blues, and especially funk. Funk was “harmonically sophisticated, supporting denser jazz oriented harmonies and… was open to modal improvisation” (DeVeaux and Giddins ). It especially important to jazz fusion artists because it “offered an opportunity for jazz musicians to continue to draw on their mastery of chromatic harmony.” James Brown and Sly and the Family Stone were both important influences to jazz-fusion artists in the late 1960’s and early 1970’s.
Miles Davis had experimented with fusion on a previous album called In a Silent Way, using a distorted electric guitar for the first time. He also began experimenting with studio editing effects. The album “sacrificed the purposeful intensity of earlier jazz for a deeper sense of groove,” (DeVeaux and Giddins ). Davis also began working with much younger musicians around this time. These new musicians were interested in new genres and helped to influence the music Davis was writing (DeVeaux and Giddins ).
The real jazz-fusion breakthrough came in Davis’ next album, “Bitches Brew.” The album was recorded in August of 1969, at 30th Street Studio in New York City. (Tingen). Davis had a unique style of recording for this album, he said, “I brought in these musical sketches that nobody had seen, just like I did on Kind of Blue and In a Silent Way” (Tingen). The sessions were highly improvisational, with Davis running the show, he described them this way vii, once we started to play, and I would either write down some music for somebody or would tell him to play different things I was hearing, as the music was growing, coming together.” (Tingen).

13. Recording
*Bitches Brew was recorded in August of 1969 at 30th Street Studio in New York City
*Used a highly improvisational approach where Davis, “would direct, like a conductor”
The song Miles Runs the Voodoo Down was recorded on the second day of the recording session August 20th, (Tingen). It featured 11 musicians.
Davis had practiced this piece with his quintet and had trouble adapting the larger studio rhythm section (Tingen). Jack Alias, one of the drummers on the track felt had been practicing a Mardis Gras beat before the sessions that he felt would work for the song. He tried to teach it to Jack DeJohnette, the other drummer. Alias explained, “it’s one of those kind of rhythms where you don’t need any chops. Jack couldn’t get it, so Miles said to me: ‘Just stay there’ [on Lenny White’s drumset]. That’s how I ended up being one of the drumset players on ‘Miles Runs the Voodoo Down.’” (Tingen).

14. Players *11 in total *Miles Davis –Trumpet
*Wayne Shorter-Soprano Saxophone
*Bennie Maupin-Bass Clarinet
*Joe Zawinul-Electric Piano 1
*Chick Corea-Electric Piano 2
*John McLaughlin-Electric Guitar
*Dave Holland- Electric Bass 1
*Harvey Brooks-Electric Bass 2
*Dan Alias-Drum Set 1
*Jack DeJohnette-Drum Set 2
*Juma Santos-Congas
The song Miles Runs the Voodoo Down was recorded on the second day of the recording session August 20th, (Tingen). It featured 11 musicians. There was one trumpet played by Miles Davis. Wayne Shorter played soprano saxophone. Bennie Maupin played bass clarinet. Joe Zawinul played one electric piano. Chick Corea played the other electric piano. John McLaughlin played electric guitar. Dave Holland played one electric bass. Harvey Brooks played the other electric bass. Don Alias played one drum set. Jack DeJohnette played the other drum set. Finally, Juma Santos played the congas.

15. Reception and Influence
*Bitches Brew was released in April of 1970
*It sold more than 500,000 copies in its first year
*Became extremely influential to jazz fusion artists
The recording session lasted one more day, and the album was released in April of (Tingen). It sold 500,000 copies in less than a year and became extremely influential to the new jazz-fusion genre (Tingen).

16. Song Structure of Miles Runs the Voodoo Down
*Song is centered around 5 different instrument solos
*Structure
-Intro 0:00-0:34
-Solo 1 Trumpet 0:34- 4:10
-Solo 2 Guitars 4:10-6:15
-Solo 3 Soprano Sax 6:15- 8:00
-Solo 4 Electric Piano 8:00-10:43
-Solo 5 Trumpet 10:43- 13:00
-Outro 13:00-14:02

17. Intro *Opens with a halting drum beat
*Guitar, bass and Clarinet come in
0:00 Introduction: The song opens with a halting drumbeat played for two measures on the snare and high hat. The bass comes in on the upbeat before the third measure with a percussive bass line that intertwines with the drumbeat for two measures. A guitar comes in to complete the rhythm section’s introduction with a twangy percussive rhythm.
ii. 0:19 Intro builds: The second bass comes in, winding in with the rhythm of the first bass. The guitar and basses play with each other for a few measures, and begin to develop the melody. Then a bass clarinet comes in to play 2 low honky descending lines.

18. Solo 1 *Trumpet Solo *Other instruments begin to build underneath
iii. 0:34 Solo 1 begins: The first solo part is the trumpet, which starts with a long slow loud note followed by a series of descending notes. Low wobbly trills on the bass clarinet punctuate the louder brassy trumpet riffs.
0:58 Solo 1 cont.: The first electric piano note can be heard. The trumpet continues to play the melody. The crunchy sounding electric guitar is rhythmically harmonizing with the trumpet. The basses are still playing off each other in the background.
1:25 Solo 1 cont.: The trumpet becomes louder and plays more high notes. The soft notes on the electric piano are becoming a little louder. The electric pianos begin to harmonize with the trumpet. The bass and drums continue to drive the rhythm forward. The bass clarinet and electric guitar continue to punctuate the trumpet and piano melodies. The conga drums come in playing a staccato counterpoint rhythm.
1:43 Solo 1 cont.: The trumpet is playing loud ascending and descending notes and the electric piano beings to play a melody. The second electric piano comes in playing off the first, playing rhythm.

19. Solo 1 Continued *Trumpet get a little louder and more wild
*Electric pianos compliment the trumpet
2:20 Solo 1 cont.: The trumpet begins to play loud fast shrill notes, while the electric pianos, basses, and guitar provides rhythm. The drums begin to get louder. The second drummer comes in playing loud staccato beats to rhythmically punctuate the trumpet riffs.
2:52 Solo 1 cont.: The electric pianos bring the pitch down a step or two. The various parts are all building louder and louder. The trumpet is doing short sharp notes followed by longer phrases. The two electric pianos are playing lots of fast notes accentuating the trumpet riffs.
3:43 Solo 1 cont. The trumpet begins winding down the solo playing lots of high notes followed by a descending run. The other instruments keep the groove going. The electric piano is playing loud high notes on the offbeat. The trumpet plays one last run of notes before quieting down.

20. Solo 2
*Two Guitars duel as electric pianos provide counterpoints to the rhythm
*Shortest solo
4:10 Solo 2: The second solo features the two guitars, who play off each other playing more and more notes. There are a few ascending then descending runs with the rhythm. The electric pianos provide a melodic counterpoint and are playing off each other as well. The pianos are playing a series of dissonant notes and chords, trading off with the guitar solos.
4:40 Solo 2 cont.: The rhythm section is keeping the beat going in fast 4/4 time. The guitars continue to wail, and continue to play more and more notes. The pianos trade riffs, intertwining with each other, and punctuating the guitar parts.
5:01 Solo 2 cont.: The guitars begin to play many more notes and are getting louder. The Pianos in the background are getting softer.
5:45 Solo 2 cont.: The guitars begin to wrap up their solo. The electric pianos briefly get much louder and are dissonant sounding playing lots of notes far apart.

21. Solo 3 *Soprano Saxophone solo
*accompanied by electric pianos and bass clarinet
*Drums finish the solo and set up the next part
6:15 Solo 3: The soprano saxophone makes its first appearance. The solo starts with a long reedy note and immediately begins running up and down the scale in a series of frilly runs. The electric pianos counter the melody. The basses are playing quick and keeping the groove strong. The saxophone keeps playing lots of descending runs. The bass clarinet accentuates the low reedy notes of the saxophone.
6:50 Solo 3 Cont.: The background instruments are becoming noisier and more dissonant as the saxophone continues its runs up and down. It keeps playing bursts of high notes then runs down the scale.
7:30 Solo 3 cont.: The drums begin crashing on the cymbals and the other instruments are in a frenzy while the saxophone solo begins to fade out.

22. Solo 4 *The electric pianos finally get their own solo
*Lots of rhythm section happening
*the guitars punctuate the pianos
8:00 Solo 4: The fourth solo is the electric piano. The basses, guitar, and drums provide the rhythmic background for the pianos. Nothing else is playing except the rhythm section and the pianos. The pianos are playing lots of fast high notes getting more and more dissonant.
8:30 Solo 4 cont.: The guitars are accentuating the piano solos. There is a riff at the end of every piano run. The pianos are playing more and more notes all over the keyboard. They are switching from the high to low end of the keyboard and back.
9:10 Solo 4 cont.: The music is getting more and more chaotic. The cymbals are crashing with every beat. The pianos sound more and more dissonant. The basses are moving everything along furiously.
9:30 Solo 4 cont.: The music sounds like a whirlwind. The piano players are bashing the keys with abandon. The drums are cacophonous and crashing. One of the keyboards is doing runs down the keyboard.
10:00 solo 4 cont.: The guitars and pianos are speaking to each other back and forth, showing off and punctuating each others musical phrases.
10:30 solo 4 cont.: The tempo of the music begins to slow down and everything gets quieter to set up the last solo. The basses and pianos play a series of descending runs.

23. Solo 5 *Final Solo is Davis on Trumpet
*Accompanied by all the other instruments
*Is resolved by a descending series of notes and sets up the outro section
10:43 Solo 5: With just basses, soft cymbals on the drums, and soft electric piano setting the tone, the trumpet begins the last solo. The trumpet plays a low note, then a high one, and repeats this for a few bars.
11:10 Solo 5 cont.: The trumpet is playing very smoothly and melodically. Up and down and then does a descending run. The music begins to build again. The guitars come on, and the electric pianos begin to play louder and wilder.
11:40 solo 5 cont.: The trumpet begins a series of piercing loud high notes. Then it attacks with a wild brassy descending series of incredible fast notes. Every other instrument begins to build.
12:05 solo 5 cont.: The music slows briefly, with the trumpet doing an extremely long, soft low note complimented by descending guitar and piano notes blasted on the off beat.
12:25 Solo 5 cont. The trumpet attacks with a few high piercing notes and the accompanying instruments continue playing lower and lower. The trumpet is getting lower and lower as well.
12:35 Solo 5 cont.: The trumpet solo begins to come to an end, fading out slowly and getting ready for the finale of the song.
12:45 The trumpet solo is resolved with a descending series of notes and the solo instruments have quieted down, the driving rhythm from the basses and drums keep the tension and set up the last section of the song.

24. Outro
*All the instruments begin to build until they are at a fever pitch
*Lots of dissonance
*The song ends slowly with the individual instruments fading out until only the bass is audible
*The song ends

25. Works Cited Works Cited
 *Tingen, Paul. "Miles Davis and the Making of Bitches Brew: Sorcerer's Brew." Jazz Times. May 2001: n. page. Web. 24 Feb
*DeVeaux, Scott, and Gary Giddins. Jazz. New York City: W.W. Norton & Company, Print.

26. Further Listening The Birth of the Cool-Miles Davis
Kind of Blue-Miles Davis
Bitches Brew-Miles Davis
Bird and Diz-Charlie Parker and Dizzy Gillespie