In my first post on Miles, I wrote: Strangely, Miles has become the artist that people “love to hate.” Under articles about him on the internet, there are often readers’ comments saying very insulting things, even cursing him out in crude childish terms. (If you don’t believe me, or if you want to waste your time reading foolish things, you can, for example, read the
Why does Miles take the brunt of these criticisms? I recently heard Jay Leno say in an interview “what do you do in football? You tackle the guy holding the ball.“
I hope this illuminates for readers and musicians alike the complexity of navigating the music industry and how conditions on the ground affect and influence an artist.
Not that I feel Miles needs any of our sympathy, or somebody to apologize for him, but the reason he’s such a compelling figure is that he always has so much wonderful music and artistry to offer us. Your step-by-step insights on the logistics of putting out a record are helpful.
I saw Max Roach twice introduce the song Tune Up with a long speech about it was " Written by a blues singer and saxophonist Eddie Cleanhead Vinson" his words, not mine. It's a little murky with "Nem um talvez " and "Selim" from Live-Evil. They are definitely from Hermeto Pascoal. Miles is valiantly trying to play along with the melody with mixed results. No one could ever think it was a Miles tune. Airto and Hermeto were crushed when Miles was listed as the composer and promptly quit the band. Now here I can see the confusion from Columbia's point of view with potential language issues so I'm kind of giving Miles a pass on this one. But put yourself in Hermeto's shoes. You get the gig playing keyboard with Miles Davis replacing Chick Corea and two of your songs come out on an album and Miles is listed as the composer?!?!
And let’s not forget that both compositions on the very first jazz record were subjects in copyright disputes. What a way to begin a new kind of music ~~~
Thanks very much for this. I'm always amused yet annoyed when people assert that Miles stole Nardis from Bill Evans. I've heard or read it several times. But Evans frequently credited Miles as the composer from his own stage. Also, when Evans wanted to protest the incorrect attribution of composer credit, he knew how to do it -- and he did it loudly (e.g. Blue in Green). That never happened with Nardis. Still, Nardis occasionally provides an excuse for some to take a whack at Miles.
Great article (I'll wait patiently for the followups!) but as an addendum, I've read that in his will Paul Desmond left his rights to Take Five to the Red Cross which has proven to be quite a windfall over the years!
Hi Lewis - thanks man! Just great information and explanation. Any idea how Davey Schildkraut got to work with Miles Davis on Solar? Innovative player. Great sound and ideas
This is a good explanation of the breakdown of royalties, except for one thing. If a union contract (AFM) was filed for the recording, the side musicians get a small bonus based on the sale of all records. This goes on for five years. i once guestimated that over 5 years that royalty amounts to about 40% of the original wages. If a musician plays on numerous records, as someone like, say Richard Davis did, these bonuses can be considerable.
Phil Schaap told the story many times about Miles Davis changing the bridge on "When Lights are Low" and presenting the tune as his composition to Prestige, and that the label only found out right before the record came out that it was Benny Carter's tune. Taking a look at the original 78 rpm issue, one sees that not only is there no composer listed; no publisher is shown either! (The reverse side has both.) The original EP and 10" issues don't credit Carter either. By the time the track was re-issued on the 12" LP "Blue Haze," Carter got his credit. But the situation with Miles and composers wasn't limited to issues on Prestige. Gil Evans was reported to be upset when he was uncredited on Miles' "Filles de Kilimanjaro" album. Is there evidence that this was Columbia Records' doing and not Miles'? (Not a rhetorical question.)
Witness Bird's supposed appropriation of "Donna Lee." Miles didn't blame Bird. He blamed Savoy.
Hi Lewis, fantastic insights as always!
Why does Miles take the brunt of these criticisms? I recently heard Jay Leno say in an interview “what do you do in football? You tackle the guy holding the ball.“
I hope this illuminates for readers and musicians alike the complexity of navigating the music industry and how conditions on the ground affect and influence an artist.
Not that I feel Miles needs any of our sympathy, or somebody to apologize for him, but the reason he’s such a compelling figure is that he always has so much wonderful music and artistry to offer us. Your step-by-step insights on the logistics of putting out a record are helpful.
This needed to be said, thank you!
I have dim memories of Bill Evans composing pieces for which Miles is listed as the composer.
I saw Max Roach twice introduce the song Tune Up with a long speech about it was " Written by a blues singer and saxophonist Eddie Cleanhead Vinson" his words, not mine. It's a little murky with "Nem um talvez " and "Selim" from Live-Evil. They are definitely from Hermeto Pascoal. Miles is valiantly trying to play along with the melody with mixed results. No one could ever think it was a Miles tune. Airto and Hermeto were crushed when Miles was listed as the composer and promptly quit the band. Now here I can see the confusion from Columbia's point of view with potential language issues so I'm kind of giving Miles a pass on this one. But put yourself in Hermeto's shoes. You get the gig playing keyboard with Miles Davis replacing Chick Corea and two of your songs come out on an album and Miles is listed as the composer?!?!
I can see why so many side people wanted to (and often did) become leaders. More money!
And let’s not forget that both compositions on the very first jazz record were subjects in copyright disputes. What a way to begin a new kind of music ~~~
How much of this information is applicable to countries other than U.S.A? And international agreements re: copyrights...
Thanks very much for this. I'm always amused yet annoyed when people assert that Miles stole Nardis from Bill Evans. I've heard or read it several times. But Evans frequently credited Miles as the composer from his own stage. Also, when Evans wanted to protest the incorrect attribution of composer credit, he knew how to do it -- and he did it loudly (e.g. Blue in Green). That never happened with Nardis. Still, Nardis occasionally provides an excuse for some to take a whack at Miles.
I'll look forward to a lot more of this!
Great article (I'll wait patiently for the followups!) but as an addendum, I've read that in his will Paul Desmond left his rights to Take Five to the Red Cross which has proven to be quite a windfall over the years!
Hi Lewis - thanks man! Just great information and explanation. Any idea how Davey Schildkraut got to work with Miles Davis on Solar? Innovative player. Great sound and ideas
This is a good explanation of the breakdown of royalties, except for one thing. If a union contract (AFM) was filed for the recording, the side musicians get a small bonus based on the sale of all records. This goes on for five years. i once guestimated that over 5 years that royalty amounts to about 40% of the original wages. If a musician plays on numerous records, as someone like, say Richard Davis did, these bonuses can be considerable.
Always interesting and informative Lewis.
Thank You
Phil Schaap told the story many times about Miles Davis changing the bridge on "When Lights are Low" and presenting the tune as his composition to Prestige, and that the label only found out right before the record came out that it was Benny Carter's tune. Taking a look at the original 78 rpm issue, one sees that not only is there no composer listed; no publisher is shown either! (The reverse side has both.) The original EP and 10" issues don't credit Carter either. By the time the track was re-issued on the 12" LP "Blue Haze," Carter got his credit. But the situation with Miles and composers wasn't limited to issues on Prestige. Gil Evans was reported to be upset when he was uncredited on Miles' "Filles de Kilimanjaro" album. Is there evidence that this was Columbia Records' doing and not Miles'? (Not a rhetorical question.)
Hi Lewis! There are images of the 78rpm issue of "When Lights are Low" on Discogs (Prestige 902). Only the other side lists a publisher: "Mies Ahead" by Miles (Prestige Music, of course!).. https://www.discogs.com/release/10452745-Miles-Davis-Quartet-When-Lights-Are-Low-Miles-Ahead/image/SW1hZ2U6MjkwNDI3OTg=