*****
新商品的合作開發與實驗計畫
大學教育的作用是什麼呢? 它有時候很有威力: 譬如說 1971-2年我上成功嶺受訓時有一IQ測試 沒有發表成績---不過我發現它對學過"工程圖學"的學生而言太簡單了......
同樣的. 下述的個案之了解 多有賴於學校所學的企業/工業管理以及吳老師教的"實驗計畫"1973
我在80年代初到美國找吳老師 他很忙在速食店請我.
他說: 用垃圾實物請你可真不成敬意
其實它的學問很大呢
請看
2013年9月30日 星期一
《鍾漢清回憶錄》的甘苦 (IX)： 新商品的合作開發與實驗計畫/更生隊放假，預官替代役，國籍欄上寫"台灣"，Jean Piaget 1896–1980 兒童發展心理學
*****
新商品的合作開發與實驗計畫
大學教育的作用是什麼呢? 它有時候很有威力: 譬如說 1971-2年我上成功嶺受訓時有一IQ測試 沒有發表成績---不過我發現它對學過"工程圖學"的學生而言太簡單了......
同樣的. 下述的個案之了解 多有賴於學校所學的企業/工業管理以及吳老師教的"實驗計畫"1973
我在80年代初到美國找吳老師 他很忙在速食店請我.
他說: 用垃圾實物請你可真不成敬意
其實它的學問很大呢
請看
David Hubel, 1926-2013
David Hubel, Nobel-Winning Scientist, Dies at 87
By DENISE GELLENE
Published: September 24, 2013
Dr. David Hubel, who was half of an enduring scientific team that won a Nobel Prize
for explaining how the brain assembles information from the eye’s
retina to produce detailed visual images of the world, died on Sunday in
Lincoln, Mass. He was 87.
Associated Press
Dr. David Hubel, right, celebrating with his longtime
collaborator, Dr. Torsten Wiesel, after they won the Nobel Prize in
1981.
The cause was kidney failure, his son Carl said.
Dr. Hubel (pronounced HUGH-bull) and his collaborator, Dr. Torsten Wiesel,
shared the 1981 Nobel in Physiology or Medicine with Roger Sperry for
discovering ways that the brain processes information. Dr. Hubel and Dr.
Wiesel concentrated on visual perception, initially experimenting on
cats; Dr. Sperry described the functions of the brain’s left and right
hemispheres.
Dr. Hubel’s and Dr. Wiesel’s work further showed that sensory
deprivation early in life can permanently alter the brain’s ability to
process images. Their findings led to a better understanding of how to
treat certain visual birth defects.
Dr. Hubel and Dr. Wiesel collaborated for more than two decades,
becoming, as they made their discoveries, one of the best-known
partnerships in science.
“Their names became such a brand name that H&W rolled off the tongue
as easily in the lab as A&W root beer did at lunch,” Robert H.
Wurtz, a neuroscientist, wrote in a review article about their work.
Before Dr. Hubel and Dr. Wiesel started their research in the 1950s,
scientists had long believed that the brain functioned like a movie
screen — projecting images exactly as they were received from the eye.
Dr. Hubel and Dr. Wiesel showed that the brain behaves more like a
microprocessor, deconstructing and then reassembling details of an image
to create a visual scene.
By measuring the electrical impulses of cells in the visual cortex, the
scientists discovered that cells respond to straight lines, movement and
contrast — features that delineate objects in the environment. They
further found that some cells fire rapidly in response to horizontal
lines, while other cells prefer vertical lines or angles. Cells with
similar functions are organized into columns, they said, tiny
computational machines that relay information to a higher region of the
brain, where a visual image is formed.
Dr. Hubel and Dr. Wiesel also found that vision does not develop
normally if the brain fails to make connections with the eye during a
critical window early in life.
In a 1962 experiment, the scientists showed that kittens that had one
eye sewn shut after birth became blind in that eye because their brains
were deprived of visual stimulation. In a related experiment, the
scientists showed that exposure to light did not by itself provide
enough stimulation; it was necessary for newborn animals to see the
patterns and contours of the world around them.
Doctors now operate on infants born with cataracts early in life to
prevent vision loss; before Dr. Hubel’s and Dr. Wiesel’s research,
doctors removed cataracts from infants between ages 6 months and 24
months, with poor results. The research also led to earlier treatment
for strabismus, a condition in which the eyes are not properly aligned.
Scientists have since found evidence of similar “critical periods” in hearing and language acquisition.
“David and Torsten did more than open up the study of the primary visual
cortex; they laid the basis of all that was to follow in the sensory
systems,” Dr. Eric R. Kandel, a Nobel laureate, wrote in a recent
commentary about their research. “Together this body of work stands as
one of the great biological achievements of the 20th century.”
David Hunter Hubel was born in Windsor, Ontario, on Feb. 27, 1926, to
American parents. His father was a chemical engineer. Dr. Hubel grew up
in Montreal, where his boyhood hobbies included chemistry. He once
rocked his neighborhood by firing a small cannon in the middle of his
street; in another experiment, he launched a hydrogen balloon that was
found by a farmer’s daughter 100 miles away.
He went to McGill University, where he studied math and physics because
he preferred solving problems to memorizing facts. But after earning his
bachelor’s degree in 1947, he decided against a career in mathematics.
“To make it in that field required a virtuosity — like becoming a
concert pianist — that I probably lacked,” he told an interviewer.
Thinking he might like to do medical research, he went on to medical
school at McGill and soon found himself straining to remember every
muscle in the body. But he got to spend summers at Montreal Neurological
Institute, where he became fascinated with the nervous system.
After receiving his medical degree in 1951, he studied neurology at
McGill for three years before heading to Johns Hopkins University in
Baltimore for a neurology fellowship. The Korean War interrupted his
plans.
He was drafted into the United States Army and assigned to the
neuropsychiatry division at Walter Reed Army Institute of Medical
Research, where his efforts soon turned to the visual system. He
developed an implantable tungsten electrode and a method for using it to
measure the firing of brain cells in cats as they watched a moving spot
on a screen. He found that cells were very selective; they fired when
the spot moved in one direction but not another. Some cells did not fire
at all.
Dr. Hubel’s Army service ended in 1958, but he could not immediately
resume his Johns Hopkins fellowship because the laboratory that had
recruited him was being remodeled. Another Johns Hopkins neurologist,
Dr. Stephen Kuffler, impressed with Dr. Hubel’s work at Walter Reed,
invited him to spend a year in his lab. Dr. Kuffler paired Dr. Hubel
with another young scientist interested in vision, Dr. Wiesel.
In 1959, the scientists were recruited with their mentor to Harvard
Medical School, where Dr. Hubel spent the rest of his career. He
maintained his lab well past his official retirement, and until January
taught a freshman seminar, in which students learned to use soldering
irons to build biomedical instruments, and received training in surgical
techniques.
His wife, Ruth, died in February. In addition to his son Carl, Dr.
Hubel’s survivors include two other sons, Eric and Paul, and four
grandchildren.
Dr. Hubel and Dr. Wiesel liked to recall that their initial discovery
about how vision works resulted from luck. Working in a tiny basement
laboratory at Johns Hopkins, the pair struggled for days to coax brain
cells in cats to respond to images of dark and light spots. Becoming
increasingly frustrated, they waved their arms, jumped around, and, in a
moment of levity, displayed images of glamorous women from magazines.
Then, as they shifted a slide in the opthalmoscope, a cell in the cat’s
visual cortex suddenly started to fire. The edge of the slide had cast a
straight, dark line on the animal’s retina. “It was what the cell
wanted, and it wanted it, moreover, in just one narrow range of
orientations,” Dr. Hubel said in his Nobel lecture.
They studied the cell for nine hours, and then, Dr. Wiesel recalled, ran down the hall screaming with joy.
川瀬健一 Kawase 先生 (II) 台灣映画Taiwan Films 2013/ 日本明星在臺灣的活躍
川瀨先生講談會
主題；川瀨健一（ Kawase Kenichi 中日文交互使用）先生詮釋吳念真「多桑」
翻譯：邱年振瑞先生
時間：200511月17日 (四) ，13:30~14:30
地點：溫州街64號，明目書社。
說明：趁川瀨健一（Kawase Kenichi ）先生應金馬獎邀請來台，特別請他與我們交流。川瀨先生著有『台灣電影饗宴：百年導覽』（李常傳譯，台北：南天書局，2002 ）。
Kawase 先生此行一個月送(前後2次會 各請客一次)我的雜誌和文章.
他還去宜蘭拍"大稻埕"電影(2014 春發行)顧問2天.
----2013.9.3
Kawase 先生來訪。我嚇一跳，因為他原說4號才訪台。他說因為月底前就必須回日本，所以8月底提前來。八方雲集的豬頭皮等很合他的胃口。飯後到 秋水堂--我買法學書《不當得利》" Unjust Enrichment --雅博客--我買郭良蕙作品集《遙遠的路》1991 台北:時報) 當代表---4本當中選一。此集初期只有《自序》 ----
".....我不敢斷言它們都能被你喜愛，但是你絕不會認為對你是一種浪費。不論過去，現在，還是未來。"
後來還有王寧《"茫中的知識 悲愴後的光明---讀台灣女作家郭良蕙的小說》以及董保中的《郭良蕙的台北人世界》
他很快就認出她是寫《郭良蕙看文物》的作者，Kawase先生將此書當他的"書"箱""藏書之一。我跟他介紹此人，如果在日本，郭的稿費可能就可以過得很好。由於Kawase先生今天跟文夏先生通電話，又見四人.。他今年的日文《台灣電影》年刊有多篇訪問稿，我建議他發行漢譯。訪客當中有年長之大家，可作出諸如徐小虎-王季遷的《畫語錄》 (台北:典藏，2013)。
跟他討論川瀨健一《臺北文獻‧日本明星在臺灣的活躍表現─池部良、石原裕次郎、美空雲雀、小林旭》、陳宛頻（譯），第 184 期 2013.6
一 文中的細節。
6.21
昨夜，回国了。
非常谢谢。川瀨健一
非常謝謝你的信和7-Eleven 貼紙
2013.6.19
接獲 川瀬健一 一封平信: 一封介紹他花13多年的心力編的三部"台灣上映過1899-1945的電影": 黃仁和文夏鄭重推薦.
內附有6張7-ELEVEN (前天咖啡後無法入睡) 的集點:"送給您".....
2013.6.17
Kawase 先生6點40來訪.今天碰面連我6人. 問你木食上人---Kingdom of Beauty....
他認為blogging和Facebook等都太浪費時間.周四回國.下周在日本的台灣研究協會(奈良天理大學)講/報告(他1999年起每年報告 是最認真的會員--此協會年會費5000元每5年來台開會--臺大和中國文化大學)1895年日軍來台灣的疾病問題: 來二萬多.死百來名生病/瘧疾四千多人. 日本關於疾病宣導的文化電影.....照例我請豬頭皮和鍋貼等.他飯後抽煙並請喝咖啡.....談黃春明希望所有的訪談等在他身後才發表....此次他希望拍照作為証物.....他的書要寫黃仁和文夏推薦......)下回9月初見面送我台灣電影研究年刊....
2013.6.5
下午四點多川瀨先生來訪20-30分. 請玉荷包.談他此次帶15本新書的去處. 談日治時代5部台灣電影 (都已銷毀 比較韓國 大不同). 台灣電影圖書館只收200部台語片.
2013.6.1
川瀬先生來訪至午後5點 只一杯茶招待
補寄2009年在報紙資料庫的一些日本名人小林旭等8-9人訪台之報導.
討論張深切 張深切全集(全12卷) 也只是他一生的部分
民俗知識70歲以後不身體撿 癌症治療法之破壞性.....
手臂痛的請教和自然甩手法. (李筱峰的腰痛故事)......
這部1946台灣才播 第3部的電影名稱與其書不同
Les Misérables is a 1934 film adaptation of Victor Hugo's novel of the same name. It was written and directed by Raymond Bernard and stars Harry Baur as Jean Valjean and Charles Vanel as Javert. The film lasts four and a half hours and is considered by critics to be the greatest adaptation of the novel, due to its in-depth development of the themes and characters in comparison with most shorter adaptations.[1][2][3]
It was released as three films that premiered over a period of three weeks.[citation needed]
- Part One: Une tempête sous un crâne (Tempest in a Skull)
- Part Two: Les Thénardier (The Thenardiers)
- Part Three: Liberté, liberté chérie (Freedom, dear Freedom)
2013.5.29
五點，川瀨先生來訪。我又約了游常山先生，6點。所以去7-Eleven 請川瀨喝45元的拿鐵。他跟我說20年前就免費供應統一發票對講號碼，他贏過千元一次，百元數次。我從沒對過發票，所以還是第一次拿到這。他跟我大談他的新書: 1899-1945的台灣放映過的西洋片，約6500部，6百多頁，定價15000日圓。他給我看85歲的文夏給他親手寫的日文書之讚美…….他在吃完飯後說，今天恰巧是他生日，不過他近40歲就決定不做生日。他近來13年致力於1949年前的台灣電影茲廖，預計明後年可完成(共二千多頁)。
游先生雖是第一次見面，不過他的腦袋裝有台灣萬人之資料庫，所以可以大談我們共同的朋友。譬如說，游克強先生的故事及其四五本詩集。
由於川瀨先生經常給朋友請大餐，我建議去紫藤盧。這是對的決定，因為茶好，又能認識來看畫展的蘇南洲夫婦，他跟我們講許多西鄉隆盛(南洲)的野史。又巧遇周渝和周辰 (美國)兄弟，我與周學長暢談，他承認的確有心出書，又贈送三篇大作：《紫藤盧：”無何有之鄉”的茶境》《真人御風，真茶感通》《詩》數首。
2013.5.15
ご無沙汰しております。
ご活躍のことと思います。
来週5月21日から、6月20日まで台湾へいきます。
再会を楽しみにしております。
您，思念活跃的。
从下周5月21日，到6月20日在台湾。
期待着再见。
川濑健一
2013.4.14
『植民地 台湾で上映された映画
洋画編
―1899(明治32)年～1945 (昭和20)年―』 発売中
―1899(明治32)年～1945 (昭和20)年―』 発売中
B５
６４０頁 ハードカバー 定価1万5千円＋税
この本は、「映画目録 洋画編」と「映画資料 洋画編」からなっており、「映画目録
洋画編」に台湾で４６年間に上映されたアメリカ・フランス・
また、「映画資料
洋画編」には、映画広告・チラシ、
この全三巻
この全三巻
『植民地台湾で上映された映画目録
1899(明治32)年～1934(昭和9)年』
『植民地
台湾で上映された映画目録1935 (昭和10)年～1945
(昭和20)年』
『植民地 台湾で上映された映画
洋画編 1899(明治32)年～1945 (昭和20)年』
を製作編集するのに、十三年余りの歳月を必要としたが、
◆《日治時期在台灣上映的電影 西洋篇 1899年～1945年》◆
約花費十年執筆的《日治時期在台灣上映的電影 1899年~1934年》與《日治時期在台灣上映的電影 1935年~1945年》，這兩本書已付梓出版，
本書收錄了約6500部電影的片名（
先行出版的兩本書連同本書，當中收錄的日治時期在台灣上映的電影
在探究當時的電影銷售渠道、與日本上映的時間落差，
定價1萬5千日圓（不含税）
這書籍並未在台灣書店販售。如有需要，請洽紀伊國書店台北分店，
《日治時期在台灣上映的電影》本書收錄了日本治台約50年間，所
本書除完整記錄電影在台灣的上映日期、導演、演員、
《日治時期在台灣上映的電影 1899年～1934年》庫存量少
〈日治時期在台灣上映的電影目錄〉中，以日本及中國的電影為主，
〈日治時期在台灣上映的電影資料〉中，則刊載了260餘篇報紙的
此外，為了幫助讀者掌握日治初期台灣的電影界情況，本書亦收錄了
定價1萬3千日圓（不含税）
《日治時期在台灣上映的電影 1935年～1945年》庫存量少
〈日治時期在台灣上映的電影目錄〉中，以日本及中國的電影為主，
〈日治時期在台灣上映的電影資料〉中，則刊載了170餘篇電影廣
本書另將1935年在台灣所舉辦的「台灣博覽會」中，〈
定價1萬3千日圓（不含税）
上述書籍並未在台灣書店販售。
如有需要，請洽紀伊國書店台北分店，或三省堂台北分店。
＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊＊
川瀬健一
６３４－００５１
奈良県橿原市白橿町５－２－１９－３０４
東洋思想研究所川瀬健一
６３４－００５１
奈良県橿原市白橿町５－２－１９－３０４
Miles Davis (1926-91), Trumpeter, Jazz Genius,
September 29, 1991
OBITUARYMiles Davis, Trumpeter, Dies; Jazz Genius, 65, Defined Cool
By JON PARELES
Miles Davis, the trumpeter and composer whose haunting tone and ever-changing style made him an elusive touchstone of jazz for four decades, died yesterday at St. John's Hospital and Health Center in Santa Monica, Calif. He was 65 years old.He died of pneumonia, respiratory failure and a stroke, his doctor, Jeff Harris, said in a statement released by the hospital.
A spokeswoman for the hospital, Pat Kirk, said yesterday that Mr. Davis had been a patient there for several weeks.
Mr. Davis's unmistakable, voicelike, nearly vibratoless tone -- at times distant and melancholy, at others assertive yet luminous -- has been imitated around the world.
His solos, whether ruminating on a whispered ballad melody or jabbing against a beat, have been models for generations of jazz musicians. Other trumpeters play faster and higher, but more than in any technical feats Mr. Davis's influence lay in his phrasing and sense of space. "I always listen to what I can leave out," he would say.
Equally important, Mr. Davis never settled into one style; every few years he created a new lineup and format for his groups. Each phase brought denunciations from critics; each, except for the most recent one, has set off repercussions throughout modern jazz. "I have to change," he once said. "It's like a curse."
Mr. Davis came of age in the be-bop era; many successive styles -- cool jazz, hard-bop, modal jazz, jazz-rock, jazz-funk -- were sparked or ratified by his example. Throughout his career he was grounded in the blues, but he also drew on pop, flamenco, classical music, rock, Arab music and Indian music. Musicians he discovered often moved on to innovations of their own.
Mr. Davis was also known for a volatile personality and arrogant public pronouncements, and for a stage presence that could be charismatic or aloof. For a while, he turned his back on audiences as he played and walked offstage when he was not soloing. His public persona was flamboyant, uncompromising and fiercely independent; he drove Ferraris and Lamborghinis and did not mince words when he disliked something.
Yet his music was deeply collaborative. He spurred his sidemen to find their own musical voices and was inspired by them in turn.
Trumpet at 13 Miles Dewey Davis 3d was born May 25, 1926, in Alton, Ill., the son of an affluent dental surgeon, and grew up in East St. Louis, Ill. On his 13th birthday, he was given a trumpet and lessons with a local jazz musician, Elwood Buchanan. He got his musicians' union card at 15 so he could perform around St. Louis with Eddie Randall's Blue Devils.
Clark Terry, the trumpeter, one of his early idols, became Mr. Davis's mentor, and his local reputation grew quickly. Mr. Davis's parents made him turn down early offers to join big bands. But in 1944 the Billy Eckstine band, which then included two men who were beginning to create be-bop -- Charlie Parker on alto saxophone and Dizzy Gillespie on trumpet -- arrived in St. Louis with an ailing third trumpeter. Mr. Davis sat in for two weeks. The experience made him decide to move to New York, the center of the be-bop revolution.
He enrolled in the Juilliard School of Music in September 1944, and for his first months in New York he studied classical music by day and jazz by night, in the clubs of 52d Street and Harlem. Mr. Parker, who roomed with Mr. Davis for a time, and Mr. Gillespie introduced him to the coterie of be-bop musicians. From them he learned the harmonic vocabulary of be-bop and began to forge a solo style.
Mr. Davis made his first recording in May 1945 backing up a singer, Rubberlegs Williams. He also performed in the 52d Street clubs with the saxophonists Coleman Hawkins and Eddie (Lockjaw) Davis. In the fall of that year he joined Charlie Parker's quintet and dropped out of Juilliard.
"Up at Juilliard," Mr. Davis said later, "I played in the symphony, two notes, 'bop-bop,' every 90 bars, so I said, 'Let me out of here,' and then I left."
With Parker's quintet, Mr. Davis recorded one of the first be-bop sessions in November 1945. It yielded the singles "Now's the Time" and "Koko." For the next few years he worked primarily with Parker, and his tentative, occasionally shaky playing evolved into a pared-down, middle-register style that created a contrast with Parker's aggressive forays. He made his first recording as a leader on Aug. 14, 1947, with a quintet that included Parker on tenor saxophone.
But Mr. Davis was moving away from the extroversion of early be-bop, and in 1948 he began to experiment with a new, more elaborately orchestrated style that would become known as "cool jazz." Working with the arrangers Gil Evans (a frequent collaborator throughout his career), John Lewis and Gerry Mulligan, Mr. Davis brought a nine-piece band to the Royal Roost in New York to play rich, ruminative ensemble pieces, with solos floating in diffuse clouds of harmony. Although the public showed little interest, Mr. Davis was able to record the music in 1949 and 1950, and it helped spawn a cerebral cool-jazz movement on the West Coast.
Mr. Davis became a heroin addict in the early 1950's, performing infrequently and making erratic recordings. But in 1954 he overcame his addiction and began his first string of important small-group recordings.
"Walkin'," a swaggering blues piece informed by the extended harmonies of be-bop, turned decisively away from cool jazz and announced the arrival of hard bop. During 1954 Mr. Davis recorded with such leading musicians as the saxophonist Sonny Rollins and the pianists Horace Silver and Thelonious Monk.
Over the next year, he made a triumphant appearance at the Newport Jazz Festival and assembled his first important quintet, with John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass and Philly Joe Jones on drums.
Breakthrough to Popularity Like many of the Davis bands to follow, it seemed to be an incompatible grouping in prospect, mixing the suavity and harmonic nuances of Garland and Chambers with the forcefulness of Jones and the raw energy of Coltrane.
But it achieved a remarkable balance of delicacy and drive, with a sense of space and dynamics influenced by the pianist Ahmad Jamal's trio, and it brought Mr. Davis his first general popularity.
The quintet recorded six albums in 1955-56, four of them in marathon sessions to fulfill Mr. Davis's recording contract with the independent Prestige Records label so he could sign with Columbia, a major label.
In 1957 Mr. Davis had a throat operation to remove nodes from his vocal cords. Two days later he began shouting at someone who, he once said, "tried to convince me to go into a deal I didn't want." His voice was permanently damaged, reduced to a raspy whisper.
During the late 1950's Mr. Davis alternated orchestral albums with Gil Evans arrangements -- "Miles Ahead" (1957), "Porgy and Bess" (1958) and "Sketches of Spain" (1960) -- with small-group sessions. He recorded the soundtrack for Louis Malle's film "Ascenseur Pour l'Echafaud" ("Elevator to the Gallows") with French musicians, then reconvened his quintet and added Julian (Cannonball) Adderley on alto saxophone. The sound track and the sextet's first album, "Milestones," signaled another metamorphosis, cutting back the harmonic motion of be-bop to make music with fewer chords and more ambiguous harmonies.
Mood and Melodic Tension With "Kind of Blue" in 1959, that change was complete. Most of the pieces on "Kind of Blue" (composed by Mr. Davis or his new pianist, Bill Evans) were based on modal scales rather than chords. Mood and melodic tension became paramount, in music that was at times voluptuous and austere.
From this point onward, Mr. Davis would return often to music based on static, stripped-down harmonies. John Coltrane, among others, was to make modal jazz one of the definitive styles of the 1960's.
The Davis group's personnel fluctuated in the early 1960's until Mr. Davis settled on a new quintet in 1964, with Wayne Shorter (who became the group's main composer) on tenor saxophone, Herbie Hancock on piano, Ron Carter on bass and Tony Williams on drums. It was one of the most important ensembles in 1960's jazz, pushing tonal harmony to its limits and developing a dazzling rhythmic flexibility.
On the albums "E.S.P.," "Miles Smiles," "The Sorcerer" and "Nefertiti," the group could swing furiously, then open up unexpected spaces or dissolve the beat into abstract waves of sound. The quintet defined an exploratory alternative to 1960's free jazz. The four sidemen also recorded prolifically on their own, extending the quintet's influence.
Branching Into Rock Rhythms Mr. Davis had touched on rock rhythms in one selection on "E.S.P.," but with the 1968 albums "Miles in the Sky" and "Filles de Kilimanjaro," he began to experiment more seriously with rock rhythms, repeating bass lines and electronic instruments. He also began to work with open-ended compositions, based on rhythmic feeling, fragments of melody or bass patterns and his own on-the-spot directives.
Mr. Davis expanded the group on "In a Silent Way" (1969) with three electric keyboards and electric guitar. Using static harmonics and a rock undercurrent, the music was eerie and reflective, at once abstract and grounded by the beat. "Bitches Brew" (1969), recorded by a larger group -- trumpeter, soprano saxophonist, bass clarinetist, two bassists, two or three keyboardists, three drummers and a percussionist -- was an aggressive, spooky sequel, roiling and churning with improvisations in every register.
The two albums, along with performances at the Fillmore East and Fillmore West rock auditoriums, brought Mr. Davis's music to the rock audience; "Bitches Brew" became a best-selling album. Musicians who had worked with Mr. Davis from 1968-70 went on to lead the pioneering jazz-rock groups -- the Mahavishnu Orchestra, Tony Williams Lifetime, Weather Report and Return to Forever.
Reaching Young Blacks Mr. Davis, meanwhile, was turning from rock toward funk; in interviews at the time, he talked about reaching young black audiences. His bands in the 1970's were anchored by a bassist, Michael Henderson, who had worked with Stevie Wonder, and they moved percussion and syncopated bass lines into the foreground. Around them, keyboards, saxophone, guitars and Mr. Davis's trumpet (now electrified, and often played through a wah-wah pedal) supplied rhythmic and textural effects as well as solos.
"On the Corner" (1972), which also used Indian tabla drums and sitar, marked the change, and a pair of live albums, "Dark Magus" and "Pangaea," were even more jolting. Conventional melody and harmony had been virtually abandoned; the music was a thicket of rhythms and electronic textures. Critical reaction at the time was mixed, but those albums became an inspiration to the late-1970's "no wave" noise-rockers and a new generation of funk experimenters in the 1980's.
By the end of 1975 mounting medical problems -- among them ulcers, throat nodes, hip surgery and bursitis -- forced Mr. Davis into a five-year retirement. In 1981 he returned with an album, "The Man With the Horn," a Kool Jazz Festival concert in New York and a band featuring Robert Irving 3d as keyboardist and co-producer.
Although Mr. Davis's technique was intact, the music seemed for the first time to involve commercial calculations and a look backward at Mr. Davis's previous styles; he even played pop songs. With "You're Under Arrest" (1985), "Tutu" (1986) and "Music From Siesta" (1988), he recorded the music layer by layer, like pop albums, instead of leading musicians in live interaction. But on stage and on record, especially on the blues-oriented "Star People" (1983), there were still moments of the fierce beauty that is Mr. Davis's lasting legacy to American music.
His last New York performance was in June as part of a double bill with B. B. King in the JVC Jazz Festival. In a review in The New York Times, Peter Watrous called the performance "a particularly bad night" for Mr. Davis. "The problem seemed simple," Mr. Watrous wrote. "Mr. Davis was incapable of sustaining more than a few notes at a time; the spareness seemed less an editorial decision than a decision handed down by physical constraints."
Mr. Davis was married three times, to the dancer Frances Taylor, singer Betty Mabry and the actress Cicely Tyson. All ended in divorce. Survivors include a daughter, Cheryl; three sons, Gregory, Miles IV and Erin, and several grandchildren.
Memorial services are being planned in New York City and East St. Louis, said Ms. Kirk at the hospital.
*****
Miles Davis
From Wikipedia, the free encyclopedia
| Miles Davis | |
|---|---|
Photo of Davis in 1955 taken by Tom Palumbo
|
|
| Background information | |
| Birth name | Miles Dewey Davis III |
| Born | May 26, 1926 Alton, Illinois, United States |
| Died | September 28, 1991 (aged 65) Santa Monica, California, United States |
| Genres | Jazz, hard bop, bebop, cool jazz, modal, fusion, third stream, jazz-funk, jazz rap[1][2] |
| Occupations | Musician (bandleader, composer, trumpeter). |
| Instruments | Trumpet, flugelhorn, piano, organ, synthesizer |
| Years active | 1944–1975, 1980–1991 |
| Labels | Capitol Jazz/EMI, Columbia/CBS, Warner Bros. Dial Records |
| Associated acts | Billy Eckstine, Charlie Parker, Miles Davis Quintet, Gil Evans |
| Website | www.milesdavis.com |
Miles Davis was inducted into the Rock and Roll Hall of Fame in 2006.[4] Davis was noted as "one of the key figures in the history of jazz".[4] On October 7, 2008, his 1959 album Kind of Blue received its fourth platinum certification from the Recording Industry Association of America (RIAA), for shipments of at least four million copies in the United States.[5] On December 15, 2009, the U.S. House of Representatives passed a symbolic resolution recognizing and commemorating the album Kind of Blue on its 50th anniversary, "honoring the masterpiece and reaffirming jazz as a national treasure".[6]
*****
https://www.youtube.com/watch?v=PSUUFduCdRE
Contents
- 1 Life and career
- 1.1 Early life (1926–44)
- 1.2 New York and the bebop years begin (1944–48)
- 1.3 Birth of the Cool (1948–49)
- 1.4 Hard bop and the "Blue Period" (1950–54)
- 1.5 First great quintet and sextet (1955–58)
- 1.6 Recordings with Gil Evans (1957–63)
- 1.7 Kind of Blue (1959–64)
- 1.8 Second great quintet (1964–68)
- 1.9 Electric Miles (1968–75)
- 1.10 Later years and death
- 2 Views on his earlier work
- 3 Legacy and influence
- 4 Awards
- 5 Discography
- 6 Filmography
- 7 Notes and references
- 8 Bibliography
- 9 Further reading
- 10 External links