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Miles DavisMiles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American jazz musician, trumpeter, bandleader, and composer. Limit: 20 Students, composed of eight students whose main interests are in the Humanities, eight students whose main interests are in the Sciences, and four wild cards. A writing and picture-making class with focus on the basic physical structure of the brain with emphasis on hemispheric differences and a particular sort of insight and creative concentration that seems to come about when we are using our hands (-the original digital devices) —to help us figure out a problem. Although this class is open to both graduate and undergraduate students from all academic disciplines, priority will be give to Art, Science, and English students currently enrolled at the University of Wisconsin.
Applications for the class will be accepted either in person or by mail until 3:00 PM THURSDAY DECEMBER 5th. Prospective students should answer each of the questions below without putting too much thought into it.
This rigorous and fun workshop is open to anyone, regardless of writing and drawing ability. This workshop is about a way of creating a sustainable writing and drawing practice for anyone, at any level. The workshop is based on using a common but extraordinary sort of memory—the kind that instantly “floods” us, like when a smell or a song triggers a vivid image of a certain place in time. Participants learn ways to create the circumstances for these kinds of images to come and methods to set them down quickly in both writing and drawing.
Thomas’ most famous role is that of detective Ricardo Tubbs on the hit 1980s TV series Miami Vice.
She became famous in the early 1970s after starring in a string of moderately successful women in prison and blaxploitation films like The Big Bird Cage (1972), Coffy (1973), Foxy Brown (1974) and Sheba Baby (1975).
Along with twice weekly writing, picture making, and memorization assignments, students will be required to complete a handmade book using visual and written elements by the end of the semester.
No electronic submissions will be accepted, but students will be receive an email confirmation that their application has been received. We use spontaneous drawing and writing exercises to create handmade DrawBridge kits, tailored to your specific field of research.
It is especially designed for those interested in learning alternative approaches to any sort of expository writing, particularly academic papers.
We start by using autobiographical memory, and then learn to apply it to writing fiction and making comics. His first notable roles were inCoonskin (1975) and opposite Irene Cara in the 1976 film Sparkle. Her career was revitalized in 1997 after her appearance in Quentin Tarantino’s film Jackie Brown, for which she received a Golden Globe nomination for Best Actress. In 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.
These new tools aim toward problem solving by helping to set the conditions for insight and discovery. After his success in Miami Vice, Thomas appeared in numerous made-for-TV movies and advertisements for telephone psychic services.
She has also been nominated for a SAG Award as well as a Satellite Award for her performance in Jackie Brown.
We work in a variety of collective ways to produce handwritten and hand-drawn study materials to inspire and facilitate new solutions to research challenges. His father is African American and his mother is of Irish and German descent.ActingMiami ViceThomas played the role of Ricardo Tubbs, an ex-NYPD police officer from the Bronx who came to Miami seeking revenge on the person who killed his brother Rafael Tubbs. She received an Emmy Award nomination for her work in the animated program Happily Ever After: Fairy Tales for Every Child. Rotten Tomatoes has ranked her as the second greatest female action heroine in film history.
They also owned a substantial ranch in the Delta region of Arkansas near the city of Pine Bluff, Arkansas, where Davis’s father and grandfather were from.
His musical studies began at 13, when his father gave him a trumpet and arranged lessons with local musician Elwood Buchanan. While in Denver she appeared in a number of stage productions, and participated in beauty contests to raise money for college tuition at Metropolitan State College.Grier is the cousin of All-Pro Los Angeles Rams National Football League player Rosey Grier. She dated comedian Richard Pryor, basketball player Kareem Abdul-Jabbar, and actor Freddie Prinze.[1]CareerGrier moved to Los Angeles, California, in 1967, where she was initially hired as a receptionist at the American International Pictures (AIP) company. He once remarked on its importance to him, saying, “I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Grier subsequently played similar characters in the AIP films Foxy Brown (1974), Sheba, Baby andFriday Foster, (both 1975).With the demise of blaxploitation later in the 1970s, Grier appeared in smaller roles for many years. Thomas’ Miami Vice costar Don Johnson recorded an album shortly afterward titled Heartbeat. She acquired progressively larger character roles in the 1980s, including a druggie prostitute in Fort Apache, The Bronx (1981), a witch in Something Wicked this Way Comes (1983), and Steven Seagal’s detective partner in Above the Law (1988).
She had a recurring role on Miami Vice from 1985–1989, and has made guest appearances on Martin, Night Court and The Fresh Prince of Bel Air, and also had a recurring role in the TV series Crime Story between 1986 and 1988.
During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis’ mother insisted that he finish his final year of high school. She also appeared on Sinbad, Preston Chronicles, The Cosby Show, The Wayans Brothers Show, and Mad TV. That same year, Thomas teamed with Jamaican fitness instructor Sandi Morais to compose songs for a family-friendly musical titled Sacha, which enjoyed runs in south Florida and New York.
Dizzy Gillespie and Charlie Parker were members of the band, and Davis was brought in on third trumpet for a couple of weeks because the regular player, Buddy Anderson, was out sick.


The group included many of the future leaders of the bebop revolution: young players such as Fats Navarro, Freddie Webster, and J. She recently appeared as a friend and colleague to Julia Roberts’ college professor in Larry Crowne. Established musicians including Thelonious Monk and Kenny Clarke were also regular participants.Davis dropped out of Juilliard after asking permission from his father.
In 1945, he entered a recording studio for the first time, as a member of Herbie Fields’s group. She received her Honorary Doctorate of Humane Letters from the University of Maryland Eastern Shore in 2011.
This was the first of many recordings Davis contributed to in this period, mostly as a sideman. He finally got the chance to record as a leader in 1946, with an occasional group called the Miles Davis Sextet plus Earl Coleman and Ann Hathaway—one of the rare occasions when Davis, by then a member of the groundbreaking Charlie Parker Quintet, can be heard accompanying singers. During a stop in Los Angeles, Parker had a nervous breakdown that landed him in the Camarillo State Mental Hospital for several months, and Davis found himself stranded. He roomed and collaborated for some time with bassist Charles Mingus, before getting a job on Billy Eckstine’s California tour, which eventually brought him back to New York.
In 1948, Parker returned to New York, and Davis rejoined his group.However, the relationships within the quintet were growing tense. Davis and Roach caused friction in the group by objecting to having Duke Jordan as a pianist and would have preferred Bud Powell. By December of 1948, Davis’ claims that he was not being paid began to strain the relationship even further. Evans’ basement apartment had become the meeting place for several young musicians and composers such as Davis, Roach, pianist John Lewis, and baritone sax player Gerry Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated the bebop scene. The objective was to achieve a sound similar to the human voice, through carefully arranged compositions and by emphasizing a relaxed, melodic approach to the improvisations.The nonet debuted in the summer of 1948, with a two-week engagement at the Royal Roost. Over the months, John Lewis alternated with Al Haig on piano, Mike Zwerin with Kai Winding on trombone (Johnson was touring at the time), Junior Collins with Sandy Siegelstein and Gunther Schuller on French horn, and Al McKibbon with Joe Shulman on bass.
The liner notes of the first recordings of the Davis Quintet for Columbia Records call it one of the most spectacular failures of the jazz club scene. At the end of 1949, he went on tour in Paris with a group including Tadd Dameron, Kenny Clarke (who remained in Europe after the tour), and James Moody. Davis was fascinated by Paris and its cultural environment, where black jazz musicians, and African Americans in general, often felt better respected than they did in their homeland.
Louis schoolmate who lived with him in New York, with whom he had two children.Davis blames these factors for the heroin habit that deeply affected him for the next four years.
During this period, Davis supported his habit partly with his music and partly by living the life of a hustler. Louis for several months and locking himself in a room until he had gone through a painful withdrawal.
During this period, he avoided New York and played mostly in Detroit and other Midwestern towns, where drugs were then harder to come by.
He made quite a number of recordings and had several collaborations with other important musicians. He got to know the music of Chicago pianist Ahmad Jamal, whose elegant approach and use of space influenced him deeply. He also definitively severed his stylistic ties with bebop.In 1951, Davis met Bob Weinstock, the owner of Prestige Records, and signed a contract with the label. Between 1951 and 1954, he released many records on Prestige, with several different combos. While the personnel of the recordings varied, the lineup often featured Sonny Rollins and Art Blakey. Davis was particularly fond of Rollins and tried several times, in the years that preceded his meeting with John Coltrane, to recruit him for a regular group. He never succeeded, however, mostly because Rollins was prone to make himself unavailable for months at a time. In spite of the casual occasions that generated these recordings, their quality is almost always quite high, and they document the evolution of Davis’ style and sound. During this time he began using the Harmon mute, held close to the microphone, in a way that became his signature, and his phrasing, especially in ballads, became spacious, melodic, and relaxed. Also of importance are his five Blue Note recordings, collected in the Miles Davis Volume 1 album.With these recordings, Davis assumed a central position in what is known as hard bop.
In contrast with bebop, hard bop used slower tempos and a less radical approach to harmony and melody, often adopting popular tunes and standards from the American songbook as starting points for improvisation.
Hard bop also distanced itself from cool jazz by virtue of a harder beat and by its constant reference to the blues, both in its traditional form and in the form made popular by rhythm and blues. Even though he was not supposed to speak at all for ten days, he had an argument with somebody and raised his voice. This outburst damaged his vocal cords forever, giving him the characteristic raspy voice that came to be associated with him. During the course of the conversation I raised my voice to make a point and f***ed up my voice. I wasn’t even supposed to talk for at least ten days, and here I was not only talking, but talking loudly. Coltrane was little known at the time, in spite of earlier collaborations with Dizzy Gillespie, Earl Bostic, and Johnny Hodges.
In Newport, Rhode Island, Davis had met Columbia Records producer George Avakian, who persuaded him to sign with his label. The quintet made its debut on record with the extremely well received'Round About Midnight. Before leaving Prestige, however, Davis had to fulfill his obligations during two days of recording sessions in 1956.


While the recording took place in a studio, each record of this series has the structure and feel of a live performance, with several first takes on each album.
This music, featuring the kalimba, stayed for long periods of time on a single chord, weaving in and out of consonance and dissonance. It was a very new concept in jazz at the time, then dominated by the chord-change based music of bebop.Returning to New York in 1958, Davis successfully recruited Cannonball Adderley for his standing group. Coltrane, who in the meantime had freed himself from his drug habits, was available after a highly fruitful experience with Thelonious Monk and was hired back, as was Philly Joe Jones.
With this revamped formation, Davis began a year during which the sextet performed and toured extensively and produced a record (1958 Miles, also known as 58 Sessions). Evans had a unique, impressionistic approach to the piano, and his musical ideas had a strong influence on Davis.
The first, Miles Ahead (1957), showcased his playing with a jazz big band and a horn section arranged by Evans.
Davis called the album one of his favorites.Also in 1958, he married his first wife Frances Taylor. He called back Bill Evans, months away from forming what would become his own seminal trio, for the album sessions, as the music had been planned around Evans’ piano style. Both Davis and Evans were acquainted with the ideas of pianist George Russell regarding modal jazz; Davis from discussions with Russell and others before the Birth of the Cool sessions, and Evans from study with Russell in 1956. According to the RIAA, Kind of Blue is the best-selling jazz album of all time, having been certified as quadruple platinum (4 million copies sold).
Witnesses said that the patrolman punched Davis in the stomach with his nightstick without provocation. While two detectives held the crowd back, a third detective approached Davis from behind and beat him about the head. Davis was arrested and taken to jail where he was charged with feloniously assaulting an officer. Coltrane then departed to form his classic quartet, although he returned for some of the tracks on Davis’ 1961 album Someday My Prince Will Come. After Coltrane, Davis tried various saxophonists, including Jimmy Heath, Sonny Stitt, and Hank Mobley.
The quintet with Hank Mobley was recorded in the studio and on several live engagements at Carnegie Hall and the Black Hawk jazz club in San Francisco.
He quickly got to work putting together a new group, including tenor saxophonist George Coleman and bassist Ron Carter. Davis, Coleman, Carter and a few other musicians recorded half the tracks for an album in the spring of 1963.
A few weeks later, seventeen-year-old drummer Tony Williams and pianist Herbie Hancock joined the group, and soon afterward Davis, Coleman, and the new rhythm section recorded the rest of Seven Steps to Heaven.The rhythm players melded together quickly as a section and with the horns. The group’s rapid evolution can be traced through theSeven Steps to Heaven album, In Europe (July 1963), My Funny Valentine (February 1964), and Four and More (also February 1964).
The quintet played essentially the same repertoire of bebop tunes and standards that earlier Davis bands had played, but they tackled them with increasing structural and rhythmic freedom and, in the case of the up-tempo material, breakneck speed.Coleman left in the spring of 1964, to be replaced by avant-garde saxophonist Sam Rivers, on the suggestion of Tony Williams. While on tour in Europe, the group quickly made their first official recording, Miles in Berlin (September 1964).
Unlike their studio albums, the live engagement shows the group still playing primarily standards and bebop tunes.
Although some of the titles remain the same as the tunes played by the 1950s quintet, the quick tempos and musical departure from the framework of the tune are dramatic. It was followed by a series of studio recordings: Miles Smiles (1966),Sorcerer (1967), Nefertiti (1967), Miles in the Sky (1968), and Filles de Kilimanjaro (1968).
Through Nefertiti, the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their live concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of demarcation. By the time the second half of Filles de Kilimanjaro was recorded, bassist Dave Holland and pianist Chick Corea had replaced Carter and Hancock in the working band, though both Carter and Hancock occasionally contributed to future recording sessions. The musical transition required that Davis and his band adapt to electric instruments in both live performances and the studio.
By the time In a Silent Way had been recorded in February 1969, Davis had augmented his quintet with additional players.
At various times Hancock or Joe Zawinul was brought in to join Corea on electric keyboards, and guitarist John McLaughlin made the first of his many appearances with Davis.
After recording this album, Williams left to form his group Lifetime and was replaced by Jack DeJohnette.Six months later, an even larger group of musicians, including Jack DeJohnette, Airto Moreira, and Bennie Maupin, recorded the double LP Bitches Brew, which became a huge seller, reaching gold status by 1976.
This album and In a Silent Way were among the first fusions of jazz and rock that were commercially successful, building on the groundwork laid by Charles Lloyd, Larry Coryell, and others who pioneered a genre that would become known as jazz fusion.
Instead, Davis and producer Teo Macero selected musical motifs of various lengths from recorded extended improvisations and edited them together into a musical whole that exists only in the recorded version.
Bitches Brew made use of such electronic effects as multi-tracking, tape loops, and other editing techniques. Starting with Bitches Brew, Davis’s albums began to often feature cover art much more in line with psychedelic art or black power movements than that of his earlier albums. He took significant cuts in his usual performing fees in order to open for rock groups like the Steve Miller Band, Grateful Dead, Neil Young, and Santana.
Earlier in 1970, Davis contributed extensively to the soundtrack of a documentary about the African-American boxer heavyweight champion Jack Johnson. Himself a devotee of boxing, Davis drew parallels between Johnson, whose career had been defined by the fruitless search for a Great White Hope to dethrone him, and Davis’s own career, in which he felt the musical establishment of the time had prevented him from receiving the acclaim and rewards that were due him.



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