The Sartorial Splendor of Miles Davis

© Copyright, Miles Davis - Credit: Columbia Records

AskMen.com has a running series entitled Style Icon, where they feature a who’s-who of actors, musicians, athletes and other celebrity types for their excellent ability to look/be fashionable. It’s a list, so everybody is up for debate, but there can be no disputing Miles Davis as a Style Icon.

So we applaud AskMen.com for adding Miles to the roster. In fact, AskMen.com has a Style Icon section reserved just for jazz musicians (Jazz Style Icons), which is pretty cool. Miles Davis, Gerry Mulligan, Bill Evans, and Chet Baker presently make up the very cool, first foursome to this stylish list.

Writes Christian Chensvold: “In 1965, the legendary jazz critic and Esquire style writer George Frazier dubbed Miles Davis “The Warlord of the Weejuns” in the liner notes of a greatest hits collection. A hell of a nickname, even if no one knew what it meant.

“Before he got all freaky and avant-garde, Miles spent the late ’40s to mid ’60s dressed in various iterations of conservative dapperness, from the Brooks Brothers suits he wore at the time of his 1949 recording Birth of the Cool, to the slim European suits he sported for 1963’s Seven Steps to Heaven.”

Chensvold even provides a few tips if you’re thinking of following Miles’ sartorial technique: “…you can be a kingpin of cool in slim flat-front trousers hemmed with no-break, white oxford-cloth button-down patterned sports coat, and Bass’ new Dover model Weejun.”

I’ve hit on this previously, but costume design is going to play a big part in the biopic – as well it should. From the Brooks Brothers suits to the funky threads, Miles Davis always set the trends. The person tasked with costume design is going to have some fun with Don Cheadle and the cast. Good times.

The Miles Davis Movie: …the eyes have it

This is the face of a sorcerer or a fallen angel. Miles Davis was of course, first and foremost, one of most influential iconoclasts of 20th century music, a ferocious talent who “didn’t take no shit off nobody” and always played his chosen tormented Dark Magus role to the hilt. That baleful stare and gorgeous bone structure lent Davis a painfully beautiful, otherworldly quality that only deepened with age. From Kind of Blue LP liner photos to Anton Corbijn’s famous portraits taken decades later, the eyes have it.

* From coilhouse.net

The Miles Davis Movie: Filming ‘Kind of Blue’

It’s not just one of the greatest jazz albums of all time, but one of the best albums… period!

It’s the one album most non-jazz fans know about, or even own.

I like to think there’s a part in the minds of music fans who don’t care much for jazz music who feel they should at least have this album in their collection – just because.

Kind of Blue

The tile alone elicits a variety of feelings and thoughts.

Recorded at Columbia’s 30th Street Studio in New York City on March 2 and April 22 of 1959, the seminal recording hit the streets on August 17, 1959.

Another landmark moment for Miles Davis, jazz and music in general.

The players:

Miles Davis – trumpet
Julian “Cannonball” Adderley – alto saxophone
John Coltrane – tenor saxophone
Wynton Kelly – piano
Bill Evans – piano
Paul Chambers – bass
Jimmy Cobb – drums

Stephen Thomas Erlewine’s review for AllMusic.com says it best:

Kind of Blue isn’t merely an artistic highlight for Miles Davis, it’s an album that towers above its peers, a record generally considered as the definitive jazz album, a universally acknowledged standard of excellence.

There are books and essays, radio programs and websites dedicated specifically to “Kind of Blue.”

Philip B. Pape (for allaboutjazz.com) writes:

This album throws away conventional song and chord structure that had been definitive to most jazz artists, welcoming a new structure based on modes. More than a milestone in jazz, Kind of Blue is a defining moment of twentieth century music.

Ashley Kahn’s “Kind of Blue: The Making of the Miles Davis Masterpiece” is a comprehensive account on the making of the album. There’s also a production from NPR about how the album was produced and its endless popularity.

So…let’s discuss the filming of the making of “Kind of Blue.”

Yep, it’ll be in the Miles Davis movie. If we can get scenes that incorporate the entire septet I’ll be quite happy. I think you could make the case that Cheadle, as director, can spend a little extra time with the “Kind of Blue” sessions, as well as goings on outside the studio.

You might also say that the music from “Kind of Blue” is the most recognizable to audience members not entirely immersed in jazz/Miles Davis history, but definitely are aware of those famous, ‘modal’ harmonies associated with tracks like “So What” and “Blue in Green.”

As I’ve mentioned before in other ‘filming’ posts, it’s all about the director’s vision, and to another degree, the cinematographer. And the editor as well…

The aforementioned, legendary pianist Bill Evans also wrote the liner notes for “Kind of Blue,” and in commenting on the challenge of group improvisation notes that:

“Miles conceived these settings only hours before the recording dates and arrived with sketches which indicated to the group what was to be played. Therefore, you will hear something close to pure spontaneity in these performances.”

So right there you can see the movie scene unfolding, with the musicians in the studio, and Davis providing only the basic ideas of what he wants before the band begins recording.

In a film that must cover a lot of important ground in 2-plus hours only so much time can be spent in the studio watching the construction of “Kind of Blue.”

But the “Kind of Blue” chapter is positively an essential one for the film to explore. It also offers the opportunity to hear some of Davis’ more famous songs worked into the movie, sure to elicit happiness from any audience.

The Miles Davis Movie: Better as linear or nonlinear narrative? or: Deconstructing the ‘deconstructed biopic’

Get comfortable with the term ‘deconstructed biopic’ because you’ll be reading a lot about that phrase now that Darryl Porter (Miles Davis Properties) propagated it to describe the Miles Davis film.

I linked to a Variety article Monday about the state of music biopics, which featured a section on the Miles Davis project, and that’s where Porter commented on the narrative style being utilized for the movie.

He also said, “Our goal is to have a very broad audience and bring in a whole new demographic of Miles fans,” so a deconstructed narrative style is perhaps part of the strategy in trying to achieve that goal with the Miles Davis biopic.

Of course I’d love to know ‘how’ they plan to attract a broad audience to the movie and bring in that new demographic of fans. How the film is structured might have some impact, but casual moviegoers might need more than flashy cinema tricks.

The filmmakers could forgo a “Ray” like blueprint and follow something a bit more non-traditional like Todd Haynes’ “I’m Not There,” the 2007 biography of Bob Dylan where six actors portrayed different facets of Dylan’s personality.

Porter noted that one idea being considered is to promote the film “…through posthumous collaborations between Davis and hip-hop artists…”

There’s a connection between Miles Davis and hip-hop (see: “Doo-Bop“), I agree, but is it enough to hang a film on? There’s a connection between Davis and musicians of all genres; he was that influential.

But the relationship between hip hop and Miles Davis, which I admit to not fully understanding on a purely academic level, is something I can imagine the producers trying to harness in trying to attract that broad audience they’re gunning for.

By that I mean tapping popular music (rap, pop, etc.) and the artists/celebrities associated with it to somehow cast an updated glow of pop culture importance on a film about a musician most people only know due to a ubiquitous name associated with nostalgic significance and a legacy of being ‘cool.’

Where linear and nonlinear is concerned, personally I see the Miles Davis movie succeeding in either option. The question of which storyline technique is best suited for a film about Miles Davis is certainly debatable.

I’m an admirer of films like The Usual Suspects, Eternal Sunshine of the Spotless Mind, Kill Bill, Short Cuts, In the Mood for Love, Annie Hall, The Conformist, 8 ½ and Out of Sight – each a product of a creative, nonlinear structure.

The Miles Davis movie could very well start with Miles Davis on his deathbed and work back to various stages of his life. Or the movie commences by dropping in on Miles Davis during the Kind of Blue sessions and alternate between past and future.

We’re not dealing with an intricately plotted crime drama like “The Usual Suspects,” so there’s no reason to make any biopic of Miles Davis a complicated experience for the audience.

It all depends how ‘creative’ Don Cheadle wants to be in telling the story. A Miles Davis biopic doesn’t need a lot of fancy narrative structure. There’s enough inherit drama and personal conflict to have a well-designed linear story that can thrive on powerful, affecting performances and the music, which, it can be argued, will be the second most important component to the film besides Cheadle’s portrayal of Miles Davis.

I like that Porter and Cheadle want to appeal to non-jazz fans as well. I’ve already said you don’t need to be an aficionado of jazz or Miles Davis to appreciate and enjoy the story of Miles Davis. I didn’t know much about Mozart when I watched Amadeus, but I loved the movie – because it stands alone as a slice of entertainment, and it’s a wonderful story.

Film is about adventure, mostly, as the audience commits to exploring a world (real/fantasy) they might know zero about, but are willing to find out.

I think a broad demographic will want to find out about Miles Davis; how the film achieves this remains a mystery – could be through clever marketing, critical-acclaim, hyper buzz or a combination of each.

Part of me is apprehensive about a deconstructed biopic. A nonlinear structure I have no problem with, but deconstructed worries me. I’d hate to think about the project trying to be too clever; you can start this thing at the beginning, roll camera right up to the end, and we’d have one heck of a biopic to experience.

So while all this stuff about hip hop, marketing and kooky narratives give me pause, at least we know the wheels are in motion. And with Thanksgiving around the corner that is definitely something to be thankful about.

*A brief word on the photographs: Google opened an online photo gallery this week that features millions of images from Life magazine’s archives that have never been seen by the public before. Needless to say there are some wonderful images of Miles Davis included.

The Miles Davis Movie: A poster, a poster, my kingdom for a poster

I just read that Quentin Tarantino has added actors Julie Dreyfus, Michael Bacall and Omar Doom to the cast of “Inglorious Bastards,” but more importantly, I found this cool, teaser poster for the film with The Playlist story.

And what does a movie poster for a much-hyped, WWII epic from Tarantino have to do with anything on the Blog dedicated to all things Miles Davis biopic?

Because we don’t have one!

Tell me, how awesome would it be to have a teaser one-sheet for the upcoming Miles Davis film? I know, we’ve covered how it’s still in development (though a script does exist) and there’s probably still business issues being worked out and lord knows what else, but please… a poster would really heat things up around here.

That’s like two weeks worth of posts right there, just dissecting every inch of the poster.

Back in June I pondered what the movie poster should look like (Saul Bass, anyone?), so feel free to go back and reminisce.

But this Inglorious Bastards poster has re-awakened my need for design as it relates to the Miles Davis biopic. How about a black poster with the words ‘Miles Davis’ in white lettering smack dab in the middle? And at the bottom it can read ‘Coming Soon.’

Not too fancy, but it’s a start. See, this is where if I were in charge I’d have a design contest and have a nice prize for the person who creates the best teaser poster for the Miles Davis film – doesn’t even have to be the official poster, just the one that whets our appetite.

(Note to self: get new iPod, have contest)

The Miles Davis Movie: Better as feature film, or Ken Burns documentary?

The correct answer is both. While I’m excited about the forthcoming Miles Davis biopic, I have to admit I’d be equally enthusiastic about Ken Burns owning eight-to-ten hours of PBS airtime to tell Davis’ story. And while we’re at it let’s get Keith David to narrate.

The leisurely pace, the slow zooms, the interviews, the archival footage, the delicate panning from one image to another… Gary Giddins; I can see it now. That’s just solid programming right there.

And while an in-depth documentary (be it from Burns or an equally talented documentary filmmaker) would be a thrill, there is something almost magical about a film when it hits all the right notes.

Obviously a two and a half hour film cannot begin to tell the complete story. The goal is to hit the big moments and be as entertaining and profitable as possible. There is a long list, I think, of A-plus biopics, musical or otherwise, that have been able to ‘get it right’ and produce great filmmaking. So no reason a movie about Miles Davis can’t be added to the list.

Of course with a documentary we lose the need to have an actor portray Miles Davis, but then again when someone like Jamie Foxx aces a legend like Ray Charles, there’s a desire to see Don Cheadle become Miles Davis – bring the jazz icon back to life and on the big screen.

(If there were a Ken Burns documentary I wonder who would be cast to be the voice of Miles Davis. There’s actual video footage to incorporate, but someone would be needed to read from his autobiography and assorted correspondence.)

There are a few DVDs available about the life of Miles Davis. I’ll say most are hit and miss.

According to IMDB there is a project listed as The Miles Davis
Documentary, produced through Anomaly Entertainment. Not sure what’s up, but I’ll keep an eye out. Perhaps this will be a companion piece to the film as Chris Wilkinson is attached as writer on both the documentary and the Untitled Miles Davis Biopic.

I like Ken Burns. I really enjoyed “The Civil War” and “Baseball.” I loved “Jazz.” I always seek out the Miles Davis parts in the series. His productions are so pitch perfect throughout it just makes for a supremely engaging and delightful media experience. The man is talented, no doubt about it. So I think about what he might be able to produce with a singular focus on Miles Davis – his life and legacy.

I’m biased so I think there’s a cool and sophisticated documentary for PBS waiting to be made about Miles Davis. But Hollywood – in its most general connotation possible – is a hard drug to resist, especially when we’re treated to a wonderful, movie-going experience. When a motion picture works, it just feels good. We all have our favorites and we all have different reasons why. They leave a lasting impression. Good TV, I believe, does the same, but in a different manner. My special memories of certain films are cataloged in my mind and heart differently than some of my favorite TV shows.

Where was I? Right, Miles Davis….

I was watching “Ray” the other night. Even on TV the film just sizzles. I watch that movie and think about the construct of the Miles Davis film. The man deserves to be immortalized on the silver screen.

At the same time I think fans and casual viewers would be overjoyed if they had the opportunity to have a comprehensive (and entertaining) look at his life and music over the course of a few nights.

The same can be said of countless artists, but in this case it’s all about Miles Davis.

The Miles Davis Movie: Better as indie-flick or Hollywood blockbuster?

I haven’t spoken to Don Cheadle. I haven’t read the script. I have no clue what the distribution plans are at the moment. I have no idea what the budget is/will be.

We do know a movie about Miles Davis is happening (right?), and all signs are a ‘go’ from Cheadle and his team.

In these frustratingly early stages, what’s hard to measure is whether or not this film is ticketed to be like “Ray,” or more like “Little Miss Sunshine” – one an example of a movie cut from an excellent Hollywood fabric, and the other a solid example of independent film-making (even though the parameters of what constitutes an independent film these days has changed dramatically from years past.)

It’s about money, really. Big money gets you “The Dark Knight” and small funds get you “Juno” – both equally entertaining and popular in their own way.

Lord knows big budget doesn’t guarantee success or any semblance of being entertaining, just as shoe-string movie-making doesn’t equal commercial or critical success.

So for the Miles Davis movie we don’t really know what it’s going to be – though I think we can agree it’s not going to have the budget of a “Transformers.”

But if you could make the film about Miles Davis what would you prefer: Hollywood extravagance or indie-cool.

I’ll pathetically sit on the fence and say I’d opt for a dash of both.

It’s not a film about space invaders and we don’t need to recreate World War I, so no need for the mega budget, but I wouldn’t mind throwing some extra cash towards A-plus production design and whatever else goes into the overall look and feel of the final product.

Don Cheadle is an Oscar-nominated actor, so with him comes much deserved attention and interest in the film. He’s not Will Smith in terms of box office glory and this isn’t “Hancock,” but at least in regards to the film’s star (and director) we’re in good company where industry respect and pop culture status is concerned.

But even with Cheadle, would a movie about Miles Davis be better served without any glitz? Is it better to have a less-polished approach to the storytelling?

Because I use “Ray” as my de facto example for just about everything regarding the Miles Davis movie I’ll admit that I wouldn’t mind if the Miles Davis flick mirrored some of the style of the Ray Charles biopic.

That’s not to say I wouldn’t bet against a stripped-down film about Miles Davis. Maybe a gritty take on the jazz legend lends itself better to the overall themes of his life, as opposed to a film that’s too sparkling, unable to bring the darker elements of the story.

Regardless of budget and marketing, Hollywood flash or indie cool, the movie has to be… good. Yep, ‘good’ is totally subjective when it comes to entertainment, but any film, I think, must resonate with the audience – on some level.

It needn’t be “Citizen Kane,” but it needs to be better than “From Justin to Kelly.”

A big factor in all this is Don Cheadle – director. Because the Miles Davis flick will be his directorial debut we don’t have any previous work to analyze. I’ve discussed the idea of Cheadle as the right choice to direct the movie, but it’ll be interesting to see what style he employs, which might/might not be directly associated to the budget.

I’m going to see the Miles Davis movie no matter what. My expectations are high, both for its critical and commercial success. I don’t think it’s an easy undertaking to bring the trumpeter to life, but I have faith – I have faith the filmmakers will capture the magic and create an entertaining and engaging movie about Miles Davis that appeals to moviegoers across the board.

How they go about achieving that final goal remains to be seen – only time will tell….

The Miles Davis Movie: The Miles Style

I have already mentioned the importance of costume design in the new Miles Davis film because, let’s face it — Miles Davis had a knack for the fashionable.

A reader of the Blog directed me to their site, miles davis threads, which is dedicated to Miles Davis and his clothes. Now there’s a Blog I can get down with.

Well, the site is not updated all that often, but it does contain some awesome photographs and stories about how the writer came to owning some cool items from Miles’ wardrobe.

It’s a great story. Some of the clothing even made their way to an exhibit at the Rock and Roll Hall of Fame to coincide with Davis’ induction.

It was during my perusal of the Blog where I spotted the famous photo of Miles’ in front of his walk-in closet taken by Anthony Barboza in 1971. Then there’s this quote:

In the Saturday Review, November 27, 1971 article by Chris Albertson, The Unmasking of Miles Davis, he notes that Miles “generally wears clothing that reflects future fashion trends—Gentleman’s Quarterly named him, ‘Best Dressed Man’ “. As they stand in his circular bedroom Miles “waved his hand towards a long row of flamboyant clothes and boots in dazzling colors. ‘I have these made for me.’ “

Cool. The man was just cool!

I’m more partial to the tailored suits than the glitzy attire, but the man could make a fashion statement no matter what.

I think the ’style’ element of the Miles Davis film is going to play a part in the overall marketing of the project. You can count on the requisite articles, but what also gets media outlets like GQ and Vanity Fair all in a lather is the added bonus of the stylish (and wild) clothes.

When the movie shifts into the late ’60s and early ’70s you can bet we’re going to see some funky outfits. That’s part of the fun. Miles Davis was larger than life as a musician and personality, so it’s not surprising that he played (and dressed) the role to the hilt.

And while we’re on the subject of Miles’ appearance, let’s talk about the hair.

Even though it was an April Fool’s joke, back in 2004 All About Jazz posted a review for a book called – ready for this – Kinds of ‘do: The Story of Miles Davis’ Hair.

It’s a joke, yes, but the legendary trumpeter had some equally legendary hairstyles. The AAJ post even throws in some photographic evidence of Miles’ most prominent hairdos.

I’m looking forward to seeing Don Cheadle in the clean-cut manner of the early days to the fusion-era afro and on to the wild looks of the late ’70s and ’80s.

So to wrap it up: costume design is critical!

You know if Davis were alive today he’d want Don Cheadle, and the rest of the cast, to look as damn good as possible.

The Miles Davis Movie: A few words about magazines

Safe to say most general movie magazines will have something in the way of a feature (big or small) about the Miles Davis movie; Entertainment Weekly, Fade In and Empire fit the bill here.

Then there are trade titles like Creative Screenwriting, Film Comment and Filmmaker who will most likely take a deeper look into the dynamics of the movie.

I am already assuming jazz magazines like Downbeat and Jazz Times will be all over the Miles Davis biopic.

The same goes for Rolling Stone.

But it’s the high-profile fashion titles like Vanity Fair, GQ and Esquire where the Miles Davis movie might also find some traction.

All three have a long history of spotlighting (and hyping) forthcoming films with glossy fashion spreads and innocuous interviews with the corresponding talent.

Usually Vanity Fair dispatches a photographer to the set of a soon-to-be released movie (most likely one perched high atop the buzz meter), and eventually we see a slick pictorial to wet the appetite; usually its images of the actors in costume, behind the scenes shots and a brief write-up of what moviegoers can look forward to.

It’s all quite harmless and enjoyable, and definitely adds to the anticipation.

The Miles Davis biopic is perfect for this type of pictorial and should be right in Vanity Fair’s wheelhouse.

As the movie gains attention in across the media landscape and on the ‘Net, I think there’s going to be a lot of emphasis on Don Cheadle-as-Miles Davis, so expect to see a lot of images of the actor ‘in character.’

Anyway, it just sets itself up for Vanity Fair magic.

As for Esquire and GQ, the male-centric fashion titles, Miles Davis has appeared many times over the years in articles and features about style (and music, I imagine), so he’s a subject certainly not new to their pages.

Might we see Don Cheadle on the cover in the future? I say yes.

This is just the sort of role that gets you the cover.

Plus, there will be Oscar buzz and all kinds of hype, so the marketing machine will be in overdrive. I’ll have more on the marketing situation, including the importance of the Internet.

On the flip side of the legendary music career, Miles Davis was about style, opinion and affecting culture. Miles Davis and American Culture is a terrific book detailing the jazz giant and his influence on American culture.

That said, it makes perfect sense for erudite periodicals such as The New Yorker and The Atlantic to catch the Miles Davis fever and work up essays about Davis’ impact on culture, music, etc.

Lord knows there are a ton of magazines on the newsstands and many of which might soon be upping their coverage of Miles Davis and the biopic. Hey, I have a great issue of of Fader from ‘05 with Miles on the cover — and it looks cool!

I hope the Miles Davis movie gets as much coverage in the media as possible without being too annoying; there is such a thing as overkill (hello “Sex and the City”).

I sense a Miles Davis resurrection – though he hasn’t really been forgotten at all – and with that a media blitz that will include all the big magazines, websites and other media outlets. There’s a lot that is ‘cool’ about Miles Davis. And if something is cool these days it usually ends up on a slick cover somewhere.

The Miles Davis movie is like a gathering media storm. This should be fun….

The Miles Davis Movie: What about costume design? or: let’s talk fashion!

Miles Davis was cool. Miles Davis is cool.

The music he created is always top of the list, but damn if he doesn’t also look stylish playing it.

The music, the fashion, the attitude… the guy personified the meaning of what being cool is about. While some might prefer his suit-style of the ’50s and ’60s and others the flashy wardrobe of the ’70s and ’80s, Miles Davis remained a fashion icon throughout.

For me, it’s Miles Davis in the three-button Brooks Brothers suit I enjoy best.

I read recently in GQ (profiling the 50 Most Stylish Men of the
Last 50 Years!) that for those suits he had a tailor create his special look; ‘jackets cut in one piece, with only two seams-under the sleeves and down the jacket sides – no chest pocket or padding in the shoulders, and notch lapels that rolled down to a single button.’

For the Miles Davis biopic I think it’s safe to say the costume design will be an important element to keep an eye on.

I always hear about actors who say that when they step into the wardrobe of their character (especially it’s a real person) it helps to tie-in the role their playing.

For all the nuance and behavior Don Cheadle has to channel for his portrayal of Miles Davis, he will also have to dress the part, as it were, to complete the ‘character.’

Fashion and film have always been good bedfellows, probably more so now than ever before, and any design element of a movie (set, lighting, costume, etc.) gets extra attention depending on the largesse of the production.

But it’s the clothes! The glamour! The style! The magazine covers!

The Miles Davis biopic should be well-stocked with fashionable people and stylish wardrobes – adding some pizazz sure to catch the gaze of fashionistas and cool-hunters.

Of course the clothes can only go so far; it’s up to Cheadle to bring the character to life, which I have no doubt he will.

But, the costume designers are most definitely part of the storytelling process and their creativity can have a real impact on a film.

This is not to say the wardrobe is going to overwhelm the project as is the case with numerous movies (I’m looking at you “Sex and the City”), but it will be a central component in presenting the full detail of the man and the diverse eras of which he lived.