The Miles Davis Movie: Who is going to play John Coltrane?

John Coltrane. Whenever someone decides to make that biopic we’ll happily rev up the movie Blog right away. A true jazz giant, Coltrane was a revolutionary right alongside Charlie Parker.

He hit the limelight after joining the famed Miles Davis quintet (with Red Garland, Paul Chambers, and Philly Joe Jones). The First Great Quintet would go on to record some extraordinary music together between 1955 and 57.

And so we come to the Miles Davis biopic and one of many ‘big’ questions:

Who should play John Coltrane?

They could go the unknown route and cast someone we’ve never heard of, which I guess is fine, as I’m not expecting the cast to be star-studded from top to bottom. It’s not “Ocean’s 11.”

Off the top of my head I like Isaiah Washington, Hill Harper, Chiwetel Ejiofor, Mekhi Phifer and Delroy Lindo – but I don’t know if any of them scream John Coltrane. I’m sure I’m forgetting others, but I’m just riffin’ here. I also like Bokeem Woodbine, both for his cool name and his role as Fathead Newman in “Ray.”

How about Common? He’s appeared in flicks like “American Gangster” and “Smokin’ Aces” and definitely has charisma.

Look, the John Coltrane character might only be on screen for 5 minutes, but it’s still an important part! OK, what about Harry J. Lennix? He’s a good actor. I’m a fan.

And whether or not musicians from the First and Second Great Quintets (besides Coltrane) will be featured prominently remains to be seen, yet one would have to imagine the likes of Charlie Parker, George Avakian, Gil Evans and Cicely Tyson would need to make an appearance in any biopic of Miles Davis.

They decided to have Larenz Tate play Quincy Jones in “Ray,” so clearly finding a John Coltrane isn’t impossible.

Many readers have mentioned Denzel Washington for the Coltrane role, which would be great, but I have a feeling he’s sticking to being the leading man these days.

Unless it’s a supporting role so rousing that it screams Oscar attention I can’t see Washington onboard, but I could be wrong. Perhaps it’s just the kind of small, yet powerful movie role he can get excited about.

He certainly knows his way around the jazz world and playing an instrument having starred in Spike Lee’s “Mo Better Blues.”

Don’t forget about Wesley Snipes. If the guy isn’t in jail for tax evasion I’d consider him for the part. Yet another vet of “Mo Better Blues.”

I’ll be interested to see if any notable talent gets attached to the Miles Davis movie. Maybe the producers plan to keep it stocked with unknowns, leaving Cheadle as the A-lister.


Miles Davis Quintet – I Fall in Love too Easily

Of ‘Mad Men’ and Miles Davis

And now a few words about “Mad Men” – and Miles Davis. The season 2 finale was Sunday; just terrific! I’m already looking ahead to next season. Fans of the series will surely point to the music as an important feature of the show’s nuance from one episode to the next – reinforcing theme and emotion as the appropriate musical selection can perform so wonderfully.

This brings us to Miles Davis or more specifically, the music of Miles Davis and its relation to the show.

Season one (set in 1960) features two Miles Davis tracks: In Episode 5 (5G) we hear “Blue in Green” and Episode 8 (The Hobo Code) is highlighted by “Concierto De Aranjuez (Adagio)”

In two seasons the show has featured some great music, ranging from Chubby Checker and Ella Fitzgerald to Bob Dylan and Johnny Mathis.

Maybe I can persuade show creator Matthew Weiner to get Miles Davis on the show.

The scene: Miles Davis walks into a bar one evening only to encounter Don Draper. They end up talking about life and love and then Miles imparts some heavy advice, which helps Don in whatever disarray he’s likely going to be in.

Now there’s a storyline for you!

The Miles Davis Movie: Filming Miles Davis ‘At Newport 1958’

It’s debatable if this performance in 1958 at the Newport Jazz Festival is necessary for the Miles Davis biopic. The new sextet, with recent additions Jimmy Cobb and Bill Evans, were part of a festival tribute to Duke Ellington, but perhaps more importantly this was the collaboration that would record “Kind of Blue” six months later.

The bigger question is how much ‘performing’ will audiences see in the film? I recall a whole bunch of performance scenes from “Ray,” a mix of the early years in smoky clubs, studio work and on big tours played in front of thousands.

Is that the appropriate template? Do we get Miles Davis as a youngster playing in East St. Louis and then the clubs of NYC, followed by various studio work (notably the “Kind of Blue” sessions) and then on stage at different points in his career?

I’d say as much of Don Cheadle playing as Miles Davis the better. Plus, the music itself can be front and center. Here is where the artistry of filmmaking is requested — a blend of sound and vision that equals the thrilling moment(s) people cling to when the lights go up, the memory happily recalled because it’s so poignant or just plain entertaining.

I can imagine the Miles Davis biopic having plenty of those moments.

The Miles Davis Movie: Highly-fictionalized, or just the facts?

Miles Davis: The Monterey Jazz Festival, 1969
© Paul Slaughter

A few days ago I spotted this photo gallery/feature on Yahoo! about the 10 Most Biographically Inaccurate Movies. Obviously it got me thinking about the Miles Davis biopic and what, if any, liberties should the screenwriters take in crafting the story of Miles Davis for a motion picture.

The feature, in no way a think piece you’d find in a film journal, focuses on movies like “Ray,” “The Hurricane” and “Amadeus” to make its point about bending the truth (here and there, ever so slightly) for the sake of entertainment, or a product with enough Hollywood appeal to attract a wide audience.

Are there parts of the life and career of Miles Davis a screenwriter would want to overlook, or perhaps shy away from? I’ve talked about how it’s impossible for the movie to cover everything, especially the twists and turns of his musical styles, but are there aspects of his personal life the writers might think to use caution in adapting for the screen?

With this question in mind I point to an article from 2001 I’ve noted before: Robin D. G. Kelley, a professor of history and Africana studies at New York University, wrote a piece for the NY Times entitled Miles Davis: The Chameleon of Cool; A Jazz Genius In the Guise Of a Hustler.

It’s a fascinating read and nicely illustrates the darkness and light (Kelley’s words) that characterize who Miles Davis is, what Miles Davis represents and how we choose to discuss one of the most influential and provocative artists ever.

Writes Kelley in one of the more telling passages of his article, “he is hailed as a musical genius and praised for the beauty and sensitivity of his playing while simultaneously criticized for his brutal treatment of women, his rude and exploitative behavior, his ”anger” toward whites or his ”selling out” to the forces of pop music. His most avid defenders have done their share of handwringing, explaining his idiosyncrasies as a feature of genius.”

As stated, it’s a teriffic article, and I highly recommend.

But back to the biopic. In my opinion the film doesn’t work on any level without the ‘darkness’ to balance the light; how much of the irascible Miles Davis the movie should hold is debatable, but as much as words like ‘cool’ and ‘romantic’ are used to describe Davis’ style and artistry, there is a dark underbelly to the story that is not pretty, for lack of a better word, at all.

And yet, it’s that struggle between the demon and angel inside Miles Davis that makes his life story so damn compelling. It’s a personal narrative tailor-made for books and movies. Hey, maybe one day someone will write an opera. Why not?

Just as “Ray” (as you know my go-to film example for biopics) blended the darker aspects of Ray Charles’ life, the Yahoo! feature happily points out that “…The movie ends with Ray kicking the habit and living happily ever after with his wife Della. While he did give up heroin, he continued to consume prodigious amounts of gin and marijuana until just before his death. And Ray and Della were divorced in 1976. Plus, he was never banned from playing in Georgia as the film claims.”

Guess what? I didn’t know that. And it doesn’t change how I feel about Ray Charles or the movie. I just assume most biopics are going to tweak the story — this is Hollywood, remember. There are plenty of books that fill in all the blanks and overlook nothing when it comes to a biography, but in the movies it’s a different ballgame. As long as it’s not some egregious omission, or laughable retelling of history I think we all can overlook some creative tweaking — in the name of entertainment, of course.

A biopic is a tough endeavor to begin with: you’ve got to please those that know little (or nothing) about the subject and those who know almost everything. Balance is vital, it’s the only way to achieve historical accuracy and entertainment value.

Something like Todd Haynes’ “I’m Not There” is definitely an adventurous take on the legend of Bob Dylan, whereas “Ray” (again) plays it pretty straight in an entertaining, A-to-Z style biopic.

I can only assume the Miles Davis film is going to follow the “Ray” method of storytelling, but I could be wrong. Even then, how much of the story is focused on the music versus the personal life? A split between the two is fine by me, but aha!, what makes a better movie to market to audiences? Fans of Miles Davis (and jazz lovers) aside, is the music the selling point? Or is it the legend?

My guess is someone even vaguely familiar with Miles Davis might see the movie based on a thrilling movie trailer that focuses on a remarkable – and cool – life (music! women! travel! fame! redemption! fortune!), as opposed to, say, because he’s the guy who recorded Seven Steps to Heaven. Exposure to jazz music, generally-speaking, is fleeting at best, so for marketing purposes you rev up the Hollywood machine with the time-tested devices that have been attracting people to the movies forever to help this biopic succeed at the box-office.

It ain’t easy, as it were….

Still, I am confident this Miles Davis biopic will be successful; I think the subject matter is prime, cinematic real estate for the creatively-inclined. There’s a reason someone or another has been trying to make this movie for years.

I don’t think the screenwriters will have to create any fictional characters to enhance the story, or stretch the truth in some way, but there’s plenty of real-life conflict and drama to sort through in telling the Mils Davis story. Here is a project that must blend fact with the greater significance of what Miles Davis represents.

In the end, I’ll take a well-rounded depiction that’s entertaining, intriguing and visually exciting. I’d say that’s a nice night at the movies.

(photo: Miles Davis, The Monterey Jazz Festival, 1969 — Paul Slaughter)

The Miles Davis Movie: Tagline or no tagline?

Over at The Playlist is a teaser poster for “Watchmen.” If you aren’t familiar with the Alan Moore-penned graphic novel the film is based on, the significance of the image might be lost.

The text with the picture are the words “Justice is coming to all of us. No matter what we do.” The hype for this movie is building rapidly so no doubt any teaser poster will do the trick to keep the conversation on overdrive.

Of course this got me thinking about taglines and whether or not the teaser poster for the Miles Davis film should have one.

I love teaser posters. I love movie posters in general (the good ones), but something about the poster before the poster gets me riled up about an upcoming movie I want to see. It’s an art, for sure, and the better movie posters are able to strike just the right balance of visual pizzazz and substance – whether it’s over the top, or ever so subtle.

I’ve written ad nauseum about the non-existent movie poster for the Miles Davis biopic. When the poster does finally hit the web it will be all hands-on deck here at Miles Davis Movie headquarters.

For the teaser poster I’ve mentioned that a black background with the words ‘Miles Davis’ written across the middle (in white w/ a cool font) might do the understated trick in signaling the forthcoming movie.

I did a quick search for teaser posters. Here are few that stood out.

The Dark Knight
Kill Bill Vol. 2
Quantum of Solace
Simpsons Movie

Maybe instead of the words “Miles Davis” there’s only the eyes, or maybe a trumpet. Perhaps the words “Miles Davis” above a trumpet.

I did suggest earlier a riff on his signature. Or even the image on the cover of the Jack Johnson album.

Maybe the name is all that’s required. It’s a ‘name’ that conjures a variety of images and feelings. That might be enough. We’re assuming the name of the Miles Davis biopic will be called “Miles Davis,” so perhaps it’s okay to stick with it. Look, the movie wasn’t called “Ray Charles,” just “Ray.” And that worked out fine. In this case, I think you need the “Davis” with the “Miles.”

Much of this has to do with how to sell the movie. Fans of Miles Davis are already going to see it. This is about the demographic that are looking for something entertaining, or are intrigued enough about a legendary figure to buy a ticket. The film is still too early in the development stages to worry about that yet (it’s okay, I’ll worry about it now), but eventually it will be a hot topic in some marketing executive’s office somewhere.

The “Ray” movie poster is effective. I wasn’t able to find any teaser poster, but the official poster sort of goes along with my idea. The tagline on the poster nicely lays out the theme of the movie: “The extraordinary life of Ray Charles. A man who fought harder and went farther that anyone thought possible.”

Maybe this is what the Miles Davis biopic should utilize – a powerful text that sums of the iconic status of Miles Davis.

I’ll run a few taglines up the flag pole, but if anyone has anything to add please do so. *Disclaimer: In no way do I presume any of my tagline ideas will be any good.

“Cool is Forever”
“It’s About that Time”
“The Man, the Music… the Legend”

The Miles Davis Movie: The lost soundtrack

The news is rather brief:

Producer The Apple Juice Kid, in partnership with and, has released a new album for free download, entitled Miles Remixed. The album, originally created as the soundtrack for a Miles Davis biopic, consists of instrumentals built entirely from samples of the jazz legend’s work, with vocalists Yahzarah and Raheem Devaughn making appearances on the closing track.

What interests me is which Miles Davis biopic they’re referring to.

The Miles Davis Movie: Filming the ‘Steve Allen Show’ appearance

I was still a ways off from making my appearance on the planet, but I can only imagine how exciting it must have been in ’64 to watch Miles Davis and Co. perform on “The Steve Allen Show.” I could be lost in a haze of nostalgia for a bygone era, (I’ve been watching a lot of “Mad Men” lately so that might have something to with it as well), but I’ve watched this clip (below) ten times, and I just think it’s, for lack of a more resounding adjective, cool.

Burt Lancaster is there too! Even more cool.

I’m not sure if this TV appearance is a significant moment on the list of significant moments for Miles Davis, but if someone does know whether or not this performance of “All Blues” is regarded as a major, or even minor event – besides the fact that it’s just very entertaining and thrilling for fans – please drop me a line.

Was it uncommon in ’64 to feature a jazz act on a variety/talk such as Steve Allen’s? Or is having Miles Davis considered a coup for any show during that time period? I did some cursory research about the show (this particular incarnation of his popular talk show aired between ’62-’64) and it looks like a variety of musical guests were featured – The Beach Boys, Cab Calloway, Dizzy Gillespie, Frank Zappa and Nina Simone to name a few.

So, obviously jazz musicians were welcomed to appear on TV talk/variety shows. Unlike today.

Just reading a little about Allen on Wikipedia it’s clear he was a big jazz aficionado – “the show featured plenty of jazz played by Allen and members of the show’s band, the Donn Trenner Orchestra.”

Allen also produced a second half-hour show, titled Jazz Scene, which featured West Coast jazz musicians.

Regarding the Miles Davis biopic, I guess if you were to write up a list of 50 events/moments that should be included in the story of Miles Davis, perhaps the “Steve Allen Show” appearance doesn’t rate. Then again, I’m not sure without some hard evidence that it wasn’t a big deal.

Still, maybe a snippet – with Allen and Burt Lancaster(!) introducing Davis – might speak to the era, especially if the film is combining moments from the early sixties to reflect where Miles Davis stood musically and personally. Maybe there’s a scene and in the background we see Davis performing on the “Steve Allen Show.”

I don’t know. I just like watching the clip. My thanks to the person who posted it.

The Miles Davis Movie: Cheadle in for ‘Iron Man 2’; delay for Miles Davis project?

There’s news today that Marvel has recast the role of Jim Rhodes in the “Iron Man” sequel. Don Cheadle will replace Terrence Howard, who played Tony Stark’s best friend/military liaison in the first installment. Looks like the two parties could not agree on the money situation.

I’m sure film Blogs and message boards are lit up today analyzing the news. And hey – I’m happy for Cheadle. He’s now part of a mega-popular movie franchise.

But I ask: what about the Miles Davis movie? What does this casting news do to the timeline of the project? “Iron Man 2” is already in pre production. The Miles Davis biopic is still in the latter stages of development. What we don’t know is how much this “Iron Man 2” switcheroo will affect the Miles Davis movie regarding Cheadle’s time to devote – he is the star and director!

I assume there’s no hard timeline for the Miles Davis film. Miles’ nephew Erin recently said, “…maybe it [biopic] can get started next year for a release in ‘10.

If anything it’s a scheduling change for Cheadle as his focus shifts from jazz legend to comic book character.

Advantage: “Iron Man.”

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: In other jazz icon biopic news….

He was once Charlie Parker and now he will be Louis Armstrong. Oscar-winner Forrest Whitaker will direct and star in the Louis Armstrong biopic “What a Wonderful.”

It’s your move, Don Cheadle. Whitaker is already two up on you in the jazz legend category. It’s time to accelerate the Miles Davis biopic.

The Miles Davis Movie: Cameras set to role in ’09

A story in the National Ledger (10-7) has an update about the Miles Davis biopic courtesy Erin Davis, son of Miles Davis. Sadly, it looks like we’re not going to see the biopic hit theatres until 2010. But we shall see.

Erin Davis tells us he’s just finished reading the script for the feature that Don Cheadle plans to direct, with Cheadle himself starring as the mercurial music legend. “It was great, a great script,” Davis enthuses. “They’ll probably do some revisions on it and tighten it up, but maybe it can get started next year for a release in ’10.”

Read the complete story here.

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
, 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: A new Miles Davis film in the works?

It’s late Friday night, and I’m surfing the ‘net looking for news on the Miles Davis movie — and when I speak of the Miles Davis movie I mean the project being developed by Don Cheadle, who is on board to star and direct.

I come across this news item from Thursday’s edition of the New York Post:

…Nick Davis Raynes, is a well-mannered movie producer who just optioned the rights to “Dark Magus: The Jekyll and Hyde Life of Miles Davis,” by the jazz great’s son, Gregory Davis. “I’m a huge fan of Miles Davis. We plan to tell his true story and preserve his legacy,” Raynes told Page Six. Gregory was the only son who traveled with Miles on tour, but then had to sue his father’s estate because he was left out of his will. Besides the lead role, there will be juicy parts playing Thelonious Monk, John Coltrane, Dizzy Gillespie, Charlie Parker and Jimi Hendrix. “Miles was a huge mentor to Hendrix,” Raynes said.

Interesting news, but let me get to a few points: First off, I have not read the book. Based on some reviews on I’m not missing anything – but I should read it for myself before forming an opinion. Secondly, anyone with money (and even the slightest movie ‘biz connection) can option a book for a film adaptation. One look at the state of the book publishing industry, and I am sure the publisher was happy to oblige for the movie rights.

Look, if I had the financing and a proper plan I’d make a play for the rights to a book on Miles Davis. But I digress.

Gregory Davis is the son of a jazz icon, so clearly he sees a chance to get the story, or at least his version of it, produced; he writes a book a few years ago and looking for a cinematic play is the next, logical step. Enter Nick Davis Raynes.

But let’s be clear: Optioning the book is as step 1 in the process as it gets. Now it’s development time. Now it’s adapt the book to a screenplay time. Now it’s get actors attached. Etc.

I continue to be a supporter of Don Cheadle and co. as they develop their project (along with the confidence it will be an artistic and commercial success), but if I read tomorrow about six other Miles Davis movie projects I’d be happy.

Competition breeds excellence.

So while I’ve become somewhat emotionally invested in what Don Cheadle is trying to do, I have no problem with Davis’ son angling for his own movie version of his father’s life. Son or no son, it’s a tough road to get any movie produced these days.

I applaud Nick Davis Raynes because not only is he a fan of Davis’, but he sees the cinematic potential. I’m sure a lot of folks in the movie ‘biz (and out) would love to take on a Miles Davis biopic, and here is someone who is at least taking the first step.

Welcome to the party…

The Miles Davis Movie: ‘Kind of Blue’ making news, movie not so much

While news about the Miles Davis movie is mostly non-existent these days (did I just type ‘mostly?’ Strike that), Davis’ celebrated album “Kind of Blue” has been in the spotlight this week with the release of a lavish, collector’s edition box set to mark its 50th anniversary.

Tucked away in Steve James’ Reuters article about the famous recording there is a brief mention of the film: “…There is also a Miles Davis exhibition planned for the Cite de la Musique complex in Paris and a feature film starring Don Cheadle as the famously idiosyncratic artist.”

For the record Cheadle is spelled wrong in the original story.

Vince Wilburn Jr., Davis’ nephew and a manager of his estate, talked about an endless supply of Miles Davis music in the vault for future release, which is great news, but no mention of the film.

Not such great news.

* About that multimedia exhibition planned for the Cite de la Musique complex in Paris. The show is titled Miles Davis – We Want Miles and will run from October 16 2009 until January 17 2010.

Organised with the support of Miles Davis Properties, this exhibition by the Cité de la Musique follows Miles Davis’ musical and personal journey, from his hometown, East St-Louis, to his retrospective concert at La Villette in Paris, just a few weeks before his death.

As a tribute to his visionary approach, visitors can discover each of these “directions” along a pathway displaying photographs taken by the biggest names in musical photography, video excerpts from his concerts, instruments he or his travel companions played, rare scores and stage costumes, documents related to the creation of his albums, original releases of his great records, as well as works of art, paintings and sculptures, testifying to an aura which vastly exceeded the sphere of music.