5月26日 お誕生日のお友達：マイルス･デイヴィス

Happy Birthday #MilesDavis Born May 26, 1926 - Died September 28, 1991 (aged 65) Photo by © S.Uchiyama in May 1983 OSAKA DM19A4
#jazz #ジャズ #jazzphoto #birthday #誕生日 #shigeruuchiyama #内山繁 https://www.instagram.com/whisper.not/

MILES DAVIS - His final decade

Thirty Years On
The musical legacy of his final decade
Appraisal by George Cole
https://www.jazzviews.net/miles-davis---thirty-years-on-the-musical-legacy-of-his-final-decade.html

I once met the drummer Jimmy Cobb and then proceeded to ask him a really stupid question. At the time, Cobb was the last surviving member of the band that recorded Miles Davis’s seminal album Kind of Blue (sadly, Cobb has since died). After shaking Cobb’s hand I blurted, “Did you know that you were recording a classic album when you made Kind of Blue?” The answer of course was “no” and that is because it takes time before we really know the true impact of any art.

Bassist/producer Marcus Miller says that musicians can only try to create music that reflects the times they are living in, but they have no control over how that music will be viewed further down the road, because no one knows what the road will be like in ten, fifty or a hundred years from now. The arts world is littered with composers, musicians, artists, novelists and playwrights who were the superstars of their day, but now, are not even a footnote of a footnote. Conversely, there are works (including architecture, music and art) that were dismissed in their day, but which are now viewed as masterpieces.

The musical legacy of Miles Davis is of course, vast and unquestionable, stretching from the late 1940s, when playing bebop with Charlie Parker and recording the Birth of the Cool sessions;  the 1950s and his first great quintet, Kind of Blue and the classic collaborations with Gil Evans. In the 1960s there is the second great quintet, and the move into jazz-rock fusion with albums such as In A Silent Way and Bitches Brew. His jazz-rock-funk explorations of the 1970s, once dismissed by some as “noise” are now widely acknowledged as being ahead of their time, but what about the music from his last ten years?

When I started researching my book, The Last Miles, which examines his music from the 1980s, Miles had been dead for thirteen years. When the book was published four year later, it included a chapter that examined the legacy of this period. I concluded that it was too early to say what that might be. One critic described this as a cop out, but I stand by my decision. But now, forty years since the release of Miles’s comeback album The Man With The Horn in 1981, and 30 years after his death, I believe we have a much clearer picture of the legacy of this period, and my conclusion is that much of the music from this era deserves to be seen as an important part of Miles’s musical legacy, just as the music is from earlier periods. I concede that, many cases, it is not as groundbreaking as that from other eras, but nevertheless, it should not be ignored, dismissed or discarded.

The last ten years of Miles’s musical journey neatly divides into two periods: his Columbia years, from 1980 to mid-1985, and the Warner Years, from 1985 until his death in 1991. But within these two periods, Miles’s music continued to evolve and continued to challenge musicians, fans and critics. The Man with the Horn reflected a musician who was grappling to find a new musical direction and also regain his chops. This was understandable, as Miles had dropped out of the music scene for five years and hardly picked up his horn in that period. But even the music from this album still stands up today, from Mike Stern’s searing guitar solo on the jazz-funk ‘Fat Time’ to Marcus Miller’s punchy bass vamp on ‘Aida’ to Barry Finnerty’s power chords on the dark ‘Back Seat Betty.’ Miles even plays some jazz-swing on ‘Ursula.’ And being a child of the 70s disco era, I still get a buzz from listening to ‘Shout.’

When Miles went on the road in 1981, his band was mainly composed of young musicians – guitarist Mike Stern, saxophonist Bill Evans, bassist Marcus Miller and percussionist Mino Cinelu. The exception was drummer Al Foster, who had been with Miles since 1972. The music Miles created on the road was similar to that created in the studio for The Man with the Horn – largely improvised with the minimum direction from Miles. Yet, the band gelled and created some memorable music. The live album which documents the band, We Want Miles, still sounds fresh and exciting today. It includes Miles’s enduring signature tune, ‘Jean-Pierre,’ with its child-like melody and thundering bass vamp. Other standout tracks include, ‘Back Seat Betty,’ where mid-way, Miles unleashes an explosive flurry of notes that takes your breath away; ‘Fast Track,’ which crackles and fizzes with energy, and the exquisite 20-minute version of Gershwin’s ‘My Man’s Gone Now,’ which features some fine tender playing by Miles.

The next album, Star People, was in many ways a transition album. It marked the last time Miles worked in the studio with his long-time producer Teo Macero, and old friend Gil Evans. Miles was also taking a greater interest in synthesisers, drum machines and studio technology (at one point during the sessions, even trying out a click track or metronome). The music was also becoming more structured, with the band given charts which featured more than just a brief sketch. The band line-up was also changing – Marcus Miller would be replaced by Tom Barney, while guitarist John Scofield joined to create a dual-guitar line-up.

Star People includes two blues numbers, the 19-minute title track (which would later become known as ‘New Blues’ when played live) and ‘It Get Better,’ which highlights Scofield’s playing. The two live tracks, ‘Come Get It’ and ‘Speak’ burst with energy, with the former having arguably the busiest bass lines of any Miles era. For many, Star People represents the high-watermark of Miles’s Columbia Records output from the 1980s, and it still has plenty to offer fans of jazz, blues and funk.

Miles’s 1984 release Decoy, found Miles, his music and his band all in a state of flux. Teo Macero was no longer at the helm and Miles initially took on the producer’s role. But he soon opted for a more hands-off role, delegating the bulk of the production work to his new keyboard player Robert Irving III and his nephew, Vince Wilburn Jr. Both men had played on The Man with the Horn, and being in their twenties, had their pulse on both the contemporary music scene and the evolving studio technology. Unlike with earlier albums, Miles would not attend the tracking sessions, and would often listen to the music over the phone or from tapes supplied by Irving III and Wilburn Jr.

Some of the music on Decoy, including ‘Robot 450’ and ‘Freaky Deaky’ is forgettable, but it’s easy to overlook the fact that a superb cast of musicians play on this album, including Scofield, now the sole guitarist in Miles’s band, new bassist Darryl “The Munch” Jones and guest musician Branford Marsalis, who plays soprano sax on several tracks. Three tracks standout – the title track, with its ferocious bass line and superb solos from Scofield and Marsalis; the long, slow, bluesy ‘That’s Right,’ and the live track ‘What It Is’ which includes more thundering bass from Jones.

You're Under Arrest is the most commercial album Miles released during this period, reflecting the fact that was originally planned as an album of pop tune covers, arranged by Gil Evans. Instead, it turned out to be a mix of pop, politics and jazz-funk and one of Miles’s best-selling albums of this era. The best known numbers are the covers of Michael Jackson’s ‘Human Nature’ and Cyndi Lauper’s ‘Time After Time,’ but there is much more to this album. John McLaughlin guests on guitar on two strong numbers (three, if you include a short prelude) the reggae-laced ‘Ms Morrisine,’ and the barnstorming studio jam ‘Katia,’ while the title track, a John Scofield composition, is an exciting, energetic number with some stirring tenor sax from the late Bob Berg.

The final album Miles recorded with Columbia was Aura, although it would be four years before it was finally released (Columbia’s shoddy treatment of the album was one reason Miles gave for leaving the record label). Aura saw Miles team up with Danish trumpeter/composer Palle Mikkelborg to create an orchestral work featuring the Danish Radio Big Band, Aura is composed of ten movements that encompass everything from classical to blues to funk to reggae. John McLaughlin guests on several tunes, and one of the best tracks, “Green,” features the late Niels-Henning Ørsted Pedersen on acoustic bass. Percussionist Marilyn Mazur, who later joined Miles’s band, also plays on it. Miles is in fine lip, playing with much power, range and expression – he was clearly energized by the experience. Aura still sounds fresh today, although the electronic drums (included at Miles’s behest) sound a little dated. Nevertheless, it is one of his finest works of the decade - Miles described it as a masterpiece, and who can argue with that?

When Miles moved from Columbia Records to Warner Bros. not even he knew what musical direction he would take. After several musical explorations, Miles recorded Tutu, arguably his last classic album. It’s hard to overstate the seismic impact Tutu made at the time. Produced by Marcus Miller and Tommy LiPuma, with programming by Jason Miles and Adam Holzman, Tutu transformed Miles’s career and introduced him to new audiences.

Tutu had Miles playing along to machines, and it fiercely divided his critics – some people were excited by the music; others dismissed it. But Tutu stands the test of time. Yes, some of it sounds dated and tracks, such as ‘Splatch’ and ‘Perfect Way,’ are a little stiff and mechanical, but much of the music holds up well. The dark, brooding bass line at the start to the title track never fails to grab your attention and Miles plays superbly on the track. ‘Tomaas’ offers a neat slice of jazz-funk, while the ballad ‘Portia’ is simply beautiful. Two other tracks that are often overlooked are the reggae-flavoured ‘Don’t Lose Your Mind’ which includes Michal Urbaniak on electric violin and the funky ‘Full Nelson,’ which has more than a hint of Prince (this is no accident, as Prince was originally going to have one of his compositions on the album and ‘Full Nelson’ was written as a transition to it).

An album that is often forgotten from this period is Siesta, the soundtrack to the film of the same name. Marcus Miller was once again at the production helm. Siesta contains some of Miles’s finest playing from this era and he performs mostly with open horn. Some have compared Siesta to Miles’s collaboration with Gil Evans on Sketches of Spain - both albums involved Miles playing on musical arrangements composed by others, and both albums contain Spanish themed music. Not for nothing is Siesta sometimes referred to as the quiet classic from Miles’s 1980s oeuvre.

The third and final collaboration between Miles and Miller was Amandla. The album had a bigger production budget, a larger ensemble of musicians (including Miles’s saxophonist Kenny Garrett) and was recorded over a two-year period. Amandla is a sleek, polished production and lacks the impact of Tutu. Even so, it contains some fine tunes including, the title track, and ‘Mr Pastorius’ a jazz-swing tribute to the late bassist Jaco Pastorius, which also features Al Foster on drums.

Miles’s last album project, Doo-bop, saw him combining jazz with hip-hop and working with rapper/producer Easy Mo Bee. Miles was not the first artist to fuse jazz and hip-hop, but his musical explorations in this genre gave it a validity that encouraged other artists to take the same path. Sadly, Doo-Bop is a half-finished project, as Miles died before its completion. But it gives us an idea of his next musical direction. Doo-Bop has been criticised for the quality of the rapping on the album, with some saying that Miles should have collaborated with more cutting-edge rappers. But as Mo Bee points out, at 65, Miles did not want to be associated with raps that denigrated women or glorified violence. But whatever you think of the rapping, Miles’s playing hits home, and tracks such as ‘Mystery’ and ‘Sonya’ stand up to the best that acid-jazz can offer.

Miles’s studio albums are just part of his 1980s legacy and his live work is arguably a more representative aspect of this era. Anyone fortunate to see Miles playing live during the last decade will know how tunes were often expanded, rearranged and energized on the stage. The studio version of ‘Human Nature’ for example, is a pleasant four-minute re-working of the tune, but the live version could stretch to 20 minutes and feature an explosive guitar or sax solo.

It’s ironic that only one live album – We Want Miles - was released during the last decade of Miles’s life (Star People and Decoy both included a couple of live tracks each), and Miles had hoped that another would be released – there were plans to release a live album recorded in Denmark in 1985, and a live album from Nice from 1986, but they never came to fruition. The first new live release was in 1995, and the album Live Around The World. The recordings cover concerts from 1988-1991, with almost all taken from soundboard tapes made by Miles’s front-of-house sound engineer Patrick Murray, who used a digital recorder. The resulting tapes were of such high quality that material from two concerts was broadcast on the major radio series The Miles Davis Radio Project.

Since then, more official live has emerged, most notably the 2002 release of The Complete Miles Davis at Montreux, which documented all of Miles’s live performances at the Montreux Jazz Festival between 1973 and 1991, with the vast majority of concerts taken from the 1980s. The 20-disc boxed set is a feast for fans of Miles’s live performances and includes tunes and band members not found on any other official releases. A 1983 concert from Poland has been released, and this year, saw the release of Merci Miles! (reviewed in this month’s albums), recorded at Vienne, France in 1991. There have also been a number of concerts released on DVD from Munich, Montreal, Paris, Warsaw and Montreux.

The Miles Davis Estate, comprised of his son Erin, daughter Cheryl and nephew Vince Wilburn Jr, with Darryl Porter, general manager Miles Davis Properties LLC, have taken great care of his legacy and that includes the sanctioning of releases. The different approaches taken by Columbia Records (part of Sony Records) and Warner towards this era has been striking. There is a vast library of unreleased material from the 1980s in Columbia’s vaults including, alternative studio versions (such as a nine-minute take of ‘Time After Time’ and a 17-minute take of ‘Back Seat Betty’), outtakes, scrapped projects, live concerts and rehearsals.

A large amount of unreleased material was recorded during the Star People sessions, for instance, including a duet between Miles on electric piano and JJ Johnson on trombone. During the 1990s, Columbia had planned a series of special releases of Miles’s 1980s albums, with each record having extra tracks, but the project was scrapped. Rumours occasionally surface of a major boxed set release from the 1980s, similar to the superb ones produced for earlier eras, such as Bitches Brew and the second great quintet, but at the time of writing, nothing has emerged. Columbia has released the Complete Columbia Album Collection, a 71-disc boxed set which included all of Miles’s albums from the 1980s. The boxed set offers a special version of We Want Miles, which has three extra tracks taken from a 1981 Tokyo concert, but so far, that is the extent of the interest in releasing more material from this period.

By contrast, Warner Jazz has continued to release material from this era. Much credit should be given to Florence Joelle Halfon, a consultant for Warner Music’s jazz catalogue in the UK. Working closely with the Miles Davis Estate, she has championed the music from this era and helped to compile anthologies, compilations, special edition releases, remastered versions, as well as new studio and live albums, co-producing some of these releases.

Ten years after Miles’s death, Warner Bros. were planning a six-disc anthology, The Last Word, which would contain a mix of tracks from Miles’s albums, plus outtakes, unreleased material (including two tunes composed by Prince), guest appearances and live performances. The project was later reduced to a four-disc release and then scrapped. In 2010, Warner UK released Perfect Way: The Miles Davis Anthology, The Warner Bros. Years, a two-disc release which offered a selection of tracks from Miles’s studio albums, plus outtakes (including ‘Rubberband,’ the title track of an unreleased album from 1985) and live tracks. A single disc version, The Very Best of Miles Davis: The Warner Bros. Sessions 1985-1991 was later released. Warner France released a five-disc boxed set, Miles Davis 1986-1991: The Warner Years, which included two previously unreleased tracks, plus many of Miles’s guest appearances, with artists such as Cameo, Chaka Khan, Scritti Politti, Shirley Horn and Marcus Miller.

Another anthology, also called The Last Word, was released in 2015, an eight-disc boxed set containing remastered versions of Tutu, Siesta, Amandla, Dingo, Doo-Bop, Live Around The World and Miles and Quincy at Montreux, as well as a live concert from Nice 1986. Warner has also released remastered versions of Miles’s albums under its Warner Bros Masters series, each including new liner notes. In 2011, Tutu Deluxe was launched, a two-disc album featuring a remastered version of the original album and a concert from Nice in 1986 (note that Warner Bros recorded several Nice concerts and music from different nights has appeared on various releases). One of the biggest re-release projects was the Rubberband album in 2019. The sessions for the album took place in late 1985, but the project was put on hold by Tommy LiPuma. The album’s original producers, Randy Hall and Attala Zane Giles, along with Vince Wilburn Jr (who played drums on some of the original sessions) went back to the tapes, cleaned them up and also gave the music a refresh, giving it a more contemporary feel, while maintaining the integrity of what Miles was doing at time. Like much of Miles’s music, Rubberband divided opinion, but many Miles fans and critics were pleased that the music was finally out there.

The latest release, Merci, Miles! Live At Vienne, featuring a concert from 1 July 1991, has been met with much critical acclaim and shows that there is an appetite for hearing more of Miles’s live work from his final decade. One hopes that this trend continues, because there is a lot of live material in the vaults. Patrick Murray, for example, recorded more than three years of concerts onto 160 digital tapes, and every Miles concert was recorded on the soundboard.

In most cases, Miles used the soundboard tapes to listen to the band performances, with the view to improving certain aspects, and many performances are recorded on low-quality cassette tape. However, it’s often overlooked that the closing track on Live Around The World, ‘Hannibal,’ was taken from Miles’s final concert at the Hollywood Bowl on 25 August 1991. By now, Murray had left, and Miles’s new sound engineer, Don Kurek, used a cheap analogue cassette tape for recording. Even so, by digitising the music, cleaning it up and tweaking the sound, a good quality recording was obtained, as anyone can confirm by listening to the resulting album track. This process was done almost 30 years ago, and it must be quicker, simpler and cheaper to do the same process today, thanks to the massive developments in audio software and computer technology over the past three decades.

If this is the case, it would be great to see concerts being released which feature musicians who played with Miles in the 1980s, but have never appeared on any official Miles Davis album (live or studio). Musicians in this group include guitarists Garth Webber, Dewayne ‘Blackbyrd’ McKnight, Hiram Bullock, Bobby Broom and Alan Burroughs; saxophonists Gary Thomas and Donald Harrison, and percussionist Rudy Bird. In addition to this material, many TV and radio stations around the world recorded Miles’s concerts, and these could provide audio sources for future album releases (Merci Miles! Is in fact, the soundtrack of an unreleased concert video).

Other possible future releases from Miles’s final era include video and album releases of the two-hour concert Miles played in Paris on 10 July 1991, when he was joined onstage by many past band members including Herbie Hancock, Joe Zawinul, Wayne Shorter, Dave Holland, John McLaughlin and Steve Grossman. In 1985, Miles recorded Mr Mister’s ‘Broken Wings,’ and in March 1991, he and his band recorded several Prince tunes at a studio in Germany: none of this music has yet to see the light of day. Before the 1980s, Miles had only been involved with two movie soundtracks, Ascenseur pour l'échafaud and Jack Johnson, but in the 1980s, he appeared on soundtracks for Siesta, Dingo, Scrooged, Street Smart and The Hot Spot. The original Last Word anthology planned to include tracks from Street Smart, unreleased cues from Siesta, and music Miles and Robert Irving III produced for an episode of Alfred Hitchcock Presents. Miles and Irving III, along with guitarist Randy Hall, also produced a demo track for the 1986 film Wise Guys, which was never used, but nevertheless features some fine playing by Miles. It would be nice to see a ‘Miles at the Movies’ compilation that pulled all this music together.

There is a lot of interest in the music from this era and various tracks have been covered by many artists including, Cassandra Wilson, George Benson, Al Jarreau, Dave Liebman and Viktoria Mullova, In 2015, French guitarist Noël Akchoté  released two albums covering the music from Miles’s 1980s period. What It Is - The Last Miles offered 14 tracks from the 1980s including, ‘Fat Time,’ ‘Jean-Pierre,’ and ‘What It Is,’ while Big Time (The Last Miles) contained 12 tracks that included ‘Tutu,’ ‘Amandla’ and ‘Code MD.’ Music from the 1980s has been sampled by numerous hip-hop artists such as, DJ Marky, Queen Latifah, Digital Underground and South Central Cartel.

There have also been a number of bands that have paid tribute to this era, many of them comprised of musicians who played with Miles in the 1980s. ESP2 included Robert Irving III, Adam Holzman, Ricky Wellman, Mino Cinelu and Randy Hall. Vince Wilburn Jr – who played with Miles from 1985-87 – has formed the Electric Miles Band, which includes a host of Miles alumni, such as Darryl Jones, Richard Patterson, John Beasley, Deron Johnson, Munyungo Jackson, Mino Cinelu, Dewayne ‘Blackbyrd’ McKnight and Robert Irving III. Ten years ago, Marcus Miller embarked on a two-year world tour playing the music of Tutu with a group of young musicians, and in 2019, he played two concerts at New York’s Lincoln Centre honouring Miles called,  ‘Electric Miles.’  The track ‘Tutu’ has become as much a signature tune for Miller as it was for Miles, and the bassist never fails to play it during his concerts.
 
Thirty years on from Miles’s death, the music he played during the last decade of his life still resonates. It’s still being discovered by younger generations; still being explored and re-interpreted by musicians, and still being enjoyed by countless music fans. It’s a picture that looks set to remain the same for many years ahead.

Many thanks to photographer Shigeru Uchiyama for kindly allowing us to use some of the many superb photos he took of Miles and his bands during the 1980s. Shigeru has published two great photo books on Miles, Miles Smiles and No Picture! His Instagram page – which has images of many of the jazz artists he has photographed over the years - is at: https://www.instagram.com/whisper.not/

There is also an interview with him here: https://www.thelastmiles.com/interviews-shigeru-uchiyama/

Interview: Shigeru Uchiyama

英国のジャズ･ジャーナリスト George Cole のサイト “The Last Miles” 「マイルス･デイビスにもっとも近づいた日本の写真家：内山繁、オン･ステージ、バック･ステージはもとより、多くのプライベート･シーンをも捉えた彼の素晴らしいキャリアとマイルスとの緊密な関係について尋ねた。」とするインタビュー記事

10年間にわたる僕とマイルスの親交がたっぷり紹介されています。英語で書かれるとなおさら格好良く読めるところ 非常にくすぐったい内容になってます。

いい加減な日本語の答えを ちゃんとした英語に直してくれた 平間久美子さんに感謝です、ありがと〜！

https://www.thelastmiles.com/interviews-shigeru-uchiyama/

Interview: Shigeru Uchiyama

It is fair to say that few photographers got closer to Miles than Japanese photographer Shigeru Uchiyama. His stunning of images of Miles captured him on-stage, backstage and in many informal moments. The Last Miles.com was fortunate to ask Shigeru about his amazing career and his close relationship with Miles.

Shigeru Uchiyama in 2021 © Shigeru Uchiyama

The Last Miles: You started out as a freelance photographer, initially doing commercial photography, but I understand, that in 1975, it was suggested that you should photograph jazz artists. Can you recall the first jazz artist you photographed and where it took place?

Shigeru Uchiyama: It was in autumn 1975. I was asked, ‘Would you try shooting jazz scenes?’ My first assignment was the Tokyo performance of Dave Liebman and Lookout Farm.

TLM: Why do you like photographing jazz artists?

SU: I got obsessed with taking photos of the stages of famous musicians. I was learning to be a commercial photographer, but I changed my direction to jazz photography.

Miles and Shigeru Uchiyama in 1985 © Shigeru Uchiyama

TLM: Can you list some of the many jazz artists you have photographed over the years?

TLM: I started my career too late to take photos of Satchmo [Louis Armstrong], [Billie] Holiday, [John] Coltrane, or [Duke] Ellington, but a lot of jazz giants were still playing actively. When Miles came back to the scene in the 1980s, jazz was very vibrant. A lot of musicians came to Japan for jazz festivals or concerts at huge venues, so if I waited for them in Tokyo, I was able to take almost all the famous players, including, [pianist] Bill Evans, Chick Corea, Herbie Hancock, Keith Jarrett, Count Basie, Charles Mingus, Ray Brown, Jaco Pastorius, Art Blakey, Tony Williams, Joe Pass, Jim Hall, Paco DeLucia, Dizzy Gillespie, Chet Baker, Stan Getz, Sonny Rollins, Dexter Gordon, Wayne Shorter, Ella Fitzgerald, Sarah Vaughan, and of course, Miles Davis!

TLM: Do you know how many images you have in your total jazz archive?

SU: There are more than 5000 rolls of monochrome films (most film rolls have 36 images) and approximately 18,000 reversal [slide] films and I’ve been digitising them. I am planning to finish the countless scanning works before I die.

Miles © Shigeru Uchiyama

TLM: Do you know how many images of Miles Davis you have in total?

SU: 120 rolls of black and white film and 1120 reversal films. These contain images of Miles not only on stage, but also backstage, and some very private shots, when he was really relaxed.

TLM: How many books, CDs or posters have used your images?

SU: I was taking photos for the Japanese monthly jazz magazine Swing Journal for about 30 years since 1975. I have published three photo books: Miles Smiles (1993), No Picture! (2016), and Jaco (2017). There are so many vinyl records, CDs, concert programmes, and posters I contributed to that I really cannot count the numbers. Unfortunately, there are a lot of websites and CD covers that have used my photos illegally.

Shigeru Uchiyama: No Picture! cover

TLM: Can describe what equipment you use to photograph jazz concerts?

SU: For shootings at concert halls and clubs, where mobility is critical, I used a Canon SLR film camera (F-1, New F-1), Hasselblad (500C and 500 EL), Leica (M3). I don’t remember much about digital cameras because I often changed cameras. Probably, the first one was a [Canon] D30. For portraits photos for vinyl, CDs, magazine covers, I used middle-sized Hasselblad, and for the musicians who played very quietly like solo piano or the ones who hated noise, I occasionally used Leica because the shutter sound was softer. After 2000, I shifted totally to digital.

TLM: Has any of your work ever been exhibited in Japan or anywhere else in the world?

SU: The first exhibition was Jazz A to Z in 1985 [note that English titles are approximations of the original Japanese exhibition title]. Others include, MPA photo exhibition SCINE; Live Under The Sky; The Best to Best Miles; Miles Davis Artwork exhibition; Miles Smiles; Portraits of Jazz Pianists; Portraits of Jazz Guitarists; Portraits of Jazz Bassists; Portraits of Jazz Drummers; Portraits of Jazz Horn Players; Portraits of Jazz Vocalists; Mount Fuji Jazz Festival; Trajectory of Mt. Fuji Jazz Festival; New York; Paris; Merry Xmas New York; Jazz Through the Viewfinder; Emperor of Jazz Miles Davis; No Picture!; and Jaco. Sculptor Koichiro Tokumochi and I did Portraits of Jazz / Jazz Sculptures and Jazz Meets Art.

Miles © Shigeru Uchiyama

TLM: I understand that you are also a resident photographer for Blue Note club, Japan. Could you please tell me how you got this position and what it is like photographing jazz artists in a club situation?

SU: In 1988, when Blue Note started business in Tokyo, I had many portraits of the musicians Blue Note were planning to book for the club. It seemed an advantage for the organisers that they could use my photos for advertisements. The launch of Blue Note Tokyo became a driving force, and jazz clubs like Keystone Korner Tokyo and Blues Alley Japan started business one after another. Jazz was booming and I was hired as a house photographer for this reason. Therefore, I was super- busy and was able to make a lot of money.

TLM: Can you please share any memorable moments while working at the Blue Note club?

SU: I was not only taking stage photos, but I also had many opportunities to get to know the musicians and learn about their opinions of music. I had some opportunities to take some musicians who had an interest in photography to camera shops, and also took some to instrument stores to assist them. These are memorable moments for me. At Blue Note Tokyo, the photography area was really limited to narrow space around the PA equipment, that was positioned behind and high above the audience. Even though it was difficult for the people on stage to find me, there were a lot of musicians who willingly looked towards my camera. This was because I let them know where I would be shooting from when I visited them backstage before the gigs. Tony Bennett pointed at my camera repeatedly and it was as if he was singing to me. None of the audience noticed that because they couldn’t see into the PA area.

Miles © Shigeru Uchiyama

TLM: Miles Davis said in his autobiography that Japan was one of his favorite places to visit and that the Japanese people treated him very well. Can you explain to a non-Japanese person what Miles Davis and his music meant to many people in Japan?

SU: Not only Japanese people, but the world knows that Miles accomplished the greatest achievements in jazz history. If there is anything Miles’ music is appealing especially to Japanese people, it may be his pauses (not playing super difficult phrases with a lot of notes, but having many quiet moments effectively). This syncs with the Japanese ‘wabi-sabi’ aesthetic. Religiously speaking, it’s like drifting between ‘emptiness’ and ‘ambivalence.’ Another reason why Miles loved Japan was that Japanese people paid very expensive performance fees by cash without negotiating!

TLM: Your latest book No Picture! starts with a photograph of Miles Davis arriving at Narita airport on September 29 1981. Was that the first time you photographed Miles Davis? Can you recall anything about the event?

SU: After coming to Japan in 1975 to record [albums] Agharta and Pangaea live performances, Miles had been quiet for six years. Therefore, I thought it would be impossible to take Miles’ photos. People thought Miles couldn’t come back on stage because of health reasons, but in September 1981, I was at the arrival hall at the airport waiting for Miles who were visiting Japan to play again. For jazz photographers, photographing Miles was a feather in the cap (something to be very proud of) and it was equal to receiving a medal. A very long time had passed since the arrival time [of Miles’ flight], and when I found Miles at the Immigration floor in the distance through a glass, I was already very nervous and excited. I felt relieved when I saw him talking to an [airport] escort staff with a smile. In the past, Miles got arrested for possessing guns or drugs, and there were times when concerts were canceled because he was not allowed to enter Japan.

When he showed up, he wasn’t with [his personal] escort staff, but with the actress [and soon wife-to-be], Cicely Tyson, who was said to have a lot of positive influences on him to start playing again. He was smiling, holding her hand.

Miles © Shigeru Uchiyama

TLM: What was the first Miles Davis concert you photographed? Do you have any memories about it that you can share?

SU: The first concert was at the stage set up among buildings in the city centre. The concerts were held over three days, and audiences of 10,000 people enjoyed them daily. Miles was limping around the stage and 60 photographers were chasing him frantically going right and left.

I realized that staying in the closest position may not always be a good idea, so after going right and left with others, I quietly left the pack and went to the back of the stage. When I inserted my camera lens between the black curtains, I could see Miles giving directions to the band members about rhythms. Also, I could see him asking for a cigarette at the stage wing during a very short break between songs.

TLM: Can you tell us about the first time you met Miles Davis?

SU: After the concert on the final day of the Tokyo performances, I took a group shot where all the members were backstage (in the dressing room). After a few shutter sounds, Miles walked to the exit without saying anything [and] without any expression, and I felt intimidated. Miles arrived at a hotel in Nagoya for concerts. When I pointed my camera toward him, he stared hard at me, walked to me, and said: “No picture!” with a hoarse voice and a piercing look. They were the very first words uttered by Miles towards me. I stood frozen on the spot. I was dreaming about pointing a camera lens at Miles, but I got frightened and overwhelmed with fear.

Miles © Shigeru Uchiyama

TLM: Looking at your amazing photographs, it is clear that Miles had a deep trust and respect both for you and for your work. Can you explain how you built up this incredible relationship with Miles Davis? Did he ever tell you why he liked you so much?

SU: When Miles came to Japan in 1981, I was just one of the press photographers who annoyed him. However, he might have seen my photos in jazz magazines and perhaps realised that the person who took those photos was me, who chased him around all the time. Two years later, when he came to Japan again for another Japan tour and I got close to him again, he grabbed my arm and said, “I’ll show you shadowboxing. Follow me.” He beckoned me to a swimming pool and said: “Why don’t you have a camera while I am swimming!?” When he saw sumo wrestlers, he said: “I’d like to take photos with them.” He used to hate being photographed, but his attitude toward photography had changed greatly. He said he showed his smiley photos to his friends telling them: “Jap made me smile so nicely.”

TLM: How did you approach photographing Miles?

SU: I almost never asked Miles for permission to take photos. As a photographer with a camera near him, it was obviously my intention to take his photograph. Miles rarely told me to take photos or not to take photos, because I am a photographer who has a great sense of when to shoot and when not to. If I had tried taking photos at a wrong moment, he would have kicked me out on the spot.

TLM: I am amazed at the many photographs you took of Miles at home or in a hotel room. How long did it take for Miles to allow such access to his personal life?

SU: He rarely accepted requests of interviews and photo sessions even if the requests were by famous (and authoritative) jazz magazines. Also, even if a request was accepted, he used to cancel it at last minute, or he changed the time and/or place – and usually, the new time and place were impractical for the interviewer. If an interviewer gave up on meeting him, then Miles would never see them again. The editor of an authoritative jazz magazine – a music journalist who is a big fan of Miles – and I passed a lot of unforgiving tests to get close to Miles.

Miles © Shigeru Uchiyama

TLM: When you visited Miles Davis’s home, how long did you stay there?

SU: In spring 1985, three of us were invited to his holiday house in Malibu. We flew from New York to LA to spend time just three hours with him. Miles let me take photos of him drawing pictures on his drawing pads and showing me each of his rooms: bathroom, kitchen, and his yellow Ferrari at the garage. It was a long daytrip. In summer 1986, we visited his place in Manhattan. He showed me his bathroom cluttered with his shaver and brush, his bedroom with his clothes and belts. Again, he didn’t try to hide his private life – he showed me everything.

TLM: No Picture! includes photographs of Miles at the Decoy sessions in A&R studios in New York. Did you photograph any other recording sessions and do you have any memories of them that you can share?

SU: In July 1983, I received information that Miles was coming to A&R studios so I went there. Later, Miles showed up and invited me into the studio saying “Follow me.” It was a month since I had last seen him at a concert in Japan, but he didn’t say hello and there were no handshakes. When I was listening to the recording at the control room, I suddenly got kicked out of the room. When Miles’ playing started getting good vibes, he suddenly said: “Get rid of that Jap!” It was only the time I saw Miles’ at a recording session.

TLM: I purchased your book Miles Smiles when I was in Japan. It is a superb but very rare book to find. How many copies were printed? Are there any plans to republish it?

SU: Miles Smiles was published in 1993, and the 3000 copies were all sold out, but there are no plans for a reprint. If there are any publishers who wish to publish the book in English or French, please let me know.

Shigeru Uchiyama: Miles Smiles cover

TLM: Can you tell us how many copies your latest book No Picture! have been printed?

SU: As you know, “No Picture!” were the very first words from Miles to me, who was chasing around and annoying him. 3000 copies were printed.

TLM: In No Picture! there is a striking photograph of Miles standing astride over a person lying on their back. Can you tell us who that person is and what is happening the picture?　

SU: After concerts, Miles used to listen to the concert tapes very loud in his hotel room. After the concert in Tokyo in 1985, his nephew, Vincent Wilburn Jr., came to Miles’ room and Miles gave him some advice as he was listening to the evening’s recording. Miles let him hear the same part repeatedly, then playfully held him down, and pointed out some parts that could be improved. I was very surprised to see him teaching his nephew so enthusiastically.

TLM: Do you have any favorite photographs of Miles?

SU: The cover photo of Tutu by Irving Penn is amazing. The art director was a very famous Japanese graphic designer, Eiko Ishioka.

Miles Davis: Tutu

TLM: What was Miles Davis’s reaction when he saw your photographs? Did he have any favorite images you took?

SU: This goes back to an earlier question. He said he showed his smiley photos to his friends telling them: “Jap made me smile so nicely.” It was a smiley photo of Miles opening his arms widely looking at the Pacific Ocean from his holiday house in Malibu.

TLM: Do you have any memories you can share about any of Miles Davis’s band members over the years?

SU: When Miles was still very cautious about me, Al Foster (I had known him for a while then) gave me some opportunities for taking band members’ group shots and some off-stage photos of Miles. The person who gave me the information about the secret recording in New York was Darryl Jones. After he joined Rolling Stones, I asked him to give me an opportunity to meet Mick Jagger, but it hasn’t happened yet. Other members like [saxophonist] Bill Evans and Mike Stern have been welcoming when I’ve seen them at concerts, and they willingly let me take their photos.

TLM: When was the last time you photographed Miles Davis?

SU: In the 1990s, Japan seldom hosted small venue gigs by super famous musicians like Miles. As a house photographer of Blues Alley Japan, that had newly opened in Tokyo, I took photos of his gigs for four nights in a row, and at an outdoor concert organized by the same club. And it was the last time I photographed Miles.

Miles © Shigeru Uchiyama

TLM: Can you recall the last time you saw Miles Davis?

SU: In summer 1991, I was at Avery Fisher Hall in New York, not holding a camera, but a concert ticket. It was three months before his death. I really enjoyed his concert as a member of the audience, without a camera, and I burned the experience into my heart. It was the last time I saw Miles and I didn’t even visit him backstage.

TLM: Are you planning any more books or new exhibitions about Miles Davis?

SU: I am hoping to hold photo exhibitions in London and Paris before I die.

TLM: Can you share some of your favourite memories of Miles Davis please?

SU: Miles often canceled interview appointments at the last minute. When I visited him at a hotel room with an editor, a writer, and a Japanese celebrity as an interviewer, he looked uneasy, walking around the room, going into his bedroom, and coming back. He said: “This is my day, not your day. I won’t let you interview me or take photos.” He mumbled some complaints repeatedly and we were kicked out. As I was leaving his room, after everyone else had left, he casually put his hand on my shoulder. It was as if he was saying: “I know you understand me. Please come again.” I just nodded. It was a happy cancellation memory for me.

Miles © Shigeru Uchiyama

TLM: Can I also ask you about Jaco Pastorius? Can you share some of your memories of photographing him and what he was like as a person?

SU: One day in 1981, I got a call from a person in charge of jazz in a record company. He sounded upset and asked me if I could come to a photo studio in Yotsuya [a neighborhood in Tokyo]. He said they had reserved a photo studio to take Jaco’s photos for an advertisement, but he didn’t like the photographer they had assigned, and kept insisting that they should call Uchiyama. I rushed to the studio and took a lot of photos of him from various angles within a limited time by changing background colors and being creative with lights. Jaco showed me many different appearances: changing his shirts, tying his long hair, and untying it. When I said I’d like to capture the photos with his bass guitar blurred, he shook the neck of the bass again and again. This is one of the unforgettable photo sessions for me.

Jaco Pastorius © Shigeru Uchiyama

Jaco and I were both born in 1951. Ever since I covered Weather Report’s Japan tour right after Jaco joined them as a new member, we had been really getting along as friends of the same age. “Let’s go to instrument stores together.” “I’m going to bring my bass with me, so please take my photos with my instrument on the street and on the subway,” he would say with an impish smile. A few days later, when I showed him the photos, he happily wrote a lot of “J”s on the contact sheets with a red pen. When I saw him at a jazz club in New York, he introduced me to his band members saying, “This is the world’s best photographer who photographed the world’s best bass player.” That was hilarious and it made me happy! He often used the expression “world’s best.”

The last time I met Jaco was at an outdoor concert held at a pier of Manhattan. I don’t know why he was there. He looked a little woozy, but was happy about finding me, and he gave me a can of beer. I drank it feeling confused. The following year, he passed away from such a sad incident [In 1987, Jaco was beaten to death by a club bouncer]. Jaco had mental health issues, but he was a genius. He was really a good guy who cherished friendship.

Miles © Shigeru Uchiyama

Many thanks to Shigeru for taking the time to answer my questions, and thank you to Kumiko, for all her hard work in translating our words.

You can see our review of Miles Smiles here and our review of No Picture! here.

Many of Shigeru’s great images can be seen on his Flickr page and Shigeru’s Facebook page is here.

英"Jazzwise"誌 書評

UKの ジャズ専門誌”Jazzwise"にマイルス･デイビス写真集「No Picture!」の書評をいただいた。筆者のジャズ･ジャーナリスト：George Cole からは別のインタビューも受けており 近くリリースされる予定
ジャズ･ワイズの原文は以下のとおり・・・いいこと書いてくれています
＼(^o^)／♬

No Picture!
Shigeru Uchiyama
Tokyo Kirara £35

Miles Davis was photographed countless times, but few photographers managed to get up close and personal in the way that Shigeru Uchiyama did. The Japanese photographer was just 30 when Miles played his first post-retirement concerts in Japan in 1981, and Uchiyama soon gained the musician’s trust and confidence, to the extent that over the years, he was free to capture Miles onstage, backstage, at home, in hotel rooms and in the studio.

In 1993, Uchiyama’s first collection of Miles photographs was published in a book, Miles Smiles. Now long out of print, the book goes for silly prices online (if you can find a copy). In 2016, this second collection was published in Japan only. Now, publisher and bookseller Idea is distributing No Picture! in the UK (www.ideanow.online/store). At £35 plus postage, it’s not cheap, but if you were to personally import a copy from Japan, it would cost north of £50 when you add postage, import duty and other charges. I should add that the book soon sells out and you may have to go on a waiting list until more copies arrive.

The book is well-produced, with a glossy cover and large obi strip. It’s also slim – just 144 pages – but packed with around 100 colour and black and white photographs, taken between 1981 and 1990 – there are no captions. There are ten pages of text in Japanese, featuring an interview with Uchiyama. Also included is an excellent index, with a thumbnail image of each shot and the date it was taken. This is a small book – A5 size - which is a shame, as these pictures deserve a larger format.

Nevertheless, there is plenty to savour, and you get to see many new sides of Miles, from relaxing in a swimming pool to hanging out in his Malibu kitchen, as well as sitting in his hotel room, catching a train in Tokyo, and recording the Decoy album in a New York studio. Naturally, there are lots of shots of Miles onstage from his various Japan tours, many just featuring Miles, but others including band members. One of my favourite images shows Miles tweaking the nose of a smiling Mike Stern. This is a splendid photo documentary of Miles’s last decade.

George Cole 　 　 　

踊り子号とマイルス

伊豆の「踊り子号」ラスト･ランてことで
マイルスと踊り子号に乗った時の事を思い出した。1990年 伊豆高原グランパル公園のライブ会場へメンバーと共に移動した。

列車がトンネルに入ると丸い天井に星空が映し出されて 歓声が上がったのを鮮明に覚えている。マイルスはこのとき終始ご機嫌だった、懐かしい思い出のひとつ。

An Evening with MILES

鳥取市出身在住の造形作家：徳持耕一郎氏

ジャズ好きがご縁で親交を深めるようになって、「鳥取JAZZ」に併せて開催した 写真と造形の二人展（2016年）を皮切りに 東京都世田谷美術館（2017年） 昨年は仙台三越で「常禅寺 Street jazz」の会期中に「Jazz Meet Art」と題した展覧会をご一緒にさせていただいた。

太い細いの鉄筋を切断し曲げて伸ばして接合して創作される 躍動感のあるジャズ･ミュージシャンの造形、 他に類を見ない独特の徳持ワールド表現が素晴らしい。

この「MILES」は徳持氏が僕の写真をモチーフに制作して 長らく Jazz & Café Gallery Whisper に展示させていただいているもの。 鳥取市で来週（１月18日から）開催される氏の個展会期に合わせ 改めて作品の撮影を依頼されたので その予行演習のために 夕刻からMILESを東京の街に連れ出した。

MILES TALK／内山 繁

高級オーディオ装置で聴くレコード･コンサートと MILESトーク企画が決定した。

僕が尊敬し憧れのジャズ・フォトグラファー：内藤忠行氏が開いた同様のイベントに参加したのがきっかけで この会場のオーナー写真家でありジャズ･ファンである成宮真一氏から お誘いを受けた事がさっそく実現したもの。

1975年に来日したあと 突如音楽活動を休止した ジャズの帝王：マイルス･デイヴィス　‘81年に復活してから 晩年まで コンタクトの機会をたびたび得て 僕は白熱するライブ･ステージのみならず 私生活に至るまでを フィルムに記録することができた。

膨大な貴重なジャズ史の記録の中から 自信作・代表作をご覧いただきながら 舞台裏や私生活でのマイルス秘話をお話しましょう。

会場は さいたま市郊外の写真館「トニーなるみや」に併設された”音楽室”
高級オーディオ装置を備えたギャラリー様の贅沢なスペースで 極上の音空間をお楽しみいただけます。

日時：4月29日（日/祭）　5月27日（日）　いずれも 13:30〜17:00
場所：さいたま市 見沼区 東新井 710-29 「トニーなるみや」
　　　　048-685-7038　http://www.tony7038.com/pg252.html

MILES × SAKURA 内藤忠行

内藤忠行氏は ジャズ･ミュージシャンをシャープに切り撮るカメラマンでありながら 風景や事物をも実に叙情的に造形的に写真表現で見せる 僕がジャズを撮り始める以前から 憧れの写真家のひとりだった。

ジャズの現場で 時には肩を並べて撮影させていただくようになってからは 同じ条件下で同じ被写体を撮った氏の写真を目にして 驚かされ関心させられ 多くを学ばされた。

近年しばらく お会いする機会もなかったので 氏のトーク企画を知って さっそく予約を入れた。

さいたま市の写真館「トニーなるみや」に併設された”音楽室”は 高級オーディオ装置を備えたギャラリー様のスペースで ジャズ好き（もちろんマイルス好き）でオーディオ好きオーナー：成宮真一氏の贅沢なリビング･ルームと見えた

内藤さんと嬉しい再会を果たし 貴重な経験談や写真論を興味深く聞くことができた。　オーナー成宮氏と多くの参加者を交えて 同好の士の話は尽きず 大いに盛り上がった いかした時間を過ごさせていただきました。

成宮氏がプリントした 内藤作品をいただいたので ３点並べて額装しました 今日から Jazz & Café Gallery "Whisper”でご覧いただけます。ありがとうございました。

1991年9月28日 MILES DAVIS

ニュージーランドの緩やかに起伏する緑の中を果てしなく続く一本道・・・車のラジオから流れる静かなミュート･トランペットの音に重ねて マイルスの訃報が伝えられた

僕がマイルスに出会ってから きっかり十年目だった

即座に信じられなかった

ゆっくりと湖畔に車を寄せて停めると 朝もやの湖面に想い出の情景が フラッシュ･バックのように次々と蘇っては消えていった

弱った老人のようなマイルス

鋭い眼光の恐怖のマイルス

時折見せた得意顔や気取り顔 そして笑顔・・・

十年間に僕は 数多くの表情をカメラに収めることができた

「またお前だな」と許してくれたマイルスの素顔の写真集「マイルス スマイルズ」は 僕の心のフィルムに鮮明に定着され 今も懐かしく蘇るマイルスの すばらしい笑顔の想い出である

1991年の夏 ニューヨークのエイブリー･フィッシャー･ホールにいた僕は カメラではなく コンサート･チケットを握りしめていた

死のわずか三ヶ月前にして 初めてのことだった

カメラを持たない僕は 聴衆の一人として 純粋にコンサートを楽しみ 心のフィルムにしっかりと その感動を焼き付けることができた

楽屋にさえ訪ねて行かなかったこのコンサートが 僕が見た最後のマイルスになってしまった

最後のフォト セッションは 1990年 東京目黒に新しくできたクラブのオープニング アクトのための来日時だった

ライブの撮影は順調だったが クラブ側が望んだフォト セッションのチャンスは 再三にわたって徒労に終わっていた

ついに最終日 僕は控え室になっていたクラブ上階に上がって 機会を待っていた

この階には 部屋にも廊下にもマイルスの描いたかなり大きいサイズの絵が 額装もしないまま無造作にピン止めにされてあった

何人かと談笑しながら 時折開かれるドア越しに 僕が待ち構えているのを確認しているようなマイルスの目と 目が合った

絵の前で写真を撮らせてほしいと頼んでから 相当の時間待たされた後 カメラに向かっていい顔をして撮らせたのは まさにほんの一瞬の出来事だった

僕があっけにとられている間に マイルスはまた部屋の中に消えてしまっていた

まったく自信のないワン･ショットだったが 現像されたフィルムの上に現れたマイルスは 実にいい顔で写っていたのだった

ジャズ･シーンに そして多くのミュージシャンに多大な影響を与え 壮絶な生き方で その一生を閉じた 帝王マイルス･デイヴィス

僕は この音楽史上の偉人と同じ時代に生きた幸運だけじゃなく 彼の私生活に至るまでを写真に残すという幸運までをも得ることができた

マイルスを写真集にまとめる夢が 訃報に接した時から さらに大きく膨らみ続けていた

こうして実現された今 僕は大きな義務を果たし終えた安堵感の中に さらなる幸運を感じてやまない

ここに掲載した写真の多くを撮るチャンスを与えてくれたスイングジャーナル社をはじめ 写真集の実現にご協力いただいた方々に 厚く心からのお礼を申し上げたい

最後のフォト･セッションで撮影した マイルスのすばらしい笑顔の写真を最後に置いて 「マイルス スマイルズ」を閉じることにしよう

・・・冥福を 心から 祈りながら・・・

マイルス･デイヴィス写真集「MILES SMILES」 あとがきより／内山 繁

マイルスとジャコと美代子さん

「ウチヤマさ〜ん！ マイルスがプールで泳いでるよぉ・・・早く行かなきゃ！」って 教えてくれたのは 三浦美代子さん 1983年5月 大阪ロイヤル･ホテルでのこと。

　
　L:プール上がりのマイルスを笑顔で迎えた美代子さん
　R:プール･サイドで「さあ撮れ！」とポーズしてみせるマイルス

美代子さんがあのとき声を掛けてくれなかったら 僕はプール･サイドで笑顔のマイルスに会うことができなかった・・・プールで泳ぐマイルスの貴重なショットを撮れなかった。

マイルス専属の通訳としてだけではなく ツアー中は常に一番近いところにいて身の回りを気遣うアテンダーでもあった美代子さん・・・新しい衣裳のパンツを本番用に裾上げを手伝ったとき マイルスの片脚が（事故後の手術のせいで）数センチも短かったこと、靴のヒールも左右高さが違ってたと 当時の想い出を話してくれた。

間もなく刊行される ジャコ･パストリアス写真集「JACO」のために（元Weather Reportのドラマー）ピーター･アースキンが寄せてくれたメッセージを 心温まる思いをそのまま日本語訳してくれたことが（ジャコの大ファンでもある）美代子さんとの再会のきっかけになった。

ピーターと奥さま睦子さん そして美代子さんとの温かい友情に感謝します、ありがとうございました。