Background and career
Miles Dewey Davis III (May 26, 1926 – September 28, 1991) was an American trumpeter, bandleader, composer, and painter. He is among the most influential and acclaimed figures in the history of jazz and 20th-century music. In a career spanning nearly five decades, Davis was at the forefront of several major stylistic developments in jazz, including bebop, cool jazz, hard bop, third stream, modal jazz, avant-garde jazz and jazz fusion. His legacy extends into rock, funk, classical and hip-hop. Born into an affluent family in Alton, Illinois, and raised in East St. Louis, Davis started on the trumpet in his early teens. He left to study at the Juilliard School in New York City, before dropping out and making his professional debut as a member of saxophonist Charlie Parker's bebop quintet from 1944 to 1948. Shortly afterwards, he recorded the Birth of the Cool sessions for Capitol Records, which were instrumental to the development of cool jazz. In the early 1950s, Davis recorded some of the earliest hard bop music under Prestige Records. After a widely acclaimed comeback performance at the Newport Jazz Festival, he signed a long-term contract with Columbia Records, and recorded the album 'Round About Midnight in 1955. It was his first work with saxophonist John Coltrane and bassist Paul Chambers, key members of the sextet he led into the early 1960s. During this period, he alternated between orchestral jazz collaborations with arranger Gil Evans, such as the Spanish music–influenced Sketches of Spain (1960), and band recordings, such as Milestones (1958) and Kind of Blue (1959). The latter recording remains one of the most popular jazz albums of all time, having sold more than five million copies in the U.S. alone and 6.4 million copies worldwide. Davis made several lineup changes while recording Someday My Prince Will Come (1961), his 1961 Blackhawk concerts, and Seven Steps to Heaven (1963), another commercial success that introduced bassist Ron Carter, pianist Herbie Hancock and drummer Tony Williams. After adding saxophonist Wayne Shorter to his new quintet in 1964, Davis led them on a series of more abstract recordings often composed by the band members, helping pioneer the post-bop genre with albums such as E.S.P. (1965) and Miles Smiles (1967), before transitioning into his electric period. During the 1970s, he experimented with rock, funk, African rhythms, emerging electronic music technology, and an ever-changing lineup of musicians, including keyboardist Joe Zawinul, drummer Al Foster, bassist Michael Henderson and guitarist John McLaughlin. This period, beginning with Davis's 1969 studio album In a Silent Way and concluding with the 1975 concert recording Agharta, was the most controversial in his career, alienating and challenging many in jazz. His million-selling 1970 record Bitches Brew helped spark a resurgence in the genre's commercial popularity with jazz fusion as the decade progressed. After a five-year retirement due to poor health, Davis resumed his career in the 1980s, employing younger musicians and pop sounds on albums such as The Man with the Horn (1981), You're Under Arrest (1985) and Tutu (1986). Critics were often unreceptive, but the decade garnered Davis his highest level of commercial recognition. He performed sold-out concerts worldwide, while branching out into visual arts, film and television work, before his death in 1991 from the combined effects of a stroke, pneumonia and respiratory failure, aged 65. In 2006, Davis was inducted into the Rock and Roll Hall of Fame, which recognized him as "one of the key figures in the history of jazz". Rolling Stone magazine described him as "the most revered jazz trumpeter of all time, not to mention one of the most important musicians of the 20th century", while Gerald Early called him inarguably one of the most influential and innovative musicians of that period.
Davis was born on May 26, 1926, to an affluent African-American family in Alton, Illinois, a suburb of St. Louis, Missouri. He had an older sister, Dorothy Mae (1925–1996), and a younger brother, Vernon (1929–1999). His mother, Cleota Mae Henry of Arkansas, was a music teacher and violinist, and his father, Miles Dewey Davis Jr., also of Arkansas, was a dentist. They owned a 200-acre (81 ha) estate near Pine Bluff, Arkansas, with a profitable pig farm. In Pine Bluff, he and his siblings fished, hunted and rode horses. Davis's grandparents were the owners of an Arkansas farm where he would spend many summers. In 1927, the family moved to East St. Louis, Illinois. They lived on the second floor of a commercial building behind a dental office in a predominantly white neighborhood. Davis's father would soon become distant to his children, as the Great Depression caused him to become increasingly consumed by his job, typically working six days a week. From 1932 to 1934, Davis attended John Robinson Elementary School, an all-black school, then Crispus Attucks, where he performed well in mathematics, music and sports. Davis had previously attended Catholic school. At an early age he liked music, especially blues, big bands and gospel.
In 1935, Davis received his first trumpet as a gift from John Eubanks, a friend of his father. He then took weekly lessons from "the biggest influence on my [Davis's] life", Elwood Buchanan, a teacher and musician who was a patient of his father's. His mother wanted him to play the violin instead. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato and encouraged him to use a clear, mid-range tone. Davis said that whenever he started playing with heavy vibrato, Buchanan slapped his knuckles. In later years, Davis said, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can't get that sound I can't play anything." The family soon moved to 1701 Kansas Avenue in East St. Louis. In his autobiography, Davis stated, "By the age of 12, music had become the most important thing in my life." On his 13th birthday, his father bought him a new trumpet, and Davis began to play in local bands. He took additional trumpet lessons from Joseph Gustat, principal trumpeter of the St. Louis Symphony Orchestra. Davis would also play the trumpet in talent shows he and his siblings would put on. In 1941, the 15-year-old attended East St. Louis Lincoln High School, where he joined the marching band directed by Buchanan and entered music competitions. Years later, Davis said that he was discriminated against in these competitions due to his race, but he added that these experiences made him a better musician. When a drummer asked him to play a certain passage of music, and he could not do it, he began to learn music theory: "I went and got everything, every book I could get to learn about theory." At Lincoln, Davis met his first girlfriend, Irene Birth (later Cawthon). He had a band that performed at the Elks Club. Part of his earnings paid for his sister's education at Fisk University. Davis befriended trumpeter Clark Terry, who suggested he play without vibrato, and performed with him for several years. With encouragement from his teacher and girlfriend, Davis filled a vacant spot in the Rhumboogie Orchestra, also known as the Blue Devils, led by Eddie Randle. He became the band's musical director, which involved hiring musicians and scheduling rehearsal. Years later, Davis considered this job one of the most important of his career. Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, which was passing through town, but his mother insisted he finish high school before going on tour. He said later, "I didn't talk to her for two weeks. And I didn't go with the band either." In January 1944, Davis finished high school and graduated in absentia in June; the next month, his girlfriend gave birth to a daughter, Cheryl. In July 1944, Billy Eckstine visited St. Louis with a band that included Art Blakey, Dizzy Gillespie and Charlie Parker. Trumpeter Buddy Anderson was too sick to perform, so Davis was invited to join. He played with the band for two weeks at Club Riviera. After playing with these musicians, he was certain he should move to New York City, "where the action was". His mother wanted him to go to Fisk University, like his sister, and study piano or violin. Davis had other interests.
In September 1944, Davis accepted his father's idea of studying at the Juilliard School of Music in New York City. After passing the audition, he attended classes in music theory, piano and dictation. Davis often skipped his classes. Much of Davis's time was spent in clubs seeking his idol, Charlie Parker. According to Davis, Coleman Hawkins told him "finish your studies at Juilliard and forget Bird [Parker]". After finding Parker, he joined a cadre of regulars at Minton's and Monroe's in Harlem who held jam sessions every night. The other regulars included J. J. Johnson, Kenny Clarke, Thelonious Monk, Fats Navarro and Freddie Webster. Davis reunited with Irene and their daughter Cheryl when they moved to New York City. Parker became a roommate. Around this time Davis was paid an allowance of $40 (equivalent to $730 in 2025). In mid-1945, Davis failed to register for the year's autumn term at Juilliard and dropped out after three semesters because he wanted to perform full-time. Davis began performing at clubs on 52nd Street with Coleman Hawkins and Eddie "Lockjaw" Davis. Davis recorded for the first time on April 24, 1945, when he entered the studio as a sideman for Herbie Fields's band. During the next year, he recorded as a leader for the first time with the Miles Davis Sextet plus Earl Coleman and Ann Baker, one of the few times he accompanied a singer.
In 1945, Davis replaced Dizzy Gillespie in Charlie Parker's quintet. On November 26, he participated in several recording sessions as part of Parker's group Reboppers that also involved Gillespie and Max Roach, displaying hints of the style he would become known for. On Parker's tune "Now's the Time", Davis played a solo that anticipated cool jazz. He next joined a big band led by Benny Carter, performing in St. Louis and remaining with the band in California. He again played with Parker and Gillespie. In Los Angeles, Parker had a nervous breakdown that put him in the hospital for several months. In March 1946, Davis played in studio sessions with Parker and began a collaboration with Charles Mingus that summer. Cawthon gave birth to Davis's second child, Gregory, in East St. Louis before reuniting with Davis in New York City the following year. Davis noted that by this time, "I was still so much into the music that I was even ignoring Irene." He had also turned to alcohol and cocaine. Davis was a member of Billy Eckstine's big band in 1946 and Gillespie's in 1947. He joined a quintet led by Parker that also included Max Roach. Together they performed live with Duke Jordan and Tommy Potter for much of the year, including several studio sessions. In one session that May, Davis wrote the tune "Cheryl", for his daughter. Davis's first session as a leader followed in August 1947, playing as the Miles Davis All Stars that included Parker, pianist John Lewis and bassist Nelson Boyd; they recorded "Milestones", "Half Nelson" and "Sippin' at Bells". After touring Chicago and Detroit with Parker's quintet, Davis returned to New York City in March 1948 and joined the Jazz at the Philharmonic tour, which included a stop in St. Louis on April 30.
In August 1948, Davis declined an offer to join Duke Ellington's orchestra, as he had entered rehearsals with a nine-piece band featuring baritone saxophonist Gerry Mulligan and arrangements by Gil Evans, taking an active role on what soon became his own project. Evans's Manhattan apartment had become the meeting place for several young musicians and composers such as Davis, Roach, Lewis and Mulligan who were unhappy with the increasingly virtuoso instrumental techniques that dominated bebop. These gatherings led to the formation of the Miles Davis Nonet, which included atypical modern jazz instruments such as the French horn and tuba, leading to a thickly textured, almost orchestral sound. The intent was to imitate the human voice through carefully arranged compositions and a relaxed, melodic approach to improvisation. In September, the band completed their sole engagement as the opening band for Count Basie at the Royal Roost for two weeks. Davis had to persuade the venue's manager to write the sign "Miles Davis Nonet. Arrangements by Gil Evans, John Lewis and Gerry Mulligan". Davis returned to Parker's quintet, but relationships within the quintet were growing tense mainly due to Parker's erratic behavior caused by his drug addiction. Early in his time with Parker, Davis abstained from drugs, chose a vegetarian diet, and spoke of the benefits of water and juice. In December 1948, Davis quit, saying he was not being paid. His departure began a period when he worked mainly as a freelancer and sideman. His nonet remained active until the end of 1949. After signing a contract with Capitol Records, they recorded sessions in January and April 1949, which sold little but influenced the "cool" or "West Coast" style of jazz. The lineup changed throughout the year and included tuba player Bill Barber, alto saxophonist Lee Konitz, pianist Al Haig, trombone players Mike Zwerin with Kai Winding, French horn players Junior Collins with Sandy Siegelstein and Gunther Schuller, and bassists Al McKibbon and Joe Shulman. One track featured singer Kenny Hagood. The presence of white musicians in the group angered some black players, many of whom were unemployed at the time, yet Davis rebuffed their criticisms. Recording sessions with the nonet for Capitol continued until April 1950. The Nonet recorded a dozen tracks which were released as singles and subsequently compiled on the 1957 album Birth of the Cool. In May 1949, Davis performed with the Tadd Dameron Quintet with Kenny Clarke and James Moody at the Paris International Jazz Festival. On his first trip abroad, Davis took a strong liking to Paris and its cultural environment, where he felt black jazz musicians and people of color in general were better respected than in the U.S. The trip, he said, "changed the way I looked at things forever". He began an affair with singer and actress Juliette Gréco.
Sources
Net-worth figure: Celebrity Net Worth (October 2026), in USD. Biography and career facts: the person's Wikipedia article and linked reporting. Snapshot date for all StarWorth figures: 28 October 2026.
