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This blogger, Richard Gehr, is not an employee of AARP. The opinions expressed in the blog are not necessarily the opinions of AARP and AARP assumes no liability for the content posted by Mr. Gehr or any other participant

DownBeat magazine has assembled into a 350-odd-page book nearly all of its Miles Davis coverage in three sections devoted to news, features, and reviews. No artist was covered so thoroughly in the magazine; Miles's intelligence, talent, charisma, and charming pugnacity always made him a fascinating subject.

And who could blame him for his defensiveness? The earliest news items in "The Miles Davis Reader" recount a 1959 altercation involving Miles and a police officer. The episode escalated into a threatened wrongful arrest suit against the City of New York. Fearing future harassment should the suit be pursuit, Miles let the matter drop when he was cleared of all charges.

Miles was an irrespressible critic in the several "Blindfold Tests" he submitted to over the years. In a particularly spiky 1964 encounter, he brutalizes Les McCann and the Jazz Crusaders ("What's that supposed to be? That ain't nothin'"), Clark Terry ("I've always liked Clark. But this is a sad record"), and a trio consisting of Duke Ellington, Charles Mingus, and Max Roach ("Duke can't play with them, and they can't play with Duke") in the course of a single session.

One writer visited Miles at the Johnny Coulton Physical Training Club, where he boxed, and the interview got physical. Another saw Miles at home and described a bedroom he'd never want to leave. A third wondered what Davis had been listening to lately. "Nobody—I listen to Stockhausen," Miles replied, referring to avant-garde composer Karlheinz Stockhausen, who died on Dec. 5, 2007. Reviews range from enthusiasm to adulation, except for an early-'70s valley of disdain for Miles's electric experiments. However, this was rectified when the performances were reissued during the '80s via some inciteful reconsiderations.

Davis's evolving sartorial panache can be appreciated in DownBeat's cover designs, which likewise devolved from cool to groovy to gaudy.

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