This study will provide a critical analysis of Miles: The Autobiography, focusing on what the author has to say about the history of jazz, the relationship between jazz and American culture, and the importance of jazz in understanding issues of race in American society. The book's consideration of these issues is in every case filtered through the harshly candid and largely self-centered personality of Miles Davis. Davis has no intention of discussing these subjects from a political, historical, musicological or sociological perspective. The author has only one perspective--emotional. In that emotional, passionate context, Davis makes clear that to him jazz is a unique and priceless expression of black culture which has been overlooked by the dominant white culture as well as by young blacks who do not appreciate their heritage.
As Davis explores these issues, his passion for music underscores almost every observation. He is telling not the story of jazz, not the story of black culture, not the story of racism in the United States. He is telling the story of himself, and primarily of himself as a trumpet player. All other considerations flow from his image of himself as a jazz musician and perhaps the greatest, most innovative trumpet player of all time.
Davis emerges as a self-centered, often immature man, an innovator in the evolution of jazz to be sure, but an individual whose driving passion for his music prevents his development in other areas of life. Perhaps Davis is convinced that such an attitude toward others is a necessary part of his musical genius, as if he believes he has to protect himself from fully developed relationships in order to save the best part of himself for his music.
Such speculation is important for this study only insofar as it establishes the paramount role of Davis' self-centered personality in this book. Davis shows little or no interest in politics, social issues, history, literature, o...