Most consider it criminal that he never reached a larger audience. Mainstream success eluded Cosey, but his reputation and influence are massive. An insatiable tinkerer, Cosey experimented with tunings, pedals, synths, and butchered instruments in his never-ending quest for an elusive tone. His impressive resume included stints with a who’s who of the late-’60s Chicago scene-serious gigs with big names in R&B, early funk, blues, psychedelia, straight-ahead jazz, and the city’s burgeoning avant-garde movement. It was always tasteful and appropriate, regardless of how far out he took it.īut Cosey was no newcomer when he joined Davis. It was a sonic adventure-innovative, complex, dissonant, abrasive, yet ambient, subtle, and rooted in the blues. And his playing was unlike anything else.
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He performed seated and was surrounded by guitars, handheld percussion instruments, and a floor full of stompboxes.
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And at the epicenter of that mid-’70s lineup-the nuclear bomb Davis dropped on jazz-was the late, great guitarist Pete Cosey.Ĭosey was an imposing figure: A large man with big hair and a long beard wearing flowing robes and dark glasses. Although Davis had already gone electric in 1969 with the release of In a Silent Way, as radical as some of his early electric work was, it was nothing compared to the bombastically epic avant-funk he’d unleash just a few years later. But the direction of the 1973–75 incarnation of his band was unusual.
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Davis did this often-he was at the forefront of almost every innovation in jazz.
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In the early to mid 1970s, Miles Davis changed musical directions.