A. Phillip Randolph Square (Harlem), 75
Ace, Johnny, 113
Acupuncture treatment, 68
Adderley, Julian “Cannonball,” 123, 124, 164
Adero, Malaika, 39
African Americans. See Black Americans
“Ain’t That a Shame,” 116
Akagi, Kei, 89
Album covers, 52, 93–94, 140, 145, 153. See also Record albums
Alcoholism, 147
Algren, Nelson, x
“All Blues,” 41
Allen, Woody, 150
Allison, Jay, 82
Amandla (Davis), 58, 74, 90, 108, 154–55, 163
Amnesty International concert (1986, Meadowlands Stadium), 65–66
Anderson, Leonard, 12
Annie Malone Parade (St. Louis), 6
Armani fashion, 88
Armstrong, Louis, 1, 6, 94, 170
Arnold, Fred, 12
Art Blakey and the Jazz Messengers, 123
Ashford and Simpson, 102
Aura (Davis), 154
Avery Fisher Hall (New York City): 1974 concert at, 148–49; 1981 concert at, 23, 150–51; 1989 concert at, 87–90
“Back Seat Betty,” 152
Baker, Harold “Shorty,” 5
Baldwin, James, xi, 77, 182; death of, 160–61
Barkin, Ellen, 73
Basie, Count, xi
Beaumont High School (St. Louis), 114, 116–17
Benassi E. Vaccari fashion, 88
Bender, Bob, 39
Berry, Chuck, 104–5, 113, 116, 117, 118, 167, 179
Big-band sound, 152, 153, 154–55
Big Fun (Davis), 143
Bill Haley and the Comets, 116
Birdland (New York City), 128
Bitches Brew (Davis), 129, 164; cover of, 140; critical reaction to, 139; electric instrumentation in, 137, 141; jazz-rock fusion in, 141, 142–43; younger audiences of, 138
Black Americans: On the Corner for, 145; fish joints of, 111–12; policemen’s treatment of, 152–53; self-identity issues for, 115–16, 117; skin color concerns of, 54–55; “unreconstructed” black image of, 118, 167–68. See also Black musicians
Blackmon, Larry, 58
Black musicians: forward-moving tradition of, 44; marching bands of, 4–6; racist treatment of, 32–34, 116–17, 170, 171–72, 174–75
Blanchard, Terrence, 6
“Blue ’n’ Boogie,” 119
Bolden, Buddy, 5
Bono (U2 pop star), 65
Boone, Pat, 116
Bowie, Lester, 5
Brathwaite, Freddie (Fab Five Freddie), 74–75
Brown, China (Troupe’s stepfather), 114, 115
Brown, Clifford, 161
Brown, Dorothy Smith Troupe (Troupe’s mother), 114, 115
Brown, James, 44, 55, 81, 132, 136; influence of, on Miles, 145; Miles’ loyalty to, 105
Brown, Marie, 39
Buckmaster, Paul, 153
Bugle playing, 5. See also Trumpet playing
Butler, George, 31
The Cadillacs, 113
Camus, Albert, x
Cannon, Steve, 148
Carmichael, Stokely, 167
Central Park (New York City), 24, 145
Césaire, Aime, 127
Cinelu, Mino, 151
Circle in the Round (Davis), 143
“Code M.D.,” 152
Coleman, Ornette, 150
Collins, Phil, 44
Coltrane, John, 1, 41, 81, 144, 164; death of, 135; Leonard Feather on, 139; in first quintet, 123; in Miles: The Autobiography, 93; Miles’ closeness to, 70, 161; at Peacock Alley, 10–11; “sheets of sound” style of, 124, 132; Troupe’s esteem for, 132, 133; and McCoy Tyner, 61, 63
Cooke, Sam, 113
Cookin’ (Davis), 123
Corea, Chick, 142
Cosey, Pete, 148
Critics: on Bitches Brew, 139; on electrical instrumentation, 139–40; on Kool Jazz concert of 1974, 148–49; on Kool Jazz concert of 1989, 87; on The Man with a Horn, 151; on Miles: The Autobiography, 93; on Miles in second quintet, 134; on Miles’ later music, 166; on On the Corner, 147; on Sketches of Spain, 129; on We Want Miles, 151
Crouch, Stanley, 139, 172, 173
Cruz, Emilio, 80
Cruz, Pat, 80
DaCosta, Sandra, 23, 31, 41, 179–80
Dalí, Salvador, 55
Davis, Miles: AIDS rumors about, 76–78; annual birthday parties for, 103–4; and James Baldwin’s death, 160–61; in Blue Devils band, 30–31; boxing heroes of, 31; busted outside Birdland, 128–29; careers launched by, 164; celebrities paying homage to, 65–67; in the dark years, 21–22, 147; at Sammy Davis Jr.’s bedside, 95–96; death of, 157–60; and Gil Evans’s death, 70; and Jo Gelbard, 69, 108–9, 157, 169; health problems of, 41–42, 68–69, 76–77, 96–97, 100–101; and John Hicks, at 1974 concert, 149–50; homeboys’ relationship with, 2, 3–4; homosexual friends of, 77–78; interviews with, 23, 25, 27–34, 39, 78–81, 83–85, 86; in Knights of Malta, 76; Betty Mabry’s marriage to, 135; Malibu home of, 42; Manhattan apartment of, 25–26; Wynton Marsalis’s philosophy versus, 32–34, 87, 172–73; move from Columbia to Warner by, 32, 153–54; neighborhood sightings of, 9–10; nicknames for, 4, 17; policemen’s treatment of, 152–53; reaction of, to Miles, 91–92, 94; riding in Troupe’s car, 35–37; and road manager candidate, 71–72; sports cars of, 42–43, 48; Steve Rowland detested by, 82–86; tirade of, over Jo Gelbard, 107–9; tirade of, over old jazz, 106–7; and Margaret Troupe, 97–101; and Porter Troupe, 45–49; and Troupe’s dreadlocks, 27, 28–29; Troupe’s first meeting with, 9, 15–17; Troupe’s hero worship of, 121–22, 127, 133; at Tutu video party, 101–2; Cicely Tyson’s marriage to, 23, 67–69; Vincent Wilburn fired by, 73. See also Davis, Miles, music of; Davis, Miles, personal traits of
Davis, Miles, music of: and band personnel problems, 50–52, 73; big-band sound of, 152, 153, 154–55; in comeback period, 23, 150–53; electrical amplification of, 136, 137, 139, 141; in first quintet period, 122–25; forward movement of, 135–36, 138–40, 166; funk-jazz fusion in, 145, 146–47; group ensemble style of, 143, 146–47, 164–65; inclusivity of, 125–27, 135–36, 165, 173–74; in modal period, 124; move from old jazz in, 32, 44, 87, 106–7, 164–65, 172–73; older versus younger audiences of, 137–38; rock-jazz fusion in, 131–32, 136, 141, 142–43; “running” trumpet style of, 2, 124, 165–66; in second quintet period, 133–35, 142; unique sound of, 1–2; unrecognized contributions of, 170, 171–72, 173, 174–75. See also Performances; Record albums; Recordings
Davis, Miles, personal traits of: apparel preferences, 15, 17, 59, 66–67, 80, 89, 153; aversion to funerals, 160–61; childlike quality, 45; contradictory nature, 55–56; disciplined routine, 69; disdain for the past, 41, 44, 106–7; disdain for weakness, 30, 56, 64–65, 99; drug use, 22, 81, 120, 121, 147, 149; eating habits, 55, 94–95; fear of public interviews, 78–79, 80–82; generosity, 40, 78; gum-chewing habit, 17, 59; hair loss concerns, 28, 53–54; into head games, 59–64; hidden funny side, 42, 169; imperial attitude, 14–15, 17–18, 65–67, 168, 174–75; loneliness/isolation, 44–45, 101–3; love for horses, 49–50; loyalty to friends, 105–6; musical tastes, 44, 55, 57–58, 74–76, 137; musician’s strut, 17; nonapologetic, 109; painting avocation, 26–27, 55, 69, 98–99; riveting eyes, 40; sexism, 91, 169; skin color concerns, 4, 53, 54–55, 168–69; spirituality, 70–71, 161, 176; unapproachable demeanor, 11–15, 18–21; unpredictable behavior, 41–42, 56–57, 78–79, 106–9, 149–50; “unreconstructed” black man image, 13–14, 93–94, 167–68
Davis, Vernon (Miles’ brother), 83
DeJonette, Jack, 150
The Dells, 113
Domino, Fats, 116
Donna Karan fashion, 88
Doo-bop (Davis), 155
Drug use, 22, 81, 120–21, 147, 149
Drum and bugle corps bands, 4–6
Duret, Evette, 9
Duret, Yvonne, 9
E., Sheila, 151
East St. Louis: black marching bands of, 4–6; Miles’ homeboys from, 2, 3–4
Eastwood, Clint, 150
Electric instrumentation, 134–35; in Bitches Brew, 137, 141; Ralph Gleason on, 139; in In a Silent Way, 136
Ellington, Duke, 1, 55, 153, 170
Ensemble group sound, 164–65; of Live-Evil, 143; of On the Corner, 146–47
European classical music, 126–27; institutional promotion of, 170, 171; of Wynton Marsalis, 87, 172; Miles on, 33–34; older audiences of, 137–38; of Sketches of Spain, 129
Evans, Gil, 25, 70, 73–74, 106, 129
Evers, Medgar, 131
Fab Five Freddie (Freddie Brathwaite), 74–75
Faison, George, 77
Fashion shows: Kolshin Satoh, 66–67; at Miles’ concerts, 88; Miles’ private, 101
“Fast Track,” 152
Fenny, James, 77
Filles de Kilimanjaro (Davis), 135, 164
First quintet/sextet (1956–1960), 122–25
Foley McCreary, Joseph, 52–53, 73, 89
Ford, Robben, 52
Foreman, George, vii
Fortune, Sonny, 148
Foster, Jodie, 73
Four and More (Davis), 172
Franco (Zarian guitarist), 155
“Freaky Deaky,” 152
Funk, 131, 138; with big-band sound, in Amandla, 154–55; fused with jazz, in On the Corner, 145, 146–47; group ensemble sound of, 143
Gabriel, Peter, 65
Garcia Marquez, Gabriel, 127
Garrett, Kenny, 58, 73, 89, 164
Gelbard, Jo, 74; art influence of, 69; at Miles’ death, 157; Miles’ jealousy over, 107–9; Miles’ respect for, 169
Get Up with It (Davis), 143
Giddens, Gary, 186
Gillespie, Dizzy, xi, 41, 55, 94, 123, 135, 151, 161
Ginsberg, Allen, 91
Glover, Danny, 82
Go-go, 74
Goodman, Benny, 174
Gordon, Walter, 86
Gordy, Berry, 132
Graham, Rev. Billy, 34
Grateful Dead, 143
Gucci fashion, 88
Gunn, Russell, 155
Guy, Jasmine, 103
Haley, Bill, 116
Heath, Percy, 119
Hemphill, Julius, 151
Henderson, Michael, 148
Hendrix, Jimi, 132, 136–37, 161, 174
Hip-hop, 44, 74, 75; of On the Corner, 146
Hirt, Al, 6
Hoffman, Dustin, 150
Holzman, Adam, 50
Homeboys (East St. Louis), 2, 3–4
“Human Nature,” 152
“If I Were a Bell,” 144
In a Silent Way (Davis), 135–36, 164
Interviews: for “The Miles Davis Radio Project,” 83–85, 86; for Studio Museum series, 78–81; with Time magazine, 25; with Troupe for Spin, 23, 27–34, 39
“Intruder,” 89
Isham, Mark, 163
Issey Miyake fashion, 88
“It Gets Better,” 152
Jack Johnson (Davis), 143
Jack-salmon fish sandwiches, 111, 112
Jackson, Michael, xi, 55, 130, 174, 179
Jackson, Milt “Bags,” 119
Jackson, Muyungo, 89
Jagger, Mick, 150
Jazz: black ownership of, 34; fused with funk, 145, 146–47; fused with rock, 131–32, 136, 141, 142–43; institutional denigration of, 170, 171; Miles’ disdain of old, 44, 106–7, 164–65; Miles versus Marsalis on, 32–34, 87, 172–73; older audiences of, 137–38; Troupe’s first experiences with, 111–14, 119–20
Jazz Track (Davis), 125
“Jean-Pierre,” 152
Johnson, Bumpy, 56
Johnson, Robert, 167
“Jo-Jo,” 74
Jones, Philly Joe, 11, 41, 70, 93, 123, 161
Jones, Quincy, 76, 103, 106, 150
Juneteenth (Ellison), 155
Kaplan, Iris, 157
Kaplan, Lenny, 157
Kassav (West Indian band), 57–58, 155
“Katia,” 152
Kennedy, John F., 131
Kennedy, Robert F., 131
Keppard, Freddie, 5
Kilgallen, Dorothy, 128
Kind of Blue (Davis), 125–26, 138, 164, 185
King, Martin Luther, Jr., 131
Knights of Malta (Alhambra Palace, Granada), 76
Kohshin Satoh fashion show, 66–67
Kool Jazz Festival (New York City): in 1974, 147–49; in 1981, 23, 150–51; in 1989, 87–90
Langlais, Rudy, 39
Larrain, Gilles, 93
Laveau, Marie (Voodoo Queen), 6
Lee, Spike, 101
Lincoln, Abbey, 151
Lincoln Center’s Jazz Program, 170, 171, 172, 173
Little Richard, 116
“Little Stuff” (“Petits Machins”), 135
Live Around the World (Davis), 154, 155
Live-Evil (Davis), 143
Lloyd, Charles, 136
Louis, Joe, 31
Lucas, Reggie, 148
Mabry, Betty, 135
Madison, Levi, 5
Madonna, 65
Mailer, Norman, vii
Maitland, Leo, 22, 29; parties thrown by, 9, 15, 19
“Make a Difference” ads, 163
Malibu home of Miles, 42, 49–50
Mandel, Howard, 149
Mangione, Chuck, 32
Manhattan: Kohshin Satoh fashion show in, 66–67; Miles’ apartment in, 25–26; and On the Corner, 145–46; and “Pharoah’s Dance,” 141; sightings of Miles in, 9–10
The Man with a Horn (Davis), 23, 150–51
Marithe Girbaud fashion, 88
Marsalis, Wynton, 6, 150; institutional promotion of, 171; Miles’ jazz philosophy versus, 31–34, 87, 172–73; 1989 Kool Jazz concert of, 88
Mati, Abdul, 140
Maupin, Benny, 142
McCoy, Corky, 145
McPhatter, Clyde, 113
Meadowlands Stadium, Amnesty International concert (1986), 65–66
Michael (Miles’ valet), 29, 35
Mikkelborg, Palle, 154
Miles, Jason, 50
Miles: The Autobiography (Troupe), 54; book tours for, 81–82; cover photo for, 93–94; critics on, 93; Miles’ response to, 91–92; public reaction to, 90–91
Miles Ahead (Davis), 172
Miles and Monk at Newport (Davis), 125
“The Miles Davis Radio Project,” 82–86
“Miles Runs the Voodoo Down,” 142
Miller, Henry, vii
Miller, Marcus, 50, 52, 58, 73, 151
Minton’s jazz club (Harlem), 75
Monk, Thelonious, xi, -1, 41, 70, 123, 161; on “Bags Groove,” 119; on cover of Time, 25
Montreux Jazz Festival (1991), 106
Motown label, 132
Moyers, Bill, 91
Multiculturalism, 126–27, 149, 165
Murphy, Eddie, 32
“My Funny Valentine,” 144
Navarro, Fats, 161
NBC, 32
Neruda, Pablo, 127
New Orleans trumpet sound, 5–6
Newport Kool Jazz Festival. See Kool Jazz Festival
Newton, Huey P., 167
New York City. See Manhattan
Nyro, Laura, 143
O’Guin, Thomas and Margaret, 114
“One Phone Call Street Scene,” 24, 152
On the Corner (Davis), 143, 144–47, 164
Osby, Greg, 155
Paige, Satchel, 44
Palazolla, Tom, 116
“Papa’s Got a Brand New Bag,” 132
Parker, Charlie “Bird,” 41, 55, 70, 81, 93, 94, 113, 118, 123, 161
Payton, Nicholas, 6
Peabody Award (1990), 82
Peacock Alley (St. Louis): Miles and Coltrane at, 10–11; Miles’ temper at, 11–15
Penn, Irving, 52
Penthouse, viii
Performances: 1956 at Peacock Alley, 10–11; 1958 at Sutherland Lounge, 123–25; 1974 Kool Jazz concert, 147–49; 1981 Kool Jazz concert, 23, 150–51; 1981 Japanese tour, 151; 1986 Meadowlands concert, 65–66; 1989 Kool Jazz concert, 87–90; at Pointe-à-Pitre, 97
“Petits Machins” (“Little Stuff”), 135
“Pharaoh’s Dance,” 141
Picasso, Pablo, 55, 127, 174–75
The Platters, 113
Pointe-à-Pitre (Guadeloupe), 97
Porgy and Bess (Davis), 125
Porter, Margaret, viii
Powell, Adam Clayton, Jr., 167
“The Power of the Word” (PBS series), 91
Presley, Elvis, 116
Prince, the artist formerly known as, 44, 55, 81, 103, 104, 167
Pryor, Richard, 32
Racism: Birdland incident of, 128–29; of California policemen, 152–53; Miles on, 32–34; and objections to Miles’ music, 170, 171–72, 174–75; role of, in music industry, 33–34, 116–17, 170; and self-hatred, 54–55; Troupe’s early experiences with, 114–16
Randle, Eddie (Troupe’s cousin), 5, 30–31, 178, 179
Raoul’s restaurant (Soho district), 102
Record albums: Amandla, 58, 74, 90, 108, 154–55, 163; Aura, 154; Bags Groove, 119–21; Big Fun, 143; Bitches Brew, 129, 137–43, 164; Circle in the Round, 143; Cookin’, 123; Decoy, 23, 152, 163; doo-bop, 155; Filles de Kilimanjaro, 135, 164; Four and More, 172; Get Up with It, 143; In a Silent Way, 135–36, 164; Jack Johnson, 143; Jazz Trunk, 125; Kind of Blue, 125–26, 137, 164; Live Around the World, 154, 155; Live-Evil, 143; The Man with a Horn, 23, 150–51; Miles Ahead, 172; Miles and Monk at Newport, 125; Milestones, 123, 125; On the Corner, 143, 144–47, 164; Porgy and Bess, 125; Relaxin’, 123; Round Midnight, 123; Siesta, 73–74; Sketches of Spain, 73, 74, 129–30, 131; Star People, 23, 152; Steamin’, 123; Tutu, 36, 50–52, 74, 154, 163; We Want Miles, 23, 151; Workin’, 123; You’re Under Arrest, 23, 24, 152–53
Recordings: for Columbia Records, 23, 153; computer programming of, 50–51; crossover success of, 129–30, 131; by first quintet/sextet, 123; Grammy Awards for, 74, 151, 152; improvisational environment for, 164; of 1980s comeback period, 23, 150–53; by stock recording band, 143–44; for Warner Records, 36, 154
Reed, Ishmael, 167
Relaxin’ (Davis), 123
Rhythm and blues, 113, 131, 138. See also Rock
Rietveld, Benny, 89
Ritchie, Lionel, 103
Roach, Max, 81, 150, 161; on hip-hop and rap, 75; on Miles’ basic quarter note, 165–66
Robinson, Sugar Ray, 31
Rock: fused with jazz, 131–32, 136, 141, 142–43; group ensemble sound of, 143, 165; younger audiences of, 138
Round Midnight (Davis), 123
“Running” style: of black marching bands, 5; of Miles’ solos, 2, 124, 165–66; New Orleans style compared to, 5–6
Sanchez-Gordon, Teresa, 86, 103–4
“Sanctuary,” 142
San Francisco Chronicle, 82
Scofield, John, 52
Second quintet/sextet, 133–35, 142
Shakur, Tupac, 167
Sheen, Bishop Fulton, 34
“Sheets of sound” style, 124, 132
Sheila E., 151
Shorter, Wayne, 93, 134, 142, 164
Sketches of Spain (Davis), 73, 74, 129–30, 131
Skin color concerns, 4, 53, 54–55, 168–69
Sly and the Family Stone, 132, 136
Smith, Leo, 163
Smith, Leona (Troupe’s grandmother), 114
Snipes, Wesley, 101
Solos: on Aura, 154; within group ensemble, 143; on In a Silent Way, 136; of modal period, 124
Sony ads, 163
“Spanish Key,” 142
“Speak,” 152
Spin magazine, viii, ix, xiii, 177, 179; Spin interview, 23, 27–34, 39, 178, 181
St. Louis: black marching bands of, 4–6; cultural roots of, 6–7; fish joint in, 111–12; Miles’ homeboys from, 2, 3–4; Peacock Alley in, 10–11; Troupe family’s status in, 115
The Star, AIDS story in, 76–77
“Star People,” 152
Steamin’ (Davis), 123
Stockhausen, 153
Studio Museum (Harlem) interview, 78–81
Sutherland Lounge (Chicago), 123–25
Tate, Greg, 149
Taylor, Elizabeth, 150
Taylor, Frances (Miles’ first wife), 128
Terry, Clark, 5, 150, 159, 161
“That’s Right,” 152
“Theme for Augustine; Wind; Seduction; Kiss,” 73
Thriller (Michael Jackson), 174
Time, 130; Miles’ interview with, 25
“Time After Time,” 152
Trim-DaCosta, Sandra, 23, 179–80
Troupe, Albert (Troupe’s uncle), 118
Troupe, Allen (Troupe’s uncle), 114
Troupe, Donald (Troupe’s cousin), 12
Troupe, Ernest (Troupe’s distant cousin), 115
Troupe, James “Pal” (Troupe’s uncle), 115, 118
Troupe, Margaret (Troupe’s wife), 31, 94, 108; at Kool Jazz concerts, 87–88, 90, 151; Miles’ respect for, 97–101; news of Miles’ stroke from, 157–58; on Spin interview, 39; at Studio Museum interview, 79, 80; at Tutu video party, 102–3
Troupe, Marvin (Troupe’s cousin), 11, 19, 118–19, 120, 121
Troupe, Porter (Troupe’s son), 45–49
Troupe, Quincy: acupuncture treatments for, 68; artistic/political transitions of, 125–27, 130–31, 132–33; dreadlocks of, 27, 28–29; driving Miles’ Ferrari, 42–43; early racism experiences of, 114–16; first jazz-listening experiences of, 111–14, 119–20; in first meeting with Miles, 9, 15–17; hearing Miles’ performances, 10–15, 87–90, 123–25, 151; hero worship of Miles by, 121–22, 127, 133; and John Hicks incident, 147–50; interviewing Miles, 23, 27–34, 39, 78–81; meeting Jimi Hendrix, 136–37; at Miles’ birthday parties, 103–4; Miles book project of, 39–40, 81–82, 90–94; “The Miles Davis Radio Project” of, 82–86; Miles’ first dismissal of, 18–21; Miles playing head games with, 59–64; Miles’ rage at, over Jo Gelbard, 107–9; Miles’ rage at, over old jazz, 106–7; musical tastes of, 52–53, 57–58, 75–76, 132–33; nonuse of heroin by, 121; Peabody Award to, 82; reacting to Miles’ dying, 158–60; riding horses with Miles, 49–50; role models for, 117–18, 127; and Steve Rowland incident, 82–86; Saab car of, 35–36; at Tutu video party, 101–3
Troupe, Quincy Brandon (Troupe’s son), 75, 105–6
Troupe, Timothy (Troupe’s brother), 114, 115
Troupe, Tymmie (Troupe’s daughter), 75
Trouppe, Quincy (Troupe’s father), 115
Trumpet playing: New Orleans versus St. Louis style of, 5–6; “running” style of, 2, 124, 165–66; in second quintet period, 134; for Porter Troupe, 47–48
Tunnel discotheque (Manhattan), Kohshin Satoh fashion show at, 66–67
Turner, Nat, 167
“Tutti Fruity,” 116
Tutu (Davis), 35, 163, 181; album cover of, 52; big-band sound of, 154; Grammy Award for, 74; video party, 101–2; without working band, 50–52
Tyson, Cicely, 32, 33; Miles’ marriage to, 23, 67–69; and The Star article, 77
U2, 65
Van Der Zee, James, x
Vanity Fair, 90
Veil Prophet Parade (St. Louis), 6
Versace, Gianni, 77
Versace fashion, 88
Village Voice, viii, x, 39, 82, 177
“Vital Expressions in American Art” (Studio Museum series), Miles’ interview for, 78–81
Walcott, Derek, 127
“Walkin’,” 119
Watrous, Peter, 87
Watts Writers Workshop, 133
Webster, Freddie, 161
Wellman, Ricky, 73, 74, 89, 158
We Want Miles (Davis), 23, 151
“What It Is,” 152
Wilburn, Dorothy (Miles’ sister), 73, 83, 157, 158, 159
Wilburn, Vincent (Miles’ nephew), 73, 83
Williams, Tony, 77, 93, 134, 164
Wilson, Cassandra, 163
Wilson, Jackie, 113
Women: Miles’ treatment of, 91, 169; skin color preference for, 54, 168
Workin’ (Davis), 123
World Saxophone Quartet, 58
Yetnikoff, Walter, 102
You’re Under Arrest (Davis), 23, 24, 152–53
Zouk, 57–58, 165; of Amandla, 74, 155; and rap project, 75–76