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Prince, Miles, and Maceo: Horns, Masculinity, and the Anxiety of Influence

Prince, Miles, and Maceo: Horns, Masculinity, and the Anxiety of Influence Griffin Woodworth It is New Year's Eve of 1987; Prince is performing his Sign `O' The Times stage show on the new soundstage of his recently completed recording complex, Paisley Park. The event, a two-hundred-dollar-a-plate benefit for a local charity, is one of only a handful of occasions when Prince will perform this show in America (having done his Sign `O' the Times tour in Europe during the summer of 1987, Prince elected not to mount an American leg of the tour). Nonetheless, the night will be remembered primarily as the only time that Prince and Miles Davis performed together, the zenith of their on-again, off-again collaboration (Nilsen 1999, 251). Even though he is performing within a framework completely controlled by Prince--Prince's song, his stage show, his band, even his own building--Miles Davis's presence shifts the center of gravity for the short time he is onstage. Davis takes the stage only once, during a half-hour extended jam on the song "Beautiful Night," and the two artists have a tense interaction. Davis begins tentatively: he strolls on without introduction and begins getting a feel for the groove (a harmonically static D-dorian vamp) by playing and repeating a simple two-bar http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Black Music Research Journal University of Illinois Press

Prince, Miles, and Maceo: Horns, Masculinity, and the Anxiety of Influence

Black Music Research Journal , Volume 33 (2) – Mar 1, 2013

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Publisher
University of Illinois Press
Copyright
Copyright © University of Illinois Press
ISSN
1946-1615
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Abstract

Griffin Woodworth It is New Year's Eve of 1987; Prince is performing his Sign `O' The Times stage show on the new soundstage of his recently completed recording complex, Paisley Park. The event, a two-hundred-dollar-a-plate benefit for a local charity, is one of only a handful of occasions when Prince will perform this show in America (having done his Sign `O' the Times tour in Europe during the summer of 1987, Prince elected not to mount an American leg of the tour). Nonetheless, the night will be remembered primarily as the only time that Prince and Miles Davis performed together, the zenith of their on-again, off-again collaboration (Nilsen 1999, 251). Even though he is performing within a framework completely controlled by Prince--Prince's song, his stage show, his band, even his own building--Miles Davis's presence shifts the center of gravity for the short time he is onstage. Davis takes the stage only once, during a half-hour extended jam on the song "Beautiful Night," and the two artists have a tense interaction. Davis begins tentatively: he strolls on without introduction and begins getting a feel for the groove (a harmonically static D-dorian vamp) by playing and repeating a simple two-bar

Journal

Black Music Research JournalUniversity of Illinois Press

Published: Mar 1, 2013

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