Editing Miles Davis (section)

=== 1949–1955: Signing with Prestige, heroin addiction, and hard bop ===
After returning from Paris in mid-1949, he became depressed and found little work except a short engagement with Powell{{Who?|date=January 2025}} in October and guest spots in New York City, Chicago, and Detroit until January 1950.{{sfn|Szwed|2004|p=91}} He was falling behind in hotel rent and attempts were made to repossess his car. His heroin use became an expensive addiction, and Davis, not yet 24 years old, "lost my sense of discipline, lost my sense of control over my life, and started to drift".{{sfn|Davis|Troupe|1989|p=129}}{{sfn|Early|2001|p=212}} In August 1950, Cawthon gave birth to Davis's second son, Miles IV. Davis befriended boxer [[Johnny Bratton]] which began his interest in the sport. Davis left Cawthon and his three children in New York City in the hands of one his friends, jazz singer [[Betty Carter]].{{sfn|Szwed|2004|p=91}} He toured with Eckstine and [[Billie Holiday]] and was arrested for heroin possession in Los Angeles. The story was reported in ''[[DownBeat]]'' magazine, which led to a further reduction in work, though he was acquitted weeks later.{{sfn|Cook|2007|p=25}} By the 1950s, Davis had become more skilled and was experimenting with the middle register of the trumpet alongside harmonies and rhythms.<ref name=":1" />

In January 1951, Davis's fortunes improved when he signed a one-year contract with [[Prestige Records|Prestige]] after owner [[Bob Weinstock]] became a fan of the nonet.{{sfn|Davis|Troupe|1989|pp=175–176}} Davis chose Lewis, trombonist [[Bennie Green]], bassist [[Percy Heath]], saxophonist [[Sonny Rollins]], and drummer [[Roy Haynes]]; they recorded what became part of ''[[Miles Davis and Horns]]'' (1956). Davis was hired for other studio dates in 1951{{sfn|Cook|2007|p=25}} and began to transcribe scores for record labels to fund his heroin addiction. His second session for Prestige was released on ''[[The New Sounds]]'' (1951), ''[[Dig (Miles Davis album)|Dig]]'' (1956), and ''[[Conception (album)|Conception]]'' (1956).{{sfn|Cook|2007|p=26}}

Davis supported his heroin habit by playing music and by living the life of a hustler, exploiting prostitutes, and receiving money from friends. By 1953, his addiction began to impair his playing. His drug habit became public in a ''DownBeat'' interview with [[Cab Calloway]], whom he never forgave as it brought him "all pain and suffering".{{sfn|Davis|Troupe|1989|p=164}} He returned to St. Louis and stayed with his father for several months.{{sfn|Davis|Troupe|1989|p=164}} After a brief period with Roach and Mingus in September 1953,{{sfn|Davis|Troupe|1989|pp=164–165}} he returned to his father's home, where he concentrated on addressing his addiction.{{sfn|Davis|Troupe|1989|pp=169–170}}

Davis lived in Detroit for about six months, avoiding New York City, where it was easy to get drugs. Though he used heroin, he was still able to perform locally with [[Elvin Jones]] and [[Tommy Flanagan (musician)|Tommy Flanagan]] as part of [[Billy Mitchell (saxophonist)|Billy Mitchell]]'s house band at the [[Blue Bird Inn|Blue Bird]] club. He was also "pimping a little".{{sfn|Davis|Troupe|1989|p=171}} However, he was able to end his addiction, and, in February 1954, Davis returned to New York City, feeling good "for the first time in a long time", mentally and physically stronger, and joined a gym.{{sfn|Davis|Troupe|1989|pp=174, 175, 184}} He informed Weinstock and [[Blue Note Records|Blue Note]] that he was ready to record with a quintet, which he was granted. He considered the albums that resulted from these and earlier sessions – ''[[Miles Davis Quartet (album)|Miles Davis Quartet]]'' and ''[[Miles Davis Volume 2]]'' – "very important" because he felt his performances were particularly strong.{{sfn|Davis|Troupe|1989|p=175}} He was paid roughly $750 ({{Inflation|US|750|1954|r=-2|fmt=eq}}{{Inflation/fn|US}}) for each album and refused to give away his publishing rights.{{sfn|Davis|Troupe|1989|p=176}}

[[File:Trumpet WahWahMute.jpg|thumb|right|During the 1950s, Davis started using a [[Harmon mute]] on his trumpet. It became part of his signature sound for the rest of his career.]]

Davis abandoned the bebop style and turned to the music of pianist [[Ahmad Jamal]], whose approach and use of space influenced him.{{sfn|Davis|Troupe|1989|p=190}} When he returned to the studio in June 1955 to record ''The Musings of Miles'', he wanted a pianist like Jamal and chose [[Red Garland]].{{sfn|Davis|Troupe|1989|p=190}} ''[[Blue Haze]]'' (1956), ''[[Bags' Groove]]'' (1957), ''[[Walkin']]'' (1957), and ''[[Miles Davis and the Modern Jazz Giants]]'' (1959) documented the evolution of his sound with the [[Harmon mute]] placed close to the microphone, and the use of more spacious and relaxed phrasing. He assumed a central role in [[hard bop]], less radical in harmony and melody, and used popular songs and American standards as starting points for improvisation. Hard bop distanced itself from cool jazz with a harder beat and music inspired by the blues.<ref>Open references to the blues in jazz playing were fairly recent. Until the middle of the 1930s, as Coleman Hawkins declared to [[Alan Lomax]] (''The Land Where the Blues Began.'' New York: Pantheon, 1993), African-American players working in white establishments would avoid references to the blues altogether.</ref> A few critics consider ''Walkin' ''(April 1954) the album that created the hard bop genre.{{sfn|Kahn|2001}}

Davis gained a reputation for being cold, distant, and easily angered. He wrote that in 1954 [[Sugar Ray Robinson]] "was the most important thing in my life besides music", and he adopted Robinson's "arrogant attitude".{{sfn|Davis|Troupe|1989|p=183}} He showed contempt for critics and the press.

Davis had an operation to remove polyps from his larynx in October 1955.{{sfn|Szwed|2004}} The doctors told him to remain silent after the operation, but he got into an argument that permanently damaged his vocal cords and gave him a raspy voice for the rest of his life.<ref>Acquired by shouting at a record producer while still ailing after a recent operation to the throat – [[#Bio|''The Autobiography'']].</ref> He was called the "prince of darkness", adding a patina of mystery to his public persona.{{efn|Writers began to refer to Davis as "the Prince of Darkness" in liner notes of the records of this period, and the moniker persisted.<ref>{{cite news| url= http://findarticles.com/p/articles/mi_hb1367/is_199111/ai_n5603401/ |title= Prince of darkness. (Miles Davis) (obituary)| work= [[The Nation]]| date= November 1991 |last= Santoro| first= Gene|archive-url= https://web.archive.org/web/20130808234925/http://findarticles.com/p/articles/mi_hb1367/is_199111/ai_n5603401/ |archive-date=August 8, 2013 }}</ref><ref>{{cite web| url= https://www.pbs.org/jazz/biography/artist_id_davis_miles.htm| title= Miles Davis| website= [[PBS]].org|archive-url= https://web.archive.org/web/20160331013936/http://www.pbs.org/jazz/biography/artist_id_davis_miles.htm |archive-date= March 31, 2016 }}</ref><ref>{{cite web| url= http://www.allaboutjazz.com/php/article.php?id=29834| title= Miles Davis: Someday My Prince Will Come| website= allaboutjazz.com | first= Samuel| last= Chell| date= June 29, 2008| archive-url= https://web.archive.org/web/20090202155544/http://www.allaboutjazz.com/php/article.php?id=29834 |archive-date=February 2, 2009 }}</ref>}}