Editing Miles Davis (section)

===1963–1968: Second quintet===
[[File:Miles Davis (Antibes Juan-les-Pins 1963).jpg|thumb|Davis performing in Antibes, France, in July 1963]]
In December 1962, Davis, Rollins, Kelly, Chambers and Cobb played together for the last time as the latter three wanted to leave and play as a trio. Rollins left them soon after, leaving Davis to pay over $25,000 ({{Inflation|US|25000|1962|r=-2|fmt=eq}}{{Inflation/fn|US}}) to cancel upcoming gigs and quickly assemble a new group. Following auditions, he found his new band in tenor saxophonist [[George Coleman]], bassist [[Ron Carter]], pianist [[Victor Feldman]], and drummer [[Frank Butler (musician)|Frank Butler]].{{sfn|Davis|Troupe|1989|pp=260–262}} By May 1963, Feldman and Butler were replaced by 23-year-old pianist [[Herbie Hancock]] and 17-year-old drummer [[Tony Williams (drummer)|Tony Williams]] who made Davis "excited all over again".{{sfn|Davis|Troupe|1989|p=262}} With this group, Davis completed the rest of what became ''[[Seven Steps to Heaven]]'' (1963) and recorded the live albums ''[[Miles Davis in Europe]]'' (1964), ''[[My Funny Valentine (Miles Davis album)|My Funny Valentine]]'' (1965), and ''[[Four & More]]'' (1966). The quintet played essentially the same bebop tunes and standards that Davis's previous bands had played, but they approached them with structural and rhythmic freedom and occasionally breakneck speed.

In 1964, Coleman was briefly replaced by saxophonist [[Sam Rivers (jazz musician)|Sam Rivers]] (who recorded with Davis on ''[[Miles in Tokyo]]'') until [[Wayne Shorter]] was persuaded to leave the [[The Jazz Messengers|Jazz Messengers]]. The quintet with Shorter lasted through 1968, with Shorter becoming the group's principal composer. The album ''[[E.S.P. (Miles Davis album)|E.S.P.]]'' (1965) was named after his composition. While touring Europe, the group made its first album, ''[[Miles in Berlin]]'' (1965).{{sfn|Einarson|2005|pp=56–57}}

[[File:Miles-Davis-1964-Helsinki.jpg|thumb|Davis performing at [[Töölö Sports Hall]] (Messuhalli) in [[Helsinki]], Finland, in October 1964]]
Davis needed medical attention for hip pain, which had worsened since his Japanese tour during the previous year.{{sfn|Carr|1998|p=202}} He underwent hip replacement surgery in April 1965, with bone taken from his shin, but it failed. After his third month in the hospital, he discharged himself due to boredom and went home. He returned to the hospital in August after a fall required the insertion of a plastic hip joint.{{sfn|Carr|1998|p=203}} In November 1965, he had recovered enough to return to performing with his quintet, which included [[The Complete Live at the Plugged Nickel 1965|gigs at the Plugged Nickel]] in Chicago. Teo Macero returned as his record producer after their rift over ''Quiet Nights'' had healed.{{sfn|Davis|Troupe|1989|pp=282–283}}{{sfn|Carr|1998|p=204}}

In January 1966, Davis spent three months in the hospital with a liver infection. When he resumed touring, he performed more at colleges because he had grown tired of the typical jazz venues.{{sfn|Davis|Troupe|1989|p=283}} Columbia president [[Clive Davis]] reported in 1966 his sales had declined to around 40,000–50,000 per album, compared to as many as 100,000 per release a few years before. Matters were not helped by the press reporting his apparent financial troubles and imminent demise.{{sfn|Carr|1998|pp=209–210}} After his appearance at the 1966 Newport Jazz Festival, he returned to the studio with his quintet for a series of sessions. He started a relationship with actress [[Cicely Tyson]], who helped him reduce his alcohol consumption.{{sfn|Davis|Troupe|1989|p=284}}

Material from the 1966–1968 sessions was released on ''[[Miles Smiles]]'' (1966), ''[[Sorcerer (Miles Davis album)|Sorcerer]]'' (1967), ''[[Nefertiti (Miles Davis album)|Nefertiti]]'' (1967), ''[[Miles in the Sky (album)|Miles in the Sky]]'' (1968), and ''[[Filles de Kilimanjaro]]'' (1968). The quintet's approach to the new music became known as "time no changes"—which referred to Davis's decision to depart from chordal sequences and adopt a more open approach, with the rhythm section responding to the soloists' melodies.{{sfn|Morton|2005|p=49}} Through ''Nefertiti'' the studio recordings consisted primarily of originals composed by Shorter, with occasional compositions by the other sidemen. In 1967, the group began to play their concerts in continuous sets, each tune flowing into the next, with only the melody indicating any sort of change. His bands performed this way until his hiatus in 1975.

''Miles in the Sky'' and ''Filles de Kilimanjaro''—which tentatively introduced electric bass, electric piano, and electric guitar on some tracks—pointed the way to the [[jazz fusion|fusion]] phase of Davis's career. He also began experimenting with more rock-oriented rhythms on these records. By the time the second half of ''Filles de Kilimanjaro'' was recorded, bassist [[Dave Holland (bassist)|Dave Holland]] and pianist [[Chick Corea]] had replaced Carter and Hancock. Davis soon took over the compositional duties of his sidemen.