Miles Davis and the Art of Living

Miles Davis (1926-1991) was one of the most important American musicians of all time—completely reinventing musical categories three or four times over during his turbulent career. Here’s the opening track of his 1971 album A Tribute to Jack Johnson, called “Right Off”:

Miles was a great trumpeter, but he was even more important as a bandleader, putting together some of the greatest groups in history. And he was known for giving cryptic instructions to his players, like a Zen master. He’d say, “Don’t just play what’s there, play what’s not there.” And: “Sometimes you have to play for a long time in order to play like yourself.” And: “There are no mistakes.”

There’s a moment in “Right Off” that illustrates Miles’s attitude of “no mistakes.” And in this instrumental drama, there’s a spiritual lesson.  You can hear the moment—Miles’s entrance after a dramatic introduction of drums, bass, and electric guitar—between 2:00 and 2:20 in the audio clip.

Here’s how jazz critic Paul Tingen describes what we’re hearing:

At 1:38 the guitarist takes down the volume, and at 2:11 he modulates to B-flat to heighten the dramatic effect of Miles’s entry. However, the bass player misses the modulation, and carries on playing in E.

In other words, the two principle players are now accidentally playing in different keys. It’s a train wreck. Surely they should stop and start the take over?

But that’s where Miles’s genius – his flexibility and his careful listening to his fellow musicians – comes in. Tingen continues:

In the middle of this clash of tonalities, Miles decides to make his entrance.

He starts by playing a D-flat, the minor third in the key of B-flat and the major sixth in the key of E. It is an ingenious choice – because the note is effective in either key. Miles than plays twelve staccato B-flat notes, phrasing them on the beat to drive the band on, and also as if to nudge [Michael] Henderson [the bass player] towards B-flat tonality. Henderson gets the message, comes into line by modulating to B-flat, and Miles carries on, giving one of the most commanding solo performances of his career.

 Tingen explains what’s so stunning about this:

Most musicians would have regarded the point when the 2 musicians were clashing in such incompatible keys as E and B-flat as an embarrassing mistake and would have stopped the band… Very few would have considered, or have had the courage, to come in at such a moment. And even fewer would have been able to make it into a resounding success.

Miles could have stopped the music, corrected the musicians, and started over. Instead, he picks the perfect note that takes the so-called mistake and makes it art.

Abraham Joshua Heschel told us that our task is to construct our lives as works of art, and what Miles does is illustrative of this.  On these days before Yom Kippur, we are tasked with having the courage to look honestly inward, reflecting on our choices and our deeds and their consequences. 

One important lesson of the Season of Teshuvah is that we don’t get to go back and erase our actions. They are done, with a ripple effect that has gone out into the world.  Rosh HaShana and Yom Kippur are not spiritual erasers, blotting our sins from the Book of Life.

But the Days of Awe are something else:  They are opportunities to transform those deeds and shape them. Every living soul is a work-in-progress. It’s been said: No one can make a brand-new start, but anyone can make a brand-new ending.

That’s what’s so empowering about Yom Kippur. It’s only for people who make mistakes. Perfect people are not invited:

 Rabbi Abbahu says: In the place where a baal teshuvah [one who has turned back to a good and decent path] stands, even a completely righteous person cannot stand. [Talmud, Berachot 34b]

Think about it this way: Teshuvah is one of 613 Mitzvot. That means if a person is perfect and has not sinned – then she can only do 612 of them! The rest of us get the upper hand!

To take what we’ve damaged and mangled and turn it into art: that’s the trick. Miles knew it; so did the Talmud. Maybe this year Yom Kippur can spur more of us in that direction. 

Quotes are from Paul Tingen, Miles Beyond: The Electric Explorations of Miles Davis, 1967-1991 (New York: Billboard Books, 1991), p.106.

Why Teshuvah Preceded the Creation of the World

A brief thought about Teshuvah before the final Shabbat of 5778.

A medieval midrash teaches that there were a variety of things that were created even before the creation of the world, and among them: Teshuvah [turning-to-God-in-repentance]. (Pirkei d’Rabbi Eliezer, chapter 3)

It seems anomalous; after all, I might have thought that it was a person’s responsibility to turn or not to turn. Free will and all that. What in heaven does it mean to say that “Teshuvah” was created before the beginning of the world?

I suspect that the answer lies in relationships, and that’s the reason I always share this particular midrash with couples who are getting married. To say that “Teshuvah” is a preexisting condition means that forgiveness is built-in to the fabric of a relationship.

It means: before you even hurt me, I’m already prepared to forgive you. For any relationship to stand the test of time, there are some prerequisites: We know that I’m going to hurt you with occasional careless words; periodic absorption in my own problems when you need my attention; a subconsciously derived aggression or inappropriate silence when a word is needed. These things will happen, and you’re going to do the same to me. Hopefully not often; hopefully our relationship will always grow and deepen.

And to say that Teshuvah preexists our relationship means that because we love each other, forgiveness and wanting to repair damages even before they happen are built-in to the relationship.

This is the nature of a loving partnership. This is what it means to be a real friend, a lover, a parent, a brother or sister, or a son or daughter: I already forgive you.

The midrash goes a giant step further. At this season, it is as if God says these things to each of us, too: I know you're not perfect; the potential to repair and forgive is part of the fabric of our relationship.

Of course, in an era of scandalous abuses and #MeToo, we have to qualify: we’re not talking about abuse or exploitation or vicious lies here; the Teshuvah called for in those situations is much more complicated. But this is about the petty slights and daily slips that cause hurt to the most important people in our lives, the mistakes that each of us makes because we are human and thus, by definition, imperfect.

Every relationship is an interaction between two different worlds (as we learn from Sanhedrin 4:5). But even before each world was created, Teshuvah was there. Otherwise, real relationship would be impossible, and each of us would be an isolated vessel, utterly alone to navigate the void. Teshuvah makes us human.