IMPORTANT UPDATE: Lewis Porter has gone into the topic of “Solar” extensively at his own site under the heading, “Miles Davis Did Not Exactly ‘Steal’ Tunes.” Lewis is protective of Miles, as he should be, I also dislike people who jump up and yell, “Miles didn’t write anything!” right out of the box. I should have looked at Lewis’s posts before writing this page, but the only thing that Lewis writes that adds what I have here is that Prestige records was the person to file for copyright in 1963, they owned half the tune going back to 1954. Very important detail! I admit that Lewis’s comment “Jazz musicians often bring pieces to a recording session that have no known composer” does not exactly strike me as exactly right, but I suppose in the case of “Solar” is is possible Miles genuinely didn’t know where he got the tune. At any rate, in the larger scheme, Chuck Wayne could have used the money more than Miles, that much seems obvious, it’s a shame this wasn’t all sorted out 60 or 70 years ago.
I am glad you mentioned guitarist Chuck Wayne (his original name was Karel Jahelka). His Czech parents emigrated to USA. Karel (Charlie)’s surname must have been mispronounced in many ways. He decided to change it according his favorite movie actor.
I have learned that from Bill Crow article at Musicians Union papers.
My guess is that Chuck and Miles must have had some kind of agreement.
I really doubt they had a deal; if there was, is there any paperwork that indicates royalties were split? If not, I don't really see what kind of deal they could have had.
Larry was a great guy, although a special one. Had the pleasure of knowing him for quite a long time. Thanks for writing this, Solar has been puzzling musicians for decades already. A lovely little tune. But very true what you say about the first chord.. I don't believe ot would have ended up on any serious or at least better-known (let alone 'classic') recording with the major chord in the beginning.
Miles Davis the composer is an intriguing topic. Many accusations of plagiarism especially for the early standards. Yet based on the pieces that are not in dispute, he is undoubtedly a fine, even brilliant composer.
Yes I also dislike the cottage industry of denigrating Miles. However the gravestone is just too much, I love the irony of that engraving, it permanently represents the impermanence of jazz.
I've generally thought that Miles was perpetuating a norm that taking compositional credit was the bandleader's prerogative. Especially if it was, in fact, done to him, as it may have been re: "Donna Lee," if not others. (I used to be convinced this was Miles' tune because it seemed so schematic, like it was an exercise in deliberately executing language Parker was already more fluid with ... but now that I know that chunks of the melody were already pieces of language floating around, maybe Parker was the direct appropriator, though I still suspect it was Davis.)
I also wonder if on something like "Blue in Green," Miles just felt that it was his idea, and Bill Evans working out the execution didn't mean Davis shouldn't get the credit.
Not be to that guy--but it seems that Miles plays Solar on the recent archival release Miles live at the Olympia (from 1957). It's an enjoyable version!
> the way all musicians pronounce "Solar" (the tune) is weirdly different than "solar" (like "solar rays"). Sole-lahr instead of sol-ehr. What the heck.
Maybe because they are used to the sound of the solfeggio Sol-La ?
More likely they just got chastised by an older musician after initially saying it "correctly," as my teacher corrected me and now I correct my students.
Hi Emil, I saw you play in Prague many years ago while courting my wife. We had a great time at your show (for musical and nonmusical reasons!). Hope you are well.
IMPORTANT UPDATE: Lewis Porter has gone into the topic of “Solar” extensively at his own site under the heading, “Miles Davis Did Not Exactly ‘Steal’ Tunes.” Lewis is protective of Miles, as he should be, I also dislike people who jump up and yell, “Miles didn’t write anything!” right out of the box. I should have looked at Lewis’s posts before writing this page, but the only thing that Lewis writes that adds what I have here is that Prestige records was the person to file for copyright in 1963, they owned half the tune going back to 1954. Very important detail! I admit that Lewis’s comment “Jazz musicians often bring pieces to a recording session that have no known composer” does not exactly strike me as exactly right, but I suppose in the case of “Solar” is is possible Miles genuinely didn’t know where he got the tune. At any rate, in the larger scheme, Chuck Wayne could have used the money more than Miles, that much seems obvious, it’s a shame this wasn’t all sorted out 60 or 70 years ago.
I am glad you mentioned guitarist Chuck Wayne (his original name was Karel Jahelka). His Czech parents emigrated to USA. Karel (Charlie)’s surname must have been mispronounced in many ways. He decided to change it according his favorite movie actor.
I have learned that from Bill Crow article at Musicians Union papers.
My guess is that Chuck and Miles must have had some kind of agreement.
Plenty of possibilities : Chuck could have said: ok Miles, you like it? You can have it.
I really doubt they had a deal; if there was, is there any paperwork that indicates royalties were split? If not, I don't really see what kind of deal they could have had.
Larry was a great guy, although a special one. Had the pleasure of knowing him for quite a long time. Thanks for writing this, Solar has been puzzling musicians for decades already. A lovely little tune. But very true what you say about the first chord.. I don't believe ot would have ended up on any serious or at least better-known (let alone 'classic') recording with the major chord in the beginning.
Yeah that minor chord makes it happen!
Miles Davis the composer is an intriguing topic. Many accusations of plagiarism especially for the early standards. Yet based on the pieces that are not in dispute, he is undoubtedly a fine, even brilliant composer.
Yes I also dislike the cottage industry of denigrating Miles. However the gravestone is just too much, I love the irony of that engraving, it permanently represents the impermanence of jazz.
I've generally thought that Miles was perpetuating a norm that taking compositional credit was the bandleader's prerogative. Especially if it was, in fact, done to him, as it may have been re: "Donna Lee," if not others. (I used to be convinced this was Miles' tune because it seemed so schematic, like it was an exercise in deliberately executing language Parker was already more fluid with ... but now that I know that chunks of the melody were already pieces of language floating around, maybe Parker was the direct appropriator, though I still suspect it was Davis.)
I also wonder if on something like "Blue in Green," Miles just felt that it was his idea, and Bill Evans working out the execution didn't mean Davis shouldn't get the credit.
Thanks for opening up this topic Ethan!
Great story about the headstone, Ethan. History's a slippery thing.
Not be to that guy--but it seems that Miles plays Solar on the recent archival release Miles live at the Olympia (from 1957). It's an enjoyable version!
OMG didn't know that! Will update post
> the way all musicians pronounce "Solar" (the tune) is weirdly different than "solar" (like "solar rays"). Sole-lahr instead of sol-ehr. What the heck.
Maybe because they are used to the sound of the solfeggio Sol-La ?
More likely they just got chastised by an older musician after initially saying it "correctly," as my teacher corrected me and now I correct my students.
I played Solar many times before knowing about Chuck’s major chord in the bar one.
After a few choruses with Cmi7 in bar one, I usually jumped into Cmaj just for fun. Sometimes even into Lydian Cmaj 7/ #11.
I don’t know why, perhaps my Bohemian heritage?
Hi Emil, I saw you play in Prague many years ago while courting my wife. We had a great time at your show (for musical and nonmusical reasons!). Hope you are well.
Hi Jason, nice to hear from you. I am well, still playing. Will be in NYC on April.
Best, E