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Original	Translation
Music
Davis, Miles (1926-1991), American trumpet player and bandleader, one of the most innovative, influential, and respected figures in the history of jazz . Davis was a leading figure in the bebop style of jazz and in combining styles of jazz and rock music. As a player, he was a master improviser (one who invents melodies while playing; see Improvisation) who played seemingly simple melodies with great subtlety and expressiveness. As a combo (small ensemble) leader, he assembled classic groups and allowed them the freedom to experiment and develop. The recordings of Davis and his groups have been imitated by musicians around the world.	  (1926-1991)                                                ( )                             

Born Miles Dewey Davis III in Alton, Illinois, he grew up in East Saint Louis, Illinois. Davis began music lessons after receiving a trumpet on his 13th birthday from his father. Two years later he joined the musicians' union and began playing with a local band on weekends. About this time he met trumpeter Clark Terry, who helped and encouraged him. In 1944, after graduating from high school, he went to New York City to study classical music at the Juilliard School of Music. While there, he also began playing with alto saxophonist Charlie Parker, trumpeter Dizzy Gillespie, and other pioneers of the new jazz style known as bebop. In 1945, at the age of 19, he began playing in a combo led by Parker. The recordings he made with Parker that year demonstrate that Davis had excellent tone but an immature style of improvising. However, he refined and improved his style of improvising during the next few years with Parker.	   III-                   13                                         1944                                      1945  19                                              