Thirty-five years after his death, jazz giant Miles Davis, who would have turned 100 years old Tuesday, remains a truly larger-than-life figure in music and well beyond.

Still possessor of the biggest-selling jazz record in history, “Kind of Blue,” Davis casts a huge influence over the whole music world for his uncompromising artistic vision, constant evolution, style and more. Though he came from jazz, he may be the biggest rock star there ever was. Talk to any musician, regardless of genre, and they will tell you Davis defined swagger and cool. He had a vibe unlike that of anyone else.

In honor of Davis’ centennial, The Times spoke to an array of notable artists from all walks of music, some who knew and played with him, some fans of the man, but all agreed, Miles Davis was and is a singular force in music, an artist like no other in his vision, passion and feeling for the music. In short, there was only one Miles Davis.

‘A complete innovator’

Chuck D, rapper: I like Miles Davis and all the exterior aesthetics. I like the Blue Note album covers, Prestige album covers, his style, his way of life.

Cindy Blackman Santana, drummer: Stylistically, Miles was a complete innovator. I remember hearing him say that he didn’t play right if he wasn’t dressed right. That is completely something that inspires me as well, because it becomes not only what you’re putting out on your horn or your drums or your guitar or your piano, but it’s your whole being that is expressing this innovative approach to music and to life.

Bilal, singer: If you play the music you’ve got to look the part, and it was almost like he got into a movie role or something like that. But he was always into the clothes … It was almost like every era had a different outfit. But, yeah, I definitely take his style. The clothes make you feel a certain way to play that way. So that’s the vibe. You’ve got to have that character, that attitude.

Emmet Cohen, left, performs with Terence Blanchard at Lincoln Center in 2025.

(Slaven Vlasic / Getty Images for Find Your Light)

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Emmet Cohen, pianist and composer: I think when you listen to Miles’ records you can really appreciate them all the way through and there’s something in there for all sides of humanity. Whether it was the Prestige records that he pumped out in a couple of days, or there was “Birth of the Cool,” he just knew how to assemble musicians and let them tell their stories. And the storytelling is really where I think the deepest connections are made. He was a rock star, but he had a story to tell. And that always comes first.

‘Always evolving’

Guitarist Lenny Kaye performs onstage at Carnegie Hall in 2023.

(Noam Galai / Getty Images for Tibet House US)

Lenny Kaye, guitarist: He started in the bebop era, with the immortals of that moment in time. But I always got the sense that he was looking for something else. He didn’t want to participate in the faster-than-light speed changes and virtuosity. So, I really respect the fact that when he moved into “Birth of the Cool,” he pulled it back so he could inject more of his human self into it. And over the years, he kept on doing that, “Sketches of Spain,” “Kind of Blue,” one of the most jazz friendly records of all time.

Flea, bassist: Every time Miles changed it up, he destroyed everything that came before. He is the ultimate artist, always evolving, always coming organically from the depths. His music is the warmest and the wildest.

Flea of the Red Hot Chili Peppers released a solo jazz album in March.

(Allen J. Schaben / Los Angeles Times)

Bilal: I really like his electric era, but I would say I keep discovering and rediscovering stuff from Miles that I’m just like, “Damn, man. It’s like it’s another artist because he went through so many different changes.” … The other day I found his “Sketches of Spain” record. I put it on. I was like, “This is crazy. I forgot he was into this too.”

Wyclef Jean, rapper: When you go through Miles’ whole catalog, you see you can have quiet days. You can have loud days. You can have explosive days. But the key is that consistency. And that discipline.

Kaye: I respect Miles. For me, he’s an artist that transcends the jazz genre. He’s so alert to the shifting moods of the culture, the directions of the music. And what I find fascinating about him is his ability to morph into new styles and to keep challenging himself. One thing about Miles is that he doesn’t repeat who he is.

Musician Ron Carter in 2011.

(Theo Wargo / Getty Images)

Ron Carter, bassist: We always thought that we were honored to have Miles hire us out of other guys who were available to him. The first few gigs, we had a couple of weeks up and down the West Coast, and everybody but Miles was trying to find out what the tunes were, what the changes were. I was just trying to do what I thought was necessary to make this guy think he hired the right guy and make the band sound good. … Whatever his method was, it was successful.

Ibrahim Maalouf, trumpeter: Quincy [Jones] always spoke about Miles not just as a genius, but as someone who knew when to move on. And that’s a lesson I still carry with me every day.

Kaye: In “Bitches Brew” he created the template for what would be jazz fusion and made rock ‘n’ roll an important part of his evolution. Just an artist who never stands still and that is what I personally respect and honor within his work. When he saw what an artist like Jimi Hendrix was doing, he thought, ‘Yeah, I know how to access that and not be Jimi Hendrix. I can be myself.’ He understood the tides of cultural transformation as much or better than most musicians of the 20th century.

Don Was performs onstage at Ryman Auditorium in Nashville in 2022.

(Jason Davis / Getty Images for Americana Music)

Don Was, musician and producer: In life, as exemplified by music, if you don’t change, you stagnate. And the thing about Miles that really stands out, I think, is that he was always willing to risk losing his audience in order to keep moving forward. He was courageous in every era, including eras when maybe courage wasn’t held at a premium.

‘More than that’

Maalouf: For me, as a trumpet player, of course, the musical influence; space, phrasing, silence, we can talk about this for hours. But I think that more than that, there’s an attitude.

Ibrahim Maalouf performs at the Paris 2024 Cultural Olympiad at L’Olympia on July 24, 2024, in Paris France.

(Julien M. Hekimian / Getty Images)

Trombone Shorty, musician: Miles has inspired me because of that attitude, ‘I’m going to do what I want.’ He was playing what he felt in whatever time period or whatever decade he was inspired by. He really embraced that tremendously. And that’s always the thing that I admire about him as a person and as a musician. Whatever the spirit is, he’s going to go with that. That’s what I always got from Miles.

Nas, rapper: With Miles it wasn’t just about the music he made, it was about how he carried himself as an artist and a pioneer. His impact on me personally is as much on a human level as it is on the artist level.

Trombone Shorty performs at the Anaheim Convention Center in 2015.

(Jesse Grant / Getty Images for NAMM)

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Trombone Shorty: The swagger, he may have created the swag.

Vince Wilburn Jr., nephew and drummer, who now co-manages Davis’ estate: He liked to catch things, that’s why the tape kept continuously rolling, because he said it was songs inside of songs.

Carlos Santana, guitarist: “I recommend that people who never heard of Miles Davis, I’ll say start with “Kind of Blue,” then move on to “Bitches Brew.” Because the thing about Miles Davis is that he teaches people who have never meditated how to stop and be coherent about absoluteness. In one note, Miles can play absoluteness. One note for Miles, like Billie Holiday, like Cindy says, that’s enough to understand all the whys and all the reasons why it’s sacred to be alive.

Was: He probably changed the face of music more than anybody did, at least four or five times. Maybe more than that. It’s a combination of mastery and an unstoppable spirit of adventure that I think make him unique. Because he was absolutely a master of harmony, rhythm, of creating a vibe. Yet he loved upsetting the cart and I think went out of his way to create friction musically, within the band, to keep things stirred up constantly and make every day an adventure. It requires tremendous courage. But also, supreme excellence to do it on the level that he did with the level of musicians that he surrounded himself with. That’s another thing, too. He wasn’t just the most innovative man on the horn. His genius was also as a curator of human chemistry.”

‘Larger than life’

Musician Wyclef Jean performs in 2023.

(Christian Petersen / Getty Images)

Jean: The main thing that I learned from Miles at a very young age is just the braveness, you can’t be scared to just go. Going doesn’t just mean learning one part of it. It means learning the entire metrics. … When it comes to Miles, he’s just a complete teacher; even on how he sees art, how he sees shapes, and also there’s a whole part of Miles that’s tough love when it comes to it. So, all of that instills character.

Bilal: As an older musician, you could see all of the building blocks are in those records. If you take some of those records out, I don’t know where jazz would be. You can see the essential building blocks.

Izzy Escobar, singer: Miles Davis made jazz feel cinematic to me. When I listen to songs like “It Never Entered My Mind” or “Flamenco Sketches,” there’s mystery, romance, restraint and tension in every note. Nothing feels overdone, yet somehow it says everything. As a songwriter, that’s deeply inspiring because the best music doesn’t just sound good … it creates an entire world you can step into. I think that’s why his influence has lasted a century. His music still feels fearless, elegant and emotionally alive — all of which never go out of style.

Jorma Kaukonen, guitarist: I had always thought of jazz as somewhat of a haughty art form. Probably because at the time many of the time signatures and chordal progressions that Miles used were over the head of a young guitar player still functioning in the blues and folk idioms. … The growing rock and art movement in the Bay Area in that era taught us to eschew boundaries and labels, and it became possible to see similarities and possibilities with jazz music that would have gone previously unnoticed. Our harmonic tendencies were nowhere near as complex, but they were rapidly becoming more sophisticated thanks to our exposure to such great improvisers as Miles! Miles knew no boundaries.

Jean: One thing that I learned from Miles is someone can have the best technique. They could be moving around. But if you can dig and play from your soul, this instrument just becomes a vessel of sound and orbit, bro, it’s over. There’s a connection with the soul. And I wouldn’t be able to do that, bro, if I didn’t have people like Miles to really teach me how to hear.

Theo Croker plays trumpet the Kennedy Center in 2018.

(Paul Morigi / Getty Images for Thelonious Monk)

Theo Croker, trumpeter: He was definitely a larger-than-life figure. And it encourages me to be a larger-than-life figure. Growing up as a kid, we sit in a room all day and play trumpet for hours. You see somebody like Miles Davis and you’re like, “Wow, I can be a rock star.” Because I couldn’t sing, otherwise, you end up being a pop star, Prince, Michael Jackson and Stevie and all that. But Miles was that for the trumpet, of course. So, it’s so much bigger than music.

Musician Mia Doi Todd performing in 2012.

(Paul Redmond)

Mia Doi Todd, musician and singer: Miles Davis was such an outstanding band leader, bringing together a group of musicians and seeking to break the boundaries. That is what I look to him most for as a celestial mentor, being a band leader and creating those sonic landscapes. The records that I love most of his are from that electronic jazz fusion era, which weren’t his most popular at the time. I love “On the Corner.” I’m a person of mixed race, so the records that he was bringing together, all these different musical elements, those are the ones that I really admire … “I wish I could play in that band.”

Maalouf: There’s this idea that music is not about providing something. It’s about searching. It’s about staying alive artistically. I think that strength goes far beyond music, it’s really a message for all the musicians that we are. Never stay where people expect you to stay. Every time the audience thought they understood him, he changed direction. And I think that’s definitely one of the most inspiring parts of his musical life.

Was: I never met him. But he was a heroic figure to me as a teenager, very much in the same way that simultaneously, like Bob Dylan and the Rolling Stones were, or John Lennon was, or Allen Ginsberg was.

Bilal performs in New York City in 2023.

(Roy Rochlin / Getty Images)

Bilal: That [artistic vision] is a major influence that I take from Miles. … I always approach the music in that way where you got to do your own thing. You’ve got to have something to say, and you’ve got to want to evolve and always look for ways to grow and change and with the music. Miles was quintessential at that.

Trombone Shorty: To me, Miles Davis was a real rock star. It just wasn’t the sound. When he walked on stage … he looked the way that the music sounded to him. … And as he grew, he just really embraced everything that was coming to him, and he didn’t run away from it. He wanted to have his influence and also be tremendously influenced by things that were happening. He was just the coolest; when they say cool, Miles Davis has to be next to that word.

‘Playing within the language that he created’

Nas performs in New York City in 2018.

(Bennett Raglin / Getty Images for Jenn-Air)

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Nas: I think Miles’ impact on every inch of music after him is the most impressive part. Musicians from every genre speak on his influence. It has no language or cultural barriers.

Jean: I would literally tell everybody to do a deep dive and start with early Miles, start from the bebop and the blues, don’t just go in. I started my daughter with “Birth of the Cool.” Now she’s vibing and slowly working her way up.

Musician Vince Wilburn Jr. in 2011.

(Theo Wargo / Getty Images)

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Wilburn Jr.: Style, creativity, forever evolving, ever looking back, unapologetic. Lenny White used to say everybody wanted to live and be like Miles, all the musicians. You have Miles, and then you have everyone else.

Santana: Miles is what I call a sacred rascal, a divine rascal, a genius. When I’ve been in the room with Herbie [Hancock], Wayne [Shorter] and Tony [Williams], and the name Miles comes up, they all stop. It has such an impact on all of them to this day it shows that Miles is Da Vinci, Stravinsky, Picasso. Collect all the geniuses of this planet, and that’s what Miles is in one note. In one note, he reveals more because in one note, he teaches an individual how to hug infinity with emotions.

Kaye: I think of him as a lodestar for someone who wants to continually move music forward into the future because that’s what music is about. When you play music, you’re moving from one note to the next and creating the future of that piece. I just find Miles a fascinating creature of transformation. Miles, for all his artistic innovation, was a pop star.

Maalouf: Miles Davis’ legacy is not only a sound, it’s a mindset. He gave all of us the permission to be many people in one lifetime. It feels to me it’s the secret and he was generous enough to do it himself and show the world and especially the jazz world that is not always easy to please that someone can be many people in one lifetime. It’s not only true for music. It’s true for everything in life.

Cohen: He’s always on the cutting edge of the next thing and the next group of musicians that he finds. The story in that is that there’s constant change, constant evolution, and to find the thread throughout is kind of the meaning of life. And to play his music is the same thing. He created a language. So, when we play his music, we’re playing within the language that he created.

Was: “That’s why he’s that cat. He’s the most rebellious musician of all time, I think. He was the complete package man, no one more innovative or influential.

From “The 400 Blows” to “The Florida Project,” kids have made fascinating cinematic subjects. Even if they’re working from scripts, there’s always the sense that they’re not entirely acting — that they can’t help but simply be themselves. The French director Bruno Dumont, a former philosophy professor who broke into Cannes nearly 30 years ago with his stark feature debut “The Life of Jesus,” has gravitated towards the raw naturalism of youngsters in the past. See “Li’l Quinquin” from 2014, and his musical curios about France’s patron saint “Jeannette,” (2017) and “Joan of Arc” (2019), all three of which find a strange, startling profundity in ragtag rugrats, say, debating theology or blankly witnessing acts of violence. 

Childhood, for Dumont, isn’t a stage of pure innocence, but a transition period where adult behaviors are tried on by little ones who don’t entirely know what they mean, or what the stakes are. Such is the case with his latest feature, “Red Rocks,” which involves children roughly between the ages of five and seven jumping off cliffs, riding mini motorcycles and partaking in gang warfare — or its pre-verbal equivalent. Long, static, mostly wordless takes will make these activities seem less eventful than they sound. Patient arthouse viewers, however, will find much to chew on here as a subtly cerebral film about small bodies unsettlingly, hilariously navigating a big, violent world.

Blending documentary-style observation and a Romeo and Juliet framing device, “Red Rocks” — which premiered in the Cannes Directors’ Fortnight program — is scaled-back for Dumont compared to his 2021 Cannes competition entry “France,” a media satire starring Léa Seydoux, and last year’s “The Empire,” a critically divisive “Star Wars” spoof that premiered at the Berlinale.

Twitchy, blond tyke Géo (Kaylon Lancel) and his posse (Louise Podolski and Mohamed Coly) meet another trio of tinies while enjoying their favorite activity: scaling rock formations and taking (seemingly quite dangerous!) plunges into the ocean waters below. One member of the opposing crew, Eva (Kelsie Verdeilles), takes a liking to Géo, though their romance is hampered by Eva’s other boyfriend B (Alessandro Piquera). Not that romance, here, means anything beyond hand-holding and giggling while awkwardly staring into each other’s eyes. 

Cinematographer Carlos Alfonso Corral (co-producer of Roberto Minervini’s “The Damned”) alternates between fish-bowl closeups of the children’s faces and extreme wide shots of the craggy, coastal landscape. The effect is a bit like watching a tripped-out version of “Mister Rogers’ Neighborhood” or “Thomas & Friends,” the Mediterranean setting — complete with arched viaducts and train tracks —miniaturized into a kind of fantasy playground for its band of tots to roam around freely.

A fair share of camera tricks and strategic angles make the kids’ climbing stunts look significantly riskier, though in a masterclass following the premiere, Dumont admitted to a degree of recklessness, choosing to shoot many of the film’s scenes in Italy as opposed to France, because of filming laws in the latter country pertaining to minors. In this Gallic Neverland, there’s not a safety helmet (or nervous parent) in sight, which admittedly adds to the film’s feral energy. Their twiggy legs and bony frames exposed in bathing suits, the kids do indeed look extra vulnerable within the film’s savage landscape. That’s precisely Dumont’s intention — freedom is fun and scary — but the choice is sure to raise eyebrows among critics of the director, who has historically been called out for his work with nonprofessional actors. 

The star-crossed lovers drama is mostly a justification to watch the kids play and pull weird and mesmerizing expressions, which turns repetitive over the film’s slim 90-minute runtime. Still, there’s amusement and electricity in their physicalities and wry antics. Working, again, at the boundary between the sublime and the silly, Dumont nevertheless manages to stake out new territory with this alien portrait of childhood. This may be something of a transitional work for a director who tends to shape-shift, but you’ve got to hand it to a guy unafraid to experiment. 

As a radio professional who grew up aspiring to work at CBS News Radio, anchor Steve Kathan understood the weight of the words he wrote and recorded Friday on the final broadcast of “World News Roundup.”

“America’s longest running newscast signs off for the last time,” Kathan said in the small dimly lighted studio in the CBS Broadcast Center on Manhattan’s West Side. “It all began on March 13, 1938,” he said, referring to the iconic news program.

Kathan played a recording of Edward R. Murrow, the legendary CBS News journalist who delivered his first report on the debut of the program, saying “the best in radio reporting is yet to be — good night and good luck.”

“And goodbye,” Kathan added, ending the run of around 23,000 editions of the 10-minute signature broadcast, delivered from CBS’ radio network . A final news update was scheduled to run later Friday night.

CBS News Radio and its 26 employees became a victim of budget cuts across parent-company Paramount’s news division announced in March.

“A shift in radio station programming strategies, coupled with challenging economic realities, has made it impossible to continue the service,” the company said.

Privately, longtime insiders at CBS News say the division has struggled for years to find ways to financially turn around its radio business.

The unit was operating at a loss with monthly revenues recently falling as low as $67,000, according to a network executive not authorized to discuss the matter publicly. The service held on because it still had value in promoting CBS News and its journalism, reaching 20 million listeners a week.

Leadership over the years have put off the messy task of winding the radio business down due to its iconic status at the company. CBS News editor-in-chief Bari Weiss was reluctant to make the cuts as well, according to people inside the company familiar with her thinking. But with Paramount taking on substantial debt to acquire Warner Bros. Discovery, considerations of the division’s legacy are likely to matter less in ongoing efforts to reduce costs.

Kathan had heard rumblings about CBS getting out of radio going all the way back to its first ownership change in the 1980s when Larry Tisch acquired the company.

“Even though I’ve been here 39 years, the thought was someone’s going to decide to do it,” he said.

As television dominated the media landscape, CBS News Radio retained its role as what Kathan called “the background track of American history.”

As a child growing up in Connecticut, Kathan recalls watching Douglas Edwards, the “World News Roundup” evening anchor for two decades, doing TV news updates in between the soap operas his mother watched on CBS. After Kathan joined the network in 1987 as a writer and producer, he would see Edwards and other famous names from the division walking through the hallways of the broadcast center before doing his afternoon newscasts.

“Just the fact that you were working with them made you think and realize you had to up your game,” Kathan said. “You wanted the audience to trust you as much as it trusted them.”

“World News Roundup” rose to prominence during World War II, when Murrow and other CBS News correspondents delivered live reports from Europe.

Once TV supplanted radio as a source for scripted entertainment, news and information became the primary mission of CBS’ radio division that began in 1927. In 1967, the company converted its owned AM radio stations — including its Los Angeles outlet KNX — to an all-news format.

While the stations focused on local news, traffic, weather and sports, they also prominently featured CBS News Radio reports at the top of the hour and other features throughout the day.

Longtime listeners became familiar with Edwards, Dallas Townsend, Reid Collins, Richard C. Hottelet, Christopher Glenn and other CBS News veterans who brought national and world stories to listeners throughout the day, introduced by a five-note sounder that simulated a telegraph. Dan Rather and Walter Cronkite were heard daily with analysis.

The radio network developed a major star in Charles Osgood, who joined WCBS in New York as anchor. He went national in 1971 with a twice-daily segment called “The Osgood File.”

Osgood wrote two-minute reports in succinct prose delivered in his mellifluous tones. He occasionally offered commentary in verse, which earned him the title of poet-in-residence at CBS News.

Osgood’s popularity was rivaled only by ABC Radio personality Paul Harvey. CBS News even allowed him to read commercial copy to satisfy eager advertisers who wanted their product messages presented in his comforting voice. When Osgood became a host on the TV side in the 1990s on “CBS News Sunday Morning,” his sign-off remained “I’ll see you on the radio.” He filed his final “Osgood File” report in 2017.

CBS sold off its radio stations in 2017, but continued to produce and distribute its network programs as the business faced competition from digital media.

Dustin Gervais, technical operations manager for the network, said CBS News Radio struggled as more audio advertisers prefer digital content because of its effectiveness at targeting specific demographic groups. The shift is reflected in radio ad revenue, which dipped about 2% to $14.37 billion, according to media research firm Kagan. But the digital ad revenue portion of that pie continued to grow, topping $1.75 billion.

Charles Forelle, managing editor for CBS News, said the company plans to remain in the audio journalism business through podcasting and not straight newscasts.

“We have a whole bunch of different things in development that are less news reading and more other things,” he told The Times.

Not all of radio’s problems are related to digital.

Michael Socolow, a professor of communication and journalism at the University of Maine, notes that the industry troubles began in 1996 when deregulation loosened the limit on the number of stations a single entity can own. Buying sprees of outlets led to owners who became highly leveraged and less able to invest in programming, which put the squeeze on suppliers such as CBS News Radio.

“Radio was hollowed out by the corporations, before its utility to the American citizen ended,” Socolow said. “You can trace it to the Telecom Act of 1996.”

Some of the 26 employees at CBS News Radio who were severed from the company have found work at Worldwide News Network, a service launched by John Catsimatidis, the owner of New York’s top-rated talk station WABC. The company said the service, which begins Saturday, will deliver “hard news, breaking headlines, and fact-driven reporting to affiliates across the country.”

CBS News Radio’s biggest customer — the all-news stations owned by Audacy, including KNX — have already switched their network service to ABC News Audio.