[Says Hancock:] What I realize now is that Miles didn’t hear it as a mistake. He heard it as something that happened. As an event. And so that was part of the reality of what was happening at that moment. And he dealt with it…. Since he didn’t hear it as a mistake, he thought it was his responsibility to find something that fit.
Loose improvisation is integral to jazz, but we all know Miles Davis as a very exacting character. He could be mean, demanding, abrasive, cranky, hypercritical, and we might conclude, given these personal qualities, and the consistent excellence of his playing, that he was a perfectionist who couldn’t tolerate screw ups. [Herbie] Hancock gives us a very different impression, telling the tale of a “hot night” in Stuttgart, when the music was “tight, it was powerful, it was innovative, and fun.”
Making what anyone would reasonably call a mistake in the middle of one of Davis’ solos—hitting a noticeably wrong chord—Hancock reacted as most of us would, with dismay. “Miles paused for a second,” he says, “and then he played some notes that made my chord right… Miles was able to turn something that was wrong into something that was right.” Still, Hancock was so upset, he couldn’t play for about a minute, paralyzed by his own ideas about “right” and “wrong” notes.
Hancock drew a musical lesson from the moment, yes, and he also drew a larger life lesson about growth, which requires, he says, “a mind that’s open enough… to be able to experience situations as they are and turn them into medicine… take whatever situation you have and make something constructive happen with it.”
What matters, Davis is quoted as saying, is how we respond to what’s happening around us: “When you hit a wrong note, it’s the next note that you play that determines if it’s good or bad.” Or, as he put it more simply and non-dualistically, “Do not fear mistakes. There are none.”
Source: Open Culture