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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 and her husband Carlos Santana in 2019.

(Ethan Miller / Getty Images)

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)

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)

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)

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)

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.

You know you’re in a city that takes its fashion seriously when even the Virgin Mary is dressed head to toe in couture. A short walk from Antwerp’s old town, with its ornate medieval guild houses and cobblestone streets, is the baroque church of St Andrews. Like many of the city’s Catholic churches, it has beautiful stained glass windows, an exuberantly carved wooden pulpit and more artworks by Flemish masters than you can shake an incense stick at. But we’re here to pay homage to an art form of a different kind.

In a quiet chapel, an elegant 16th-century wooden statue of the Madonna is clothed not in her usual blue cloak, but a dress of pale gauzy fabric, trimmed with a collar of white pigeon feathers, custom made by renowned Belgian fashion designer Ann Demeulemeester. It’s a bold statement but one that’s entirely in-keeping with a city where a love of fashion seems woven into the fabric of everyday life.

It wasn’t always so. In the 19th century this impoverished neighbourhood was known as the “parish of misery”– a reputation that endured well into the 1980s when a young designer named Dries van Noten took the plucky decision to open a shop on Nationalestraat, across the road from his grandfather’s tailor shop. Almost four decades on, the beautifully restored art nouveau building, with its curved windows, marble floor and chandeliers, is at the centre of Antwerp’s vibrant Fashion District (rebranded, presumably, because “Misery District” was a harder sell for the tourist board).

“You have to understand that there was nothing here at all before this shop opened. It changed everything,” says Yentl, a guide who is leading my daughter and I on a walk around some of the area’s key fashion sites and shopping streets.

Van Noten and Demeulemeester are both members of the “Antwerp Six” – a group of bright young graduates of the city’s Royal Academy of Fine Arts who exploded on to the international fashion scene in the late 1980s. Along with their peers, Walter van Beirendonck, Dirk Bikkembergs, Dirk van Saene and Marina Yee, they are credited with injecting new life into a fashion scene which had been dominated for decades by Paris, Milan and London.

Their story is being told in a major new exhibition at MoMu, Antwerp’s world-class fashion museum, just a few doors along from Van Noten’s flagship store. The retrospective, which runs to January 2027, marks the 40th anniversary of the group’s first foray to London in 1986, when they piled into a rented van and caught a ferry from Ostend to show their debut collections at the British Designer Show in Olympia. The young Belgian designers won over the international fashion press and buyers alike with their talent, originality and chutzpah – creating their collections on a shoestring, often from upcycled materials, championing self-expression over marketability, hosting fashion shoots in abandoned car parks, and making their own flyers and posters.

Though it suited the foreign press to label them as the Antwerp Six (far easier than typing out all of those long Flemish names), they were never a collective and it’s gratifying to see that the exhibition has given each designer their own individually curated space. From the avant garde exuberance of Van Beirendonck’s colourful creations to the dark drama of Demeulemeester’s monochrome palette, the displays are as thought-provoking and imaginative as the clothes they showcase, combining film projections, recorded interviews, a moving conveyor belt of mannequins and an evocative soundtrack.

Emerging from the exhibition into the spring sunshine, it’s clear that the legacy of this pioneering group extended far beyond the catwalk and lives on in the city. On Nationalestraat contemporary designers rub shoulders with kilo stores where second-hand clothes are sold by weight. At Labels Inc you can browse pre-loved pieces from established Belgian designers such as Raf Simons and Martin Margiela or check out the featured collections from the city’s latest crop of fashion graduates. Nearby Kammenstraat and Steenhouwersvest are lined with vintage stores, streetwear brands and independent labels such as Arte Antwerp, which specialises in sleek, urban menswear inspired by graphic design, art and architecture. Even if you wouldn’t know a Bikkembergs bag from a Belgian waffle it’s impossible not to be inspired.

“The Antwerp Six taught people how to be entrepreneurs and to follow their inner voice,” says designer Tim van Steenbergen, who did his apprenticeship with Dries van Noten, and then went on to found the social enterprise and sustainable fashion label ReAntwerp. “They showed that if you want to do things differently, you can.”

Launched as a response to the vast amount of textile waste produced by the fashion industry, ReAntwerp sells a range of beautifully tailored, limited-edition classics, from shirts to trench coats, using leftover fabric from designers such as Van Noten and Christian Wijnants. The enterprise also provides training, employment and support to refugees, who make the clothes in the on-site atelier. “I wanted the clothes to have as much meaning and value for the people who make them as the people who buy them,” says Van Steenbergen. “We have worked with refugees from Afghanistan, Syria, Pakistan, Palestine, Brazil and Costa Rica. Our common language is textiles.”

It’s a fitting motto for a city whose wealth was built, in part, on the textile trade. In the 16th-century Antwerp was Europe’s largest river port, with cargos of English wool and Italian silks, as well as diamonds from India, spices from Portugal and sugar from the West Indies, being shipped up and down the River Scheldt. Riches from this trade were poured into the elaborate guild houses and civic buildings which surround the Grote Markt, the city’s showpiece square. The story of Antwerp’s port is told at the MAS museum, housed in a strikingly modern 10-storey building in the dockside Eilandje district. Don’t miss the panoramic views across the river and sprawling dockyards from the roof terrace, or the chance to snack on street foods from around the world at the Wolf Sharing Food Market, in an old warehouse with a waterside terrace.

Not only was golden age Antwerp a great commercial hub, it was also an artistic and intellectual powerhouse, home to painters such as Anthony van Dyck, Pieter Bruegel the Elder, Clara Peeters and Peter Paul Rubens. You can see a collection of their works at the Royal Museum of Fine Arts but nothing compares to the impact of seeing four of Rubens’ huge altarpieces, in situ, at the imposing Cathedral of Our Lady.

The artist’s house and studio are now closed for major renovation work but, after a long day’s sightseeing and shopping, it was a relief to sit quietly among the displays of tulips and spring flowers in the Italian-style formal gardens which are still open to the public. We also stumbled upon some extraordinary family portraits by Rubens at the Plantin-Moretus Museum, the former home and workplace for nine generations of a family who completely revolutionised printing. The first atlas, countless scientific books and beautifully illustrated Bibles passed through the wooden printing presses here, some of which date back to the 1600s. With its dark panelled walls, leaded windows and creaking floorboards, it’s an atmospheric and fascinating place, where time seems to have stood still.

There’s just time for one last bolleke beer and a shrimp croquette in the sun-trap square next to our hotel, the charming Hotel t’Sandt, before we have to check out and hop on the tram to Antwerp’s central station for the 45 minute train ride to Brussels, where we’ll catch our Eurostar train home. The hotel, which is in a beautifully restored 17th-century mansion with polished wooden floors, a spiral staircase and beamed ceilings, has lived through many previous incarnations: banana warehouse, custom house, soap factory and sculptor’s studio. Today it makes a perfect base for exploring the city; friendly, stylish and wears its history well … much like Antwerp itself.

The Antwerp Six exhibition runs at MoMu until 17 January 2027. Admission is €13 per adult and free for under-18s. The trip was provided by Visit Antwerp. Double rooms at the Hotel ’t Sandt start from €217 a night

For Arteta, it won’t matter that his side are not producing free-flowing football – the Gunners just want to get over the line and lift a trophy this season.

They are having to produce results without a number of key players, who are injured. Bukayo Saka, Martin Odegaard, Jurrien Timber and Riccardo Calafiori were unavailable to play against Sporting.

Declan Rice did play, despite being unwell.

And now there is fresh concern for the top of the table clash with Manchester City on Sunday, as winger Noni Madueke limped off with a knee injury.

When Arteta was asked if he sees the physical strain on his players at the moment, he said: “Yes, but when I see them track back when we lose the ball, the habits that they have, it’s just amazing.

“There is a reason why we are the only English team in the competition, because this league and this schedule takes the hell out of you and it’s very difficult to do what we’ve done.

“We are not perfect, we need to improve things, that’s for sure, we recognise that. But there’s value in what these players have done because they deserve it.”

Former Manchester City and QPR defender Nedum Onuoha told BBC Sport: “The fact that they are in their second consecutive Champions League semi-final is huge. Their performance itself wasn’t perfect, but they just wanted to be in that next round, and that’s exactly where they are.

“On a different day, maybe they would create more chances, and perhaps they would actually score more goals. They didn’t create very much, but they are still in the last four.”

Onuoha referenced words from captain Rice, who said Arsenal just wanted to “go one step further”.

“They will look at this game and the things they could have done better, but the fact is there are plenty of clubs around Europe who aren’t in their position now who would be absolutely delighted to be there,” he said.

“It certainly wasn’t a statement performance like some teams around Europe have done in this last couple of matchdays, however Arsenal still have shown they have just as good a chance as everyone else.

“We’ve seen a Real Madrid side, for example, that have scored four goals across two ties and have been knocked out.

“Arsenal, they only needed one, so you can give them credit for the two clean sheets they’ve had across the two ties and that’s what they needed to be in this particular moment.”