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Set mainly during the course of about a day in the musician’s life in New York’s Upper West Side (Cincinnati substitutes) in the 1979, when creatively burnt-out Miles had taken a self-imposed five-years-and-counting break from releasing new music. Columbia Records had grown increasingly challenged in their relationship with their most eccentric and erratic recording artist, who claims he would give them something new if they paid him the $20,000 they owe him, with both parties knowing they could all make so much more if he were to hand over the studio recording reel that he’d been working on in the interim. Enter a man claiming to be a highly ambitious Rolling Stone reporter Dave Brill (a fictional character, reportedly scripted in to bring on a white lead actor like McGregor, to help get funding), who wants to not only help his publication sell papers by getting the reclusive Miles Davis to record an increasingly rare in-depth interview with him, but to also facilitate seeing Miles hand over that unpublished recording that is sure to make music history. When the master tape ends up missing, the volatile Miles takes matters into his own hands, resulting in a life-or-death struggle to wrest ownership back where he feels it belongs, at least until he deems it worthy.
