Format: Compact Disc
Released Date: December 10, 2002
Style: Jazz Instrument
Number of Discs: 1
Originally Released: 1989
Label Name: Warner Bros.
Personnel: Miles Davis (trumpet); Kenny Garrett (soprano & alto
saxophones); Marcus Miller (soprano saxophone, bass clarinet,
keyboards, guitar, bass, drums); Rick Margitza (tenor saxophone);
Joe Sample (piano); George Duke (keyboards, Synclavier); John
Bigham (keyboards, guitar, programming); Joey DeFrancesco
(keyboards); Jean-Paul Bourelly, Foley, Billy "Spaceman" Patterson,
Michael Landau, Steve Khan (guitar); Omar Hakim, Al Foster, Ricky
Wellman (drums); Don Alias, Mino Cinelo, Bashiri Johnson, Paulhino
Da Costa (percussion); Jason Miles (programming).
Producers: Marcus Miller, Tommy LiPuma, George Duke.
Engineers: Eric Calvi, Bruce Miller, Eric Zobler.
With the release of what turned out to be his final "band" album in
1989, Miles Davis had once again arrived at a new sound. And while
the music on AMANDLA was certainly immersed in popular conventions,
somehow the trumpeter managed to keep his sense of distinction
alive and well. AMANDLA doesn't sound like any of the contemporary
jazz records of its time.
In recording TUTU and SIESTA, Miles basically abdicated his
bandleader functions to the multi-talented Marcus Miller, who in
addition to his command of modern bass guitar techniques, handled
reeds, woodwinds, guitars, keyboards and all manner of computer
programming. By plugging in with the cream of his live
collaborators on AMANDLA, Miles retained the big band sound of
TUTU, but with a more human face--an enhanced sense of interplay
Tunes such as "Jo-Jo" and "Jill" engender an ongoing call response
between front line and back line, between main and secondary
themes, as Kenny Garrett's fat, burnished alto lines coil and
strike around Miles' more circumspect muted phrases. The opening
"Catembe" heralds the third world rhythmic locus which snakes its
way through the entire album, from the big beat shuffle of "Big
Time" through the Caribbean flavored backdrops and go-go beats of
"Jo-Jo." The most affecting moments come on the title tune, which
features chord changes reminiscent of Miles' traditional ballad
style, and on the closing "Mr. Pastorius," where Miles finally
reverts back to his open horn to pay tribute to the late bassist
over a laid back swing beat, with poignant echoes of "I Didn't Know
What Time It Was."