Amandla (album)
| Amandla | ||||
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| Studio album by Miles Davis | ||||
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Publication |
1989 |
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admission |
1988/89 |
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| Label (s) | Warner Bros. Records | |||
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Format (s) |
CD, LP |
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Title (number) |
8th |
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running time |
43:16 |
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| occupation |
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Miles Davis, Tommy LiPuma , Marcus Miller, George Duke (Cobra) |
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Studio (s) |
Clinton Recording Studio, NYC; Le Goules West Studios, LA; Right Track Studios, NYC |
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Amandla is a music album by jazz trumpeter Miles Davis , which was recorded in New York City in late December 1988 and in Los Angeles and New York City in early January 1989 and was released in 1989.
History of origin
After his album You're Under Arrest , the decades-long collaboration with Columbia Records ended . Miles henceforth worked with Warner Bros. Records ; After Tutu and Music from Siesta , Amandla is the third and final album that Miles Davis recorded with producer and multi-instrumentalist Marcus Miller and his band. The collaboration began in 1981 with Miller as bassist on The Man with the Horn , which was followed by We Want Miles and Star People .
The title Mr. Pastorius is a tribute by Davis and Miller to the bassist Jaco Pastorius, who died in 1987 . All three had a major influence on the development of the fusion of jazz and rock.
criticism
In contrast to other recordings from Miles Davis' late work, this album was also received relatively positively by jazz critics. In the 6th edition of their Penguin Guide to Jazz , the authors Richard Cook and Brian Morton describe their discomfort with the albums of the Warner period using a comparison: “You know the feeling when some of your favorite films or TV series are resurrected in the form of Finding animated films: Something important is suddenly missing. ”Nevertheless, Cook / Morton counted the album, which they awarded the second highest rating, to the better productions of his late work at Warner Bros. Miles Davis claims that it was different from the Caribbean group Kassav and their Zouk - Music, a mixed style, be inspired by some pieces. The problem with these post-Columbia productions, however, was a certain lack of substance, which was whitewashed with exquisite miniatures on the trumpet and dreary funk ornamentation. Even if Miles Davis had hardly commented on his political views, he viewed Tutu (1985) and the subsequent Amandla as his contribution to the liberation struggle in South Africa . "Amandla" means "freedom" in the language of the quite combative, self-confident Zulu people. Titles like "Big Time" and "Jilli" have a hectic and wild energy, while on the other side of the spectrum, "Mr. Pastorius “Show Miles in a captivatingly lyrical form. The atmosphere of the album is largely determined by the powerful techno arrangements by Marcus Miller.
“Miles' last really wonderful album - the plastic phrases stick in the memory. His open trumpet homage to Pastorius is highly emotional and ends - like an obituary - with a little rising, unaccompanied trumpet blows. "
Track list
- Catémbe - 5:35 (Marcus Miller)
- Cobra - 5:15 (George Duke)
- Big Time - 5:40 (Marcus Miller)
- Hannibal - 5:49 (Marcus Miller)
- Yo-Yo - 4:51 (Marcus Miller)
- Amandla - 5:20 (Marcus Miller)
- Jilli - 5:05 (John Bigham)
- Mr. Pastorius - 5:41 (Marcus Miller)
literature
- Richard Cook , Brian Morton : The Penguin Guide to Jazz on CD . 6th edition. Penguin, London 2002, ISBN 0-14-051521-6 .
Web links
- Review at Allmusic (English)
- Review by Matthias Inhoffen on stereoplay.de
- Discographic information at Jazzdisco.org
Individual evidence
- ↑ Miles Davis with Quincy Troupe : The Autobiography . Hoffmann and Campe, 1990
- ↑ Miles Davis . In: Ian Carr , Digby Fairweather , Brian Priestley , Mirella Bauerle: Rough Guide Jazz . P. 168