Not my favorite Miles album, but there's still some interesting stuff going on. The album was mainly co-produced by Tommy LiPuma & Marcus Miller and while I definitely hear Miller's influence, I can't tell if LiPuma had much input at all. In the late '80s, R&B became much more reliant on synths and drum machine and, for me, that move seemed to dehumanize the soul of the music. And while the music on this album isn't R&B, it is heavily influenced with those trends of the time (FWIW, Wikipedia claims that "the album mixes elements of the genres go-go, zouk, funk and jazz" and I had to look up 'zouk.'). The music has tight grooves, brief solos, and the playing is fantastic, but, save for the final tracks, it mostly runs together. Then again, Miles' output in the '80s frustrated many of his fans and that statement would probably bring a wry grin to his face.
Reviews/ratings:
- Billboard: "Miles may not be creating the same groundbreaking work that was the hallmark of his first three decades, but that doesn't mean that his current material isn't wholly enjoyable."
- Musician: "those looking for a more natural consolidation of vintage and electric Miles will be pleasantly surprised."
- CashBox: "Miles talks about moving ahead, but he's in a rut."
- DownBeat (★★★★): "I'm glad that Miles remains committed to making music that's modern (or post-modern) - especially when he does it this well."
- The Penguin Guide to Jazz (5th ed., 2000): ★★★½
- The Rolling Stone Jazz & Blues Album Guide (1999): ★★★
- The Virgin Encyclopedia of Jazz (1999): ★★★
Album chart peaks:
- US Billboard 200: #177
- Billboard Contemporary Jazz: #1
- CashBox Jazz: #2
Tracks: My favorite track is the title track, followed by Jilli and Mr. Pastorius. In other words, the last half of the disc is better than the first half.
Personal Memory Associated with this CD: I saw Miles on tour promoting this album (Dallas, June 10, 1990) so I probably heard at least one of these tracks live.
5th row! |
Previously revisited for the blog:
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