Cannot tell you why I spent almost a quarter of my life as an admirer of Miles Davis’s music and passed over this CD over and over again. No reason but,well the wait it over. Seems this album titled is based on a Zulu word meaning “power”. And Miles must’ve been feeling a lot of that musically. His body was swiftly deteriortating by the time this came out. But what mattered is that his 1986 Warner Bros. debut Tutu was triumph,for him and producer/writer/collaborator Marcus Miller. This album was to be the follow up to that. And essentially follow the same format: Miles would play his horn while Marcus did almost everything else. However Miles’ own personality was given somewhat more of a kick by the presense of Joe Sample,Omar Hakim and Joey DeFrancesco here. It may not have been the approach that many might’ve viewed as Miles’ own cup of tea,being as confident as he was creatively. But at this point putting his dwindling physical energy into his playing was paramount.
On the first two numbers,”Catembe” and the George Duke collaboration on “Cobra” that afrocentric polyrhythmic percussion flavor is continued on from where Miles left off on the previous album. Duke had the good sense to take some notes from Miller’s approach in that regard. “Big Time”,the more brooding “Jo-Jo” and of course “Jili” take a step forward. With the strong surge of success of go-go and it’s more commercialized cousin new jack swing Marcus Miller began to integrate those digitized funky shuffing beats into those songs,all of which have strong melodies and look ahead to the possibility of more hip-hop type music in Miles’ future. “Hannibal” is a very thick jazz-rock similar again to some of the music on the previous album. The title song is the slower number here with a melody teeter tottering between reflective and sunny. The closer “Mr.Pastorious”,a tribute to the than recently befallen Jaco is a strong song compositionally on the jazzier end.
Interesting thing about this album to me is that it was the final album Miles’ released in his lifetime. His final album Doo Bop was released a year following his passing in 1991. And even here with Marcus Miller you can hear the strong groundwork laid for some of the jazz/hip-hop fusions Miles would go for on his final recordings. Of course this is a fully instrumental album so he was not making the full change over to anything overtly hip-hop here. Just Marcus’ passing nods to the go-go and new jack swing sounds he was probably pretty interested in at the time. And likely had appeal to Miles because of their relation to the funk he’d fallen in love with. So it was great to see Miles,even as he was at the twilight of his career by this poing,still being two steps ahead of what else was happening in the jazz world of the time. Innovating all of ones life time is amazing. But being able to do that pretty much near your death bed? Well…maybe that’s just Miles for you.
Originally posted on June 20th,2012