Miles Davis - Amandla (Rhino Reserve)

It comes as no surprise that Miles and Warner Music Vice President Tommy LiPuma wanted to build on their past successes. Amandla—in its approach, sound, and even its title (“Amandla” means “power” in Zulu and was the battle cry of the South African anti-apartheid movement)—is Tutu’s brainchild, with one notable exception: The rhythmic influences (rock, go-go, zouk, funk, even old-school swing) blend into a more balanced and cohesive whole.

“If I could only have one album,” Miller later told George Cole for his book “Last Miles,” “I would put the song ‘Tutu’ at the beginning of Amandla. I think that would be a very good representation of my beginnings and my goals.”

Much of it had to do with a more stripped-down approach than on Tutu: Miles’s trumpet could shine all the brighter in the open space around it. The Washington Post wrote, typical of the media response at the time: “This is the most successful Miller/Davis project to date, because Davis’s delicate, personal trumpet voice finds more room to unfold here, and Miller has learned to achieve more with less.” Other critics welcomed the echoes of Miles’s rich legacy for similar reasons. “In terms of its past, Amandla is the most traditional Miles Davis album in years,” stated the Guardian’s review. “The opening track, ‘Catembe,’ would fit seamlessly into a session from Miles Smiles or Nefertiti.” Amandla, recorded in late 1988 and early 1989, brings together a colorful mix of musicians from Miles’s circle at the time. Saxophonist Kenny Garrett, drummer Ricky Wellman, and piccolo bassist Foley are featured, as are members of his touring band: tenor saxophonist Rick Margitza, keyboardist Joey DeFrancesco, and percussionist Mino Cinelu. Newer names like guitarists Jean-Paul Bourelly and Michael Landau appeared as guests, as did old friends: keyboardist George Duke, percussionists Don Alias and Paulinho DaCosta, and drummers Al Foster and Omar Hakim.

Most of the parts were recorded by Miller, who composed all the tracks on the album, with the exception of George Duke’s “Cobra” and John Bigham’s “Jilli.” “Amandla” was dedicated to Miles’ legendary arranger and collaborator Gil Evans, who had passed away in March 1988. “Mr. Pastorius,” the album’s final track, was also a tribute to the great bassist Jaco Pastorius, who had died in late 1987. Here, Miles’s open trumpet sounds strikingly pure and without electronic accompaniment or embellishments, which lends the piece a special intensity in just the right places.

Reviews

M. Gillig in HiFiVision 7/89: "His band, as always superbly organized, draws on the stylistic arsenal of funk and Afro-fusion to embellish the rhythmic foundations upon which Davis builds his perfect solo soars. With this record, Miles Davis once again qualifies for the title ‘Jazz Musician of the Year.’”

Miles Davis’ “Amandla” illustrates the legendary jazz artist’s innovative musical approach. The album combines electronic elements with traditional jazz, creating a unique sonic experience.

Genre: Jazz