Miles Davis - Amandla (and Tutu)

Whilst Miles Davis may have started out in the 1950s, his career stretched well into the 1980s. Over time his sound evolved to embrace elements of funk and more modern soundscapes.

Amandla would be the last album Davis would record, although not the last he would release --Aura would follow despite being recorded a few years earlier in 1985. It sees him team up with Marcus Miller once again.

That 80s buddy cop movie groove

One thing about jazz and to a certain extent jazz fusion is its ability to transport you to a place and time. Jazz very often finds its way into movie soundtracks, the instrumental nature allows it to set the mood without overpowering the scene with lyrics that may not age well.

Both Amandla (1989) and Tutu (1986) offer a soundscape that would fit right in to an 80s buddy cop movie such as Lethal Weapon, 48 Hours or Stakeout.

In most compositions involving a band, you normally find the rhythm section take a supporting role, moving things along while the lead instruments provide the melody. Yet across its eight tracks Amandla sees Davis and Miller take an almost equal position in the mix, with Davis' distinctive trumpet lines being matched by intricate and prominent bass lines.

For a bit additional flavour, airy synths provide a backdrop to allow both Davis and the two sax players, Kenny Garrett and Rick Margitza to play their pauses without letting the energy drop.

Compared to Tutu, which is also a personal favourite, Amandla feels a little more driven, a little more forward. Tutu whilst to my ears is excellent, it seemed a fraction less sure of itself. That's the feeling I get and I suspect you may have a different interpretation, which I would love to hear in the comments.

That's not to say Tutu doesn't have its moments. Don't Lose Your Mind sees Davis solo over what feels like a Dub/Reggae track like you might hear from artists like Scientist and it works.

One other thing Amandla shares with Tutu is the lack of any rough edges. You know those tracks that grate on you because they're abrasive in all the wrong places? For me that is tracks like Salt Peanuts from Steamin' With the Miles Davis Quintet. Well, there aren't any of those. However, what both albums lack in thorns, they also lack in roses. It is more of a healthy, decorative bush if I'm going to push this analogy to its inevitable conclusion.

There's usually at least one or two tracks on any album that would make a good single. They're a little harder to pick on both Tutu and Amandla. There's a consistency across their run times that lend themselves to just putting the disc on and sitting down for the duration.

At a push I'd probably pick Portia or Backyard Ritual from Tutu and Hannibal or Big Time from Amandla. What both albums offer is a pleasant listening experience that doesn't try to rub anyone the wrong way. Great for when you just want to sit down and relax after a long day.