Miles Davis: Tutu

Miles Davis (trumpet)

Tutu Deluxe Edition (Warner; 2011)

Well, its been a very busy year on the Miles Davis estate front. There have been a slew of official and unofficial releases. All surprisingly with good merit. The latest, a deluxe edition of the the 1986 album, Tutu.


Originally both loved and derided by fans and critics alike, it has somehow stood the test of time. It's not a terrific album by any means but it does show Miles continuing to play with funky/snyth rhythms of the early '80s and trying to carve out a new voice.

On Tutu, his trumpet sounds inspired even while it lacks a little bit of the strength that even the last few Columbia records possessed. The production was crisp and musicianship also pretty sharp (for the '80s). The album marked one of the few moments when Miles would make subtle political statements, hence the tilted, named after Bishop Desmond Tutu. Miles didn't really speak about the political message he was trying to convey; instead keeping the focus on the music. He had only discussed it a few times in interviews.

The album opens with the forceful impact of the blues funk title track. Miles has a soft tone that actually blends well with the synthesizers and thumping basslines provided by the soon to be long relationship with Marcus Miller. One of the best tracks from the session, "Portia" is a sweet ballad which Miles allows the band to move from freely. The drums and percussion provided by Paulinho da Costa are simplified here but complement Miller's Brazilian vibe that the piece captures. As with Miles' expanding venture into pop music, he includes a cover of British pop/alternative band Scritti Politti's "Perfect Way," which is startling (if you already know the original) but still quite affective in this funky jazz arrangement.

The snyth sound that Miles had absorbed on his last few Columbia albums blossoms under the influence of Marcus Miller here. While Tutu obviously doesn't stand up against anything Miles produced prior it is one of the last albums (with the addition of its follow up Amandla) that still retain a rich source of quality instrumentation and organization. 

The deluxe edition of Tutu comes with a bonus CD of live material from the Nice Festival in 1986. This concert is more a stage for the band than it is Miles but its a solid performance nonetheless. A Chicago blues treatment is given to the classic "New Blues" that makes it feel fresh and lively. Roben Ford plays guitar in this octet and feels a lot more steady than John Scofield did a few years prior.

Bob Berg, always superb, standout throughout this evening of hot jazz-funk. His extended solo work on "Maze" is smokin', while Steve Thornton and Felton Crews provide a pounding backbeat on percussion and drums. "Splatch" features some heavy percussion and bass but is offset by Berg and Miles employing some beautiful harmonic work. This concert has some great sound quality and stands up better than the studio album. It's feels like a giant jam session.

The Tutu deluxe edition is well worth whatever you pay for it. An important document in the late and final period of Miles' career. You may feel it's dated from an ideas point of view but if you think about the jazz of that decade you start to realize Tutu was one of few treasured moments. Recommended.

Tomasz Licak/Artur Tuznik Quintet

Tomasz Licak (sax) & Artur Tuznik (piano)

Quintet (Blackout Music; 2011)

Andreas Lang (bass)

Anders Mogensen (drums)

Tomasz Dabrowski (trumpet)

A wonderful discovery for me in the last few days has been a quintet session from Tomasz Licak and Artur Tuznik. This fairly new (in terms of lineup) Polish/Danish quintet are young but possess the great energy and punch of their influences. The group combine a sensual style of contemporary modern with well crafted improvisation. Their latest release, simply titled, Quintet feels like mid-period Branford Marsalis or an adventurous One For All.

The group manage to sound well at home in the modern hard bop setting as they do when they let the rhythm fly. "Uwaga" comes pounding out of the speaker with vigour. Tuznik and Mogensen drive the beat with cinematic effect. Tuznik shapes the piece with somber relaxed movements intertwined with improvised changes. These are cut across boisterous chords from the horn section which make "Uwaga" a massive opening statement.

"Lightblub In Green" reminds me of the best moments of being in a jazz club and closing my eyes to the rhythm. Lang and Licak have a lovely exchange midway through that could resemble Jackie Mclean and Paul Chambers at their Blue Note best. The quintet quietly swing with verve and each member's contribution is heard crystal clear. The tone is lowered on the melodic and beautiful "Nardis" (also featured on their previous album as Last Call). It's a technical and introspective piece where Tuznik takes center stage and delivers a performance that slowly envelops you with very powerful emotions. Tearful.

While most of the material on Quintet has a contemporary atmosphere, "Hobbit" rips the cover off the box and the group conjure up a funky groove built inside patterns of free jazz. It may have the uninitiated shaking their heads and they will eventually be sucked into the groove. There are individual moments where band members create subtle colours and tones and then return to the fire free form of their original theme.

Quintet is a stellar addition to the brief catalog of Licak and Tuznik and they will definitely be one of the creative duos that we will be talking about in the next few years. I loved this record and think its a must for every music fan. And I'm not just talking jazz fans. This is the wonderful balance between contemporary and free jazz.

Orrin Evans: Freedom

Orrin Evans (piano) 

Freedom (Posi-Tone Records; 2011)

Byron Landham (drums)

Anwar Marshall (drums)

Larry Mckenna (sax)

Dwayne Burno (bass)

This has been a revealing or may even an extremely eye-opening year for me when it comes to Orrin Evans. I have always liked his music but never fully focused my attention on it in such detail as I have this year. With the release of Captain Black earlier this year, and a number of constructive arguments with fellow fans I have finally decided to pay attention. So when his latest release, Freedom, came out I have to say I was more eager to listen and I concentrated on every note.  I also have to say it is all worth it.

Freedom is one of the tightest and most well focused sessions from Evans in years. It's a tribute to a few of his influences and members he has performed with in the past.  This is essentially a trio record with McKenna adding some full-bodied and blues-like emotion to two tracks ("Gray's Ferry" and "Time After Time"). His playing feels like a young fearless Ben Webster. He packs a punch, especially on "Time After Time" in which Evans gives him rolling freedom throughout the opening few minutes before rising into the forefront with a potent dexterity that keeps the tune jumpin'. Both Burno and Landham (drums on this number), adds a lot of rich and fast paced texture to the number to really give it a timeless quality.

"One For Honour" rips along softly but with an uptempo theme. Evan's allows Burno and Marshall (drums) to lead the way. And they really craft this Charles Fambrough number into their own. Evans' performance is fierce, fluid and bright. "Oasis", written by Shirley Scott, contains an infectious rumba applied by Landham. Evans gives a steady hand to guide the melody. Burno pumps in some really nice patterns along the bassline.


While the album has its modern bebop sensibilities, Evans manages to round things off with calming effects on Herbie Hancock's "Just Enough." This soulful ballad pulls Evans in both classical (by technique) and jazz (by emotion and theme) directions and he gently guides the listener out from what has been a vibrant and fun journey.

Freedom is a strong statement and return to a small group format that helps Evans compositional skills shine as well as the talents of his band members. This year has really turned me around on the work of Orrin Evans and I hope everyone else too. Solid stuff indeed.


The first video is a great, interesting and fun look at the who, what and where of Evans' history.

Sebastien Bouhana: Tambour pas tant

Sebastien Bouhana (drums)

Tambour pas tant (Insubordinations Netlabel; 2011)

The deconstruction of the music industry over the last decade has resulted in a lot unfortunately things. But one of the positive byproducts was the rise of many strong independent labels and artists releasing their own music on their own.

Labels such as Rune Grammofon, Clean Feed, Brooklyn Jazz Underground, Audio Tong among others, globally have reinvigorated the creative scene. One new label has also taken the independent spirit one step further--Insubordinations Netlabel.

Insubordinations feel more like an artists collective than a label. The artists issue albums both as available downloads and physical CDs. Many of the artists and their material is very forward thinking. One artist that has captured my attention this year has been French drummer/experimentalist, Sebastien Bouhana.

Sebastien Bouhana solo release, Tambour pas tant (Translation: Drum Not So Much) is a real treat and challenge for any listener. And drum not so much is a good description of how this project moves along. Built around atmospheric themes and improvised movements, Tambour past tant is a refreshing look at the soundscapes an artist can create with the drum. "Evoquee" sees Bouhana sounding like searing guitar or a buzzsaw than drummer. It's an adventurous and dense piece that moves rapidly but very concentrated focus.

"Une Vieille Connaissance" provides a host of colours, crackles, swirls and found sounds that are like slow broken down train moving through a tunnel. "Tres Nettement" rounds out the three lengthy pieces on this disc. Consisting of the same elements as the proceeding pieces it does develop a small beat and rhythmic pattern underneath the chaos. Bouhana works in a similar realm as Jim O'Rouke or Sonic Youth. He is helping the listener search for their own conclusion within the soundscape--and that's the best thing music can do for a listen.

Tambour pas tant may be a challenge for many but its one of those records that will have asking questions of yourself. It is intense and will have you concentrating on every aspect of Bouhana's movements. Challenge and refreshing.