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He was suggested to Miles by Warner Brothers producer Tommy LiPuma. The most significant collaborator of Miles' late period proved to be Marcus Miller, a bassist and composer who had played with Davis in the early 1980s.
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Prince and Miles Davis performing together at Paisley Park, New Year's Eve, 1987: Here's the Prince song with Davis playing trumpet that was originally intended for Tutu:
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Davis returned Prince's admiration, saying "For me, he can be the new Duke Ellington of our time, if he just keeps at it", a comment that outraged jazz critic Stanley Crouch, who lambasted Davis for his post-1960s musical maneuverings in the Village Voice and the New Republic, calling his 1980s incarnation "nothing more than a winged death's head floating on the hot air of insipid writers and gullible listeners" and attacking the trumpeter as "the most brilliant sellout in the history of jazz." Though a studio recording and live performance of Prince and Davis together have surfaced in recent years, and Prince songs sometimes showed up in Davis' concert sets, the two never did end up making an album together. Prince admired Davis and sent him a tape of a song, telling him that he trusted Davis to play whatever sounded right over it.
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#Miles davis discography as sideman movie
One of the most intriguing near-collaborations for Davis' Warner Brothers Years was with pop artist Prince, who was then at the peak of his commercial fame, still riding high on the album and movie Purple Rain, and writing prolifically for other artists as well as himself. "He Can Be The New Duke Ellington Of Our Time" Davis' initial recording sessions for Warner, however, went unreleased for many years, and still have not come out in their entirety they're known as the "Rubber Band" sessions, eventually abandoned in favor of the album that would become Tutu, and they possess an even harder pop-funk sound than what Miles would generally end up pursuing in his final years. He felt the label wasn't supportive enough of a recent recording project that would eventually be released under the title Aura he wanted more money and he was bristling about the new favorite-son status Columbia had bestowed upon the young trumpeter Wynton Marsalis, who had made some less-than-favorable remarks about Davis' post-mid-1960s music to the jazz media.Īt Warner Brothers Davis continued forging his 1980s sound that one writer has described as "chromatic funk," played on recordings by pop and R and B artists such as Chaka Khan, Cameo, and Scritti Politti, and made a studio album, Tutu, that some regard as a late-period masterpiece. In 1985 Miles Davis was on the verge of turning 60, only several years returned from a half-decade long retirement, and he was unhappy with Columbia for several reasons. We'll hear music from those albums as well as some live recordings and one of Davis' late-period sideman appearances on this edition of Night Lights, starting off with "Backyard Ritual" from Tutu, written for Davis by keyboardist and composer George Duke, who was surprised that Davis ended up using the demo that Duke sent him to play over for the album version of the track. Albums such as Tutu and Amandla found Davis working in a synthesizer-enhanced 1980s musical landscape, with bassist Marcus Miller emerging as a key new collaborator. In 1985 trumpeter Miles Davis left his longtime label Columbia Records, where he had recorded jazz masterpieces such as Kind Of Blue and Bitches Brew over the course of 30 years, for Warner Brothers and began what would prove to be his final run of recordings.