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Miles Davis - Doo-Bop
Audio CD (June 30, 1992)
Original Release Date: June 30, 1992
Label: Warner Bros / Wea
Bitrate: 320 kbps
Had Miles Davis lived to see this project through, it's possible that most or all of the Eazy Mo Bee-produced DOO-BOP cuts would have remained in the can, in favor of projects we can only speculate upon (he was set to work with Prince, John Bigham, and others). However, when Davis died the EMB sessions were prepared for release.
From what I've read, Miles picked from a selection of grooves concocted by hip-hop producer Eazy Mo Bee, and that Davis ignored EMB's mellower, keyboard-flavored demos in favor of the tracks with the slammin'est beats. As usual, Miles knew what he wanted, because his solos are consistently assertive and full of imaginative twists and turns. Has Davis ever played invigorating trumpet a greater percentage of an album's total running time than here? Drop any fears that because it is Miles' last album that we have to lower HIS or OUR standards to appreciate the improvisations.
The general consensus is that the album's achilles heel is the rapping, with relatively trite rhyme-play on the three non-instrumental cuts. Nonetheless, I think that if the Smithsonian were ever to update their jazz box and needed some hiphop-meets-bebop, BLOW--the most substantial of the three rap tracks--would be as good a selection as any. And isn't it ironic that the title cut was a posthumous hit single (probably Davis' first-ever)? Had he lived to tour about it, imagine Davis turning his back on audience shouts to hear THE DOO-BOP SONG played live (ala his not performing the radio faves THE MAN WITH THE HORN and SHOUT a decade earlier).
If you'd like to hear how jazz and hip-hop might converge, this album is recommended despite the fact that the accompiament could have had more of a creative edge. Everyone has their own idea of what rap/hip-hop artist Miles "should" have collaborated with...I would have liked to have heard Miles mix it up with Digital Underground. ~ J. Lund "jazzbrat"
"Doo Bop," the final studio album by Miles Davis, is a pretty weird listening experience. Davis was a free-minded musician who challenged the otherwise strict norms of jazz by fusing it with rock and funk on many of his 1970s releases, so it'd seem inevitable that he would experiment with hip hop rhythms as he does on this album. But what we get is not a disc that pushes buttons as brazenly as "On the Corner" or delivers spine-tingling chills like "Live-Evil." Instead, we sadly find Davis (in otherwise good form) caught in a bad brew of generic drum samples, dated production, and clumsy rhymes. The CD sounds rather impersonal; as if Davis and the rest of the musicians recorded their bits in separate studios. But Miles himself is hardly to blame for this mess. The fault lies mainly on collaborator Eazy Mo Bee, whose contribution to this album does Davis no justice. One track on "Doo Bop" does work: the opener "Mystery," a seductive groove of downtempo heaven that really brings out the best in Miles's trumpeting. But the rest of the disc collapses like a house of cards. Younger crowds may dig it, but more diehard and older fans will instantly notice the secondhand feel of the material. Still, all legends are allowed at least one subpar album, and for Miles Davis, "Doo Bop" is it. " ~ The Groove, Boston MA
Personnel Miles Davis - trumpet
J.R. - vocals
A.B. Money
Miles Davis - Doo-Bop Tracks:
01 Mystery
02 Doo-Bop Song, The
03 Chocolate Chip
04 High Speed Chase
05 Blow
06 Sonya
07 Fantasy
08 Duke Booty
09 Mystery - (reprise)
Miles Davis - Doo-Bop
Audio CD (June 30, 1992)
Original Release Date: June 30, 1992
Label: Warner Bros / Wea
Bitrate: 320 kbps
Had Miles Davis lived to see this project through, it's possible that most or all of the Eazy Mo Bee-produced DOO-BOP cuts would have remained in the can, in favor of projects we can only speculate upon (he was set to work with Prince, John Bigham, and others). However, when Davis died the EMB sessions were prepared for release.
From what I've read, Miles picked from a selection of grooves concocted by hip-hop producer Eazy Mo Bee, and that Davis ignored EMB's mellower, keyboard-flavored demos in favor of the tracks with the slammin'est beats. As usual, Miles knew what he wanted, because his solos are consistently assertive and full of imaginative twists and turns. Has Davis ever played invigorating trumpet a greater percentage of an album's total running time than here? Drop any fears that because it is Miles' last album that we have to lower HIS or OUR standards to appreciate the improvisations.
The general consensus is that the album's achilles heel is the rapping, with relatively trite rhyme-play on the three non-instrumental cuts. Nonetheless, I think that if the Smithsonian were ever to update their jazz box and needed some hiphop-meets-bebop, BLOW--the most substantial of the three rap tracks--would be as good a selection as any. And isn't it ironic that the title cut was a posthumous hit single (probably Davis' first-ever)? Had he lived to tour about it, imagine Davis turning his back on audience shouts to hear THE DOO-BOP SONG played live (ala his not performing the radio faves THE MAN WITH THE HORN and SHOUT a decade earlier).
If you'd like to hear how jazz and hip-hop might converge, this album is recommended despite the fact that the accompiament could have had more of a creative edge. Everyone has their own idea of what rap/hip-hop artist Miles "should" have collaborated with...I would have liked to have heard Miles mix it up with Digital Underground. ~ J. Lund "jazzbrat"
"Doo Bop," the final studio album by Miles Davis, is a pretty weird listening experience. Davis was a free-minded musician who challenged the otherwise strict norms of jazz by fusing it with rock and funk on many of his 1970s releases, so it'd seem inevitable that he would experiment with hip hop rhythms as he does on this album. But what we get is not a disc that pushes buttons as brazenly as "On the Corner" or delivers spine-tingling chills like "Live-Evil." Instead, we sadly find Davis (in otherwise good form) caught in a bad brew of generic drum samples, dated production, and clumsy rhymes. The CD sounds rather impersonal; as if Davis and the rest of the musicians recorded their bits in separate studios. But Miles himself is hardly to blame for this mess. The fault lies mainly on collaborator Eazy Mo Bee, whose contribution to this album does Davis no justice. One track on "Doo Bop" does work: the opener "Mystery," a seductive groove of downtempo heaven that really brings out the best in Miles's trumpeting. But the rest of the disc collapses like a house of cards. Younger crowds may dig it, but more diehard and older fans will instantly notice the secondhand feel of the material. Still, all legends are allowed at least one subpar album, and for Miles Davis, "Doo Bop" is it. " ~ The Groove, Boston MA
Personnel Miles Davis - trumpet
J.R. - vocals
A.B. Money
Miles Davis - Doo-Bop Tracks:
01 Mystery
02 Doo-Bop Song, The
03 Chocolate Chip
04 High Speed Chase
05 Blow
06 Sonya
07 Fantasy
08 Duke Booty
09 Mystery - (reprise)