Record collection revisited: Miles Davis “Tutu”

Recently, after hearing the LP version of this album, I was very much interested in getting the CD and lo and behold, it was in a pile of Christmas gifts under the tree.  “Tutu” which was one of Miles Davis’ later albums in a span during the ‘80s and ‘90s, showcases his shift into the more modern jazz sound, when fusion merged with pop music and became “smooth jazz”.  Davis had begun working with bassist/multi- instrumentalist/producer Marcus Miller on this record.  Well known fusion keyboardist George Duke and producer Tommy LiPuma were also at the helm.

Paulinho Da Costa (a great jazz percussionist) plays on three of the songs.  Jason Miles is the synthesizer programmer.  Omar Hakim plays drums and percussion on one number.  Bernard Wright provides additional synthesizers and Michael Urbaniak plays violin along with Wright on the track “Don’t Lose Your Mind.”  Miller, Duke and LiPuma really make this album interesting even though it seems like a cliché, overly slick ‘80s record, which even jazz records were back then.  It’s more than that.  The arrangements are interesting to the listeners ear even though this album does possess some of the oddities in production in terms of sounds that came to define Miles Davis from “Bitches Brew” onwards.  

 Marcus Miller even plays soprano saxophone on the record and I will admit his playing is somewhat reminiscent of Wayne Shorter’s work with Davis in the ‘60s and early ‘70s.  Miller’s calling card is bass though, and it is all over this record in healthy doses.  His masterful double thumb slapping technique on his signature Fender jazz bass is a hallmark just as much as Davis’ trumpet.

It is an enjoyable record to listen to.  I’ll admit, I am biased as I love everything Miles does and I have yet to hear many recordings he did.  Still, “Tutu” in and of itself is a very listenable record, despite some parts that can take listeners by surprise like the funky and energetic beat of “Splatch” (the fourth track on the album), which includes synthesizers, sax, bass, and these voices in the synthesizer program that in certain parts of the song are sequenced with the drums and bass to say, “uh!” every so often.

I will also mention, the final track on the album “Full Nelson” (named of course for the wrestling move), is another wickedly produced slice of funkadelic bliss that only Miles can pull off.  Marcus Miller is also front and center on this one with the bass.  …And the groove is incredible, considering the fact that it is done via programmed drums.  

So, there is a slight element of humor in that song, too.  Who says instrumentalists can’t incorporate humor in places of their songs?  Check this album out if you can get by some of the cliché production, because it is a great one to listen to and isn’t necessarily like a ‘70s Miles album that can sometimes leave a first time listener asking what hit them.  

Here is the track listing for “Tutu”

1. Tutu


2. Tomaas


3. Portia


4. Splatch


5. Backyard Ritual


6. Perfect Way


7. Don't Lose Your Mind


8. Full Nelson