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Miles Davis: Doo-Bop

 A l b u m   D e t a i l s

Artist: Miles Davis
Title: Doo-Bop
Released: 1992
Label: Warner Bros.
Time: 40:04
Producer(s): Easy Mo Bee
Appears with:
Category: Jazz
Rating: *********. (9/10)
Media type: CD
Purchase date:  1992
Price in €: 7,99
Web address: www.milesdavis.com

 S o n g s ,   T r a c k s


[1] Mystery (Davis/Easy Mo Bee) - 3:55
[2] Doo-Bop Song (Davis/Easy Mo Bee) - 5:00
[3] Chocolate Chip (Davis/Easy Mo Bee/Hepburn) - 4:38
[4] High Speed Chase (Davis/Easy Mo Bee/Mizell) - 4:41
[5] Blow (Davis/Easy Mo Bee) - 5:06
[6] Sonya (Davis/Easy Mo Bee) - 5:31
[7] Fantasy (Davis/Easy Mo Bee) - 4:35
[8] Duke Booty (Davis/Easy Mo Bee) - 4:55
[9] Mystery (reprise) (Davis/Easy Mo Bee) - 1:29
 

 A r t i s t s ,   P e r s o n n e l


Miles Davis - Trumpet

Easy Mo Bee - Vocals
J.R.- Main Performer

Arthur Steuer - Engineer
Bruce Moore - Engineer
D'Anthony Johnson - Engineer, Mixing
Daniel Beroff - Engineer
Eric Lynch - Engineer, Mixing
Gordon Meltzer - Executive Producer, Associate Producer
John McGlain - Engineer
Kirk Yano - Engineer
Matt Pierson - Associate Producer
Michael Benabib - Photography
Randy Hall - Engineer
Reginald Dozier - Engineer
Robin Lynch - Art Direction
Ted Jensen - Mastering
Zane Giles - Engineer

 C o m m e n t s ,   N o t e s


If On the Corner suggested hip-hop beats as far back as two decades ago, then consider Doo-Bop as offspring. Miles's teaming with producer Easy Mo Bee is a natural - more in league with England's acid jazz scene than anything in the trumpeter's recent canon. Those who've howled over the post-Bitches' Brew work will find no solace here; instead, chalk this up as one of Miles's most entertaining efforts.

Steve Aldrich, All-Music Guide



Toronto's Hayden (nee paul Hayden Dresser) made quite the splash in 1995 with Everything I Long For, a collection of spare, deeply personal songs that he recorded on a four-track in his bedroom at his parents' house. For his second album, The Closer I Get, Hayden recorded in six different studios and played sixteen instruments, but the sparseness remains. Hell, even his gravelly baritone is low-fi. The songs on The Closer I Get, like those on its predecessor, are gentle, meditative tunes about life's ordinary moments, but this go 'round is more melodious and more varied. Most of the time, that is: "Memphis" drones on interminably, and "The Hazards of Sitting Beneath Palm Trees" (inexplicably the first single) chugs along monotonously before petering out. Usually, however, when his songs start to go gray, Hayden slips in some strings or harmonica or banjo to sweeten things up. The melancholy "Nights Like These" is easily the album's standout track, with its quiet, lovely melding of piano, strings and Hayden's moving lyrics about loneliness, which effectively tap into the sadness in all of us that's just a few beers away. "You Are All I Have" is another beauty, a woeful, simple tune that sounds like a lullaby but has lyrics like "You are all I have/If you go away, I don't think I will survive/ I'll wait outside the front door till you arrive." "Bullet" is also appealingly bleak: "It makes sense to forget what it takes," sings Hayden mournfully, reaching for the harmonica. Play The Closer I Get at three in the morning while watching TV with the sound off. (RS 786)

JANCEE DUNN, Rolling Stone



"Miles goes HipHop. Wie schon so oft in seiner bewegten Karriere hielt der 65jährige Jazztrompeter Ausschau nach neuen musikalischen Ufern. HipHop, jener Sound der Straßen aus Eazys Heimat Brooklyn, diktierte die Marschrichtung für das Album 'Doo Bop'. 'Chocolate Chip', 'Fantasy' und 'Duke Booty' sind ohne Zweifel gelungene Mixturen aus HipHop und Bebop. Hier donnert und bollert ein feister Groove, der jede Tanzfläche füllt. Dieser Sound gehört auf die Straße. Dort liegen seine Wurzeln."

W. Andresen in stereoplay 8/92
 

 L y r i c s


Instrumental Album!

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