Miles Davis
Tutu

1986: "Tutu".

A record as controversial as it is original, "Tutu" represents the commercial comeback of the Miles Gloriosus who has given so much to the world of jazz since post-war times. The criticism is ambiguous: there are those who, considering Davis's experimental vein, praise the record, regarding it as the "modern reinterpretation of Sketches of Spain (1960)"; while others criticize it as a poorly executed "fusion" episode. The fact remains that, despite divided opinions, many discographies consider it an "essential" record within Davis's extensive catalog, if only to understand the final phase of his career.

The underlying idea of the album is original: revisiting jazz performance with a strongly electronic approach, creating a contrast between the solo voices of the horns and the layering of synths and electronic drums (also embellished with electric bass and violin). All tracks are composed by Marcus Miller, a multi-instrumentalist; Davis contributes by "signing" the record with great class. The result is a decidedly unusual album, by no means "purist," as loved as it is hated: the tracks are well-written and interesting from a harmonic point of view; the use of electronic instrumentation is refined and lends a very "black" allure.

"Tutu" remains very ambiguous: on one hand, it seems to be an attempt to relaunch Davis with modern and more aggressive sounds; on the other, it is an original and intelligent project, realized with great style, endowed with its own particular charm. It seems to embody the same philosophy of Miles, namely that the real core of a jazz record is the musician himself and the mood of his performance.

In conclusion, the album can be regarded as an "alternative" episode that, in a good collection, stands alongside chapters from other periods of Davis's discography.