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TOP 500 REVIEWERon 3 October 2014
This 1989 album was Miles Davis' third album collaboration with soul/jazz-funk man (and long-time Luther Vandross collaborator) and bass guitarist Marcus Miller. As was often Davis' wont, he assembled an impressive array of talent for Amandla, including his earlier (1960s/1970s) collaborators, Don Alias on percussion (who played on Bitches Brew) and Al Foster on drums as well as established jazz/jazz funk musicians Joe Sample and George Duke (both keyboards), Omar Hakim (drums), Steve Kahn (guitar) and Paulinho da Costa (percussion). Davis also continued to nurture upcoming jazz players - here notably alto and soprano sax player Kenny Garrett and 'lead guitarist' Foley (who, for reasons known only to himself, played a bass guitar tuned and processed so as to create the illusion of a 'lead guitar' sound!).

Miller composed six of the eight tunes here and Amandla's predominant sound is Miles on muted horn, mid-paced compositions with a funky backbeat underpinned by Miller's bass playing, with solos from Garrett's sax and Foley's 'guitar'. The album doesn't exactly set the pulses racing (well not mine, anyway), but rather is nicely infectious with some standout moments. Each of Big Time and Hannibal feature infectious hooks, with the latter containing some nice muted playing from Miles, as he and Garrett eventually begin to open out and play off one another and start to cook (one of the album's rare such moments). Elsewhere, each of Jo-Jo and Jilli - the latter composed by young musician John Bigham, another case of Davis promoting new talent - contain catchy riffs and nice slap-bass from Miller, whilst the album's title tune contains some beautiful muted playing from Davis. For me, though, the album's other standout is Mr Pastorius - an exquisite ballad, with Miles playing an open horn for the only time here and excelling in some slow and quite intricate playing, demonstrating that he had not completely lost his 'chops', as well as concluding the album with a brilliantly understated finale.

In a sense, it is probably unfair to compare Miles' later (80s/90s) albums - particularly his collaborations with soul-funk man Marcus Miller where you get the impression that Davis was more in 'following' rather than 'leading' mode (though still influencing, no doubt) - with his seminal recordings from the preceding three decades, and whilst Amandla is not exactly ground-breaking musically it still provides some catchy grooves, infectious listening and some great moments of Davis' playing.
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on 11 March 2012
I'm not a Cool-era purist by any means. I love Miles Davis' edgy Bitches Brew and the electric explorations of some of the greats, notably Herbie Hancock. Still, I find Amandla easy to admire and hard to love. This is mostly to do with the deployment of every 1980s production idea in the book, which at the distance of 20-odd years does more to obscure the shimmering Miles Davis trumpet improvs than to showcase them. And the powerful album title promises an edge that I still haven't really found in the album. Still there are moments when the harmonies are gorgeous enough to redeem gratuitous slap bass or echoey overdriven guitar way back in the mix. The album is best where Davis and his foil in any given break spar with freedom and abandon, breathing life into a somewhat synthetic-sounding set. In contrast, Mr Pastorius, which closes the album, is uniquely uninhibited, and to my ears its classic sound is more vital and fresh than nostalgic, especially in the context of the foregoing attempts at fusion.
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on 19 June 2012
A great Jazz album, in my opinion one of the best Jazz fusion albums of all times. Fantastic musicians, Miles is on top form and his interaction with Kenny Garret is simply amazing. Marcus Miller on bass is as groovy as ever. If you enjoyed TUTU, you should enjoy this album. Highly recommended !
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on 5 June 2013
Love every song on this album especially COBRA, Jilli, Big Time & JO JO..A real 80's Jazz album, real funky and really smooth. Probably my favourite Miles Davis album. a MUST HAVE on the shelf with all his othe great albums. An album just before he past away a few years later..finished off in style!

Miles D.. your the greatess!
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on 10 September 2012
This album was the follow on from Tutu.

Marcus Miller was only in his very early 20's when he wrote and produced Tutu, his writing for this album somehow seems more mature than Tutu.

The playing from all of the musicians is nothing short of brilliant. Mile's playing in particular seems to be more vibrant and alive than on Tutu.
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on 30 July 2013
Recorded very late in his life this album shows once again how Miles never stopped moving forward. I still have many of Miles' albums on vinyl and they do sound better than MP3 or CD but iTunes is so convenient.
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on 27 December 2015
Loved it
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on 5 December 2015
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on 28 March 2015
Great remaster.
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