Customer Reviews

Decoy

5 star:		(9)
4 star:		(4)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

No matter who backed him up,Miles always played in
his own way and one could always tell it was him.The trio of songs that begin the album-the tital cut,"Robot 415" and
"Code M.D." are pulsing electro-funk hip/hop numbers that stand as the beginnings of jazz-hop and are therefore a precurser to what Gang Starr and Digable planets would be doing a decade
later."What Is It" and "That's What Happened" are organic,white-
hot,live-in-the-studio jams where Miles blows like a siren.The
moody "Freaky Deaky" and "That's Right" add enough change of pace
to make this one of Mile's better 80's albums by far!

DECOY marks a milestone in Miles' thinking since returning to the jazz wars, and the trumpeter's keyboard abstractions over Jones' Kraftwerk-like bass groove on "Freaky Deaky" offers clues as to the style of spontaneous orchestration and interplay he wanted. Co-producer/keyboardist Robert Irving's title track depicts an opulent canvas of inter-connected modes, all doing a wheeling dance around Jones' spacious, behind-the-beat bass pulse; "Robot 415" is an Afro-Techno miniature; and "Code M.D." offers slick big band synth flourishes and contrasting rhythmic accents over a swampy, post-modern brand of southern funk. Throughout DECOY, Scofield's deft harmonic intuition and sure feel for boppish blues lines help set the plate for the trumpeter's stabbing upper register declamations and oblique melodies. And as a co-composer, Scofield helps distill Miles' `80s brew of ethnic shadings, funky polyrhythms, Gil Evans-styled keyboard colors...and the blues. Check out how his agitated counterpoint and skanky funk groove on "What It Is" inspire Miles to overdub a melange of trumpet commentaries, while "That's Right" showcases the band's elegant blues plumage. And the rousing "That's What Happened" suggests James Brown let loose in a particle collider, as a fragmented melody snakes its way through the carnage.

This CD defines a whole new approach to improvisation. If you can find it, check out John Scofield's interview in Downbeat which came out shortly after Decoy was released on vinyl. It explains in depth the improvisational concept of this CD, which, for musicians, can be applied over any tune or set of chord changes. As usual, Miles is the ultimate combination of listener accessability and creative genius. A genius in his own right, Robet Irving III contributes some slick compositions, voicings, and programming on this CD also. A must have.

Miles' Decoy is a great fusion album. If you rate it lower than 5 stars be prepared to rate all 80s fusion albums below it. Why? Because it retains the originality and style Miles has always had, and it hasn't yet moved into "cover tune" territory. Miles allowed his players to put their individual stamp on his music. Jones, Scofield, Foster, Marsalis, etc. All place a great stamp of their own on Miles' Decoy. It has a modern feel to it, and yes, there are synths on it. I like that. The band is performing better than any "fusion" bands of the time, and they are remaining harmonically, rhythmically, and melodically original--unlike most of the Fusion and all of the past-derived "jazz" that was starting to hit the scene at the time. There are metric modulations and interesting changes happening here, unlike funk-influenced "pop-jazz" or "cool Jazz" fusion that was all over the place back then.

I was really just starting to get into Miles Davis when Decoy was out, in the mid-80s. I bought this on cassette when LPs were waning in popularity and cassettes were starting to gain more prominent use. CDs were around but they were a new format. I played this album lots when I bought it and it was my "gateway" Miles Davis CD that got me hooked on Miles. So, I can say with confidence that there is a musical "density" to this music that definitely puts it on par with Miles' other music before and, certainly, after.

The improvisational quality of this music is such that it can withstand repeated listens and still you find something new--that is the consistent quality that all of Miles' best recordings have. So I suggest that Decoy is incredible for you whether or not you're a "completionist" fan of Miles Davis.

Like You're Under Arrest and Tutu, Decoy flirts heavily with synthesizers. Another thing it has in common with those two releases? None of 'em are all that good. I mean, this isn't a dog's dinner like it's made out to be, but it's not first-class Miles. "Robot 409" sounds like a bad cartoon theme, for god's sake, while both the title track and "Code M.D." are beefed up electronically, seemingly to cover up their lack of any strong melody or instrumental solos. Now, I do think that "Freaky Deaky" makes good use of the electronic stuff - appropriately enough, it sounds freaky. And hey, "What It Is" is about the funkiest thing on this album, plus the squealing, Wayne Shorter-like soprano sax solo sounds nice. Meanwhile, "That's It" does have an amusingly unpredictable groove, making it worth hearing as well. And "What It Is" is stirring, that's what it is. So that makes it the best post-retirement Miles album I've ever heard, not like that's saying much.

Of any of Miles' 1980's period recordings, "Decoy" for my money is one of the best of the batch from a musical/compositional standpoint. And with the likes of drummer Al Foster, guitarist John Scofield and saxmeister Branford Marsalis, how could you go wrong?

The opening title track is particularly strong, conveying the mystery, urgency and intensity that was Miles. "Robot 415" ain't half bad either, even with all the synths still magages to create a strong mood in its brief span. "Code M.D" is somewhat sabotaged by the stiff drum-machine rhythm (live drums would've really made it sparkle) though it does have a very compelling harmonic/melodic shape despite that flaw. "Freaky Deaky" with it's repeating bass line had some potential but falls flat on its face.

The strongest cuts are the last 3, "What It Is" a manic funk track that would've been very much at home in the opening credits of an old Quinn Martin crime drama (all it's missing is the voiceover of one Hank Simms grimly intoning "Tonight's Episode---"), "That's Right" pours on the sloooowww, smoldering blues and things wrap up with "That's What Happened" a tour de force, on which the melody and harmonic structure is interestingly enough, a transcription of a VERY inspired John Scofield guitar solo from the previous "Star People" album (on the track "Speak").

All told,a good solid effort, far more listeniable than most of Miles' 80's efforts.

yeah, this album is all that and a pack of smokes and Miles is awesome and John Scofield is awesome and the pre-Tonight Show Branford is awesome, too tra la la la la. But don't forget Daryl "The Munch" Jones gives incredible performances on every track. If you really want to study the pocket, this is where it's at.

This CD was released in 1984. The sound quality is very good. Much better than many of the CD's released in the mid eighties. It is 39 minutes long, which is fairly short by Miles Davis's standards. His LP's used be 25 minutes to 30 minutes a side. The double album, Get Up With It was 2 hours long.

This is eighties style jazz, but with a Miles Davis flair to it that makes it better than most jazz released at the time. The eighties were not a very good time for jazz. Sunday Brunch, light jazz was all the rage. People like Spyro Gyra and later Kenny G were popular. Also musicians were folding in New Age jazz (which at the time was about the only thing that was interesting). People like Chick Corea and Bill Cobham went light and pop.

This CD has that distinctive 1980's jazz sound. Code MD sounds like something Chick Corea would have done. There are also twinges of 80's Weather Report.

The band on this CD includes John Scofield on guitar and someone named Robert Irving III on keyboards. They wrote most of the compositions. Also appearing in spots in Branford Marsalis (who now plays with all the jam bands like the Gov't Mule and Widespread Panic).

This CD is more lively and a little more main stream than Davis's earlier work. It is certainly more accessible to the general population than anything Davis has done. But, it isn't bland or white bread like most popular music. If you want Bitches Brew or Sketches of Spain or Doo Wap, this isn't it. This isn't ground breaking. But, it shows that Davis can take on any style and make it better.

this for me is Miles Davis Last Funky all out ALbum.the grooves here work.Him&Bradford Marsalis is something special.Robert Irvings Synth&Programming work.they aren't over the top like alot of 80's style of Material.What it is&Freaky Deaky really stand out.Aruguable the best group he had on Record during the 80's.

This album is great, if you like the later Miles albums (like "You're Under Arrest"). The sound is not too far outside, yet Miles plays his usual tricks with your ear, making you listen and interact with the music rather than just have it around for the ambience (like that is possible with good Jazz!).

The title track is great, as is the live take of "What it is", featuring some very Scofieldesque guitar.

As a sax player, this album didn't thrill me, as I am neither a Marsalis or Bill Evans fan, but as a Jazz player it did. Egdy, and accomplished. I'm glad I own it.