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15 of 16 people found the following review helpful:
4.0 out of 5 stars
Not-quite cutting edge hip-hop ignites Miles' horn, August 4, 2000
Had Miles Davis lived to see this project through, it's possible that most or all of the Eazy Mo Bee-produced DOO-BOP cuts would have remained in the can, in favor of projects we can only speculate upon (he was set to work with Prince, John Bigham, and others). However, when Davis died the EMB sessions were prepared for release.From what I've read, Miles picked from a selection of grooves concocted by hip-hop producer Eazy Mo Bee, and that Davis ignored EMB's mellower, keyboard-flavored demos in favor of the tracks with the slammin'est beats. As usual, Miles knew what he wanted, because his solos are consistently assertive and full of imaginative twists and turns. Has Davis ever played invigorating trumpet a greater percentage of an album's total running time than here? Drop any fears that because it is Miles' last album that we have to lower HIS or OUR standards to appreciate the improvisations. The general consensus is that the album's achilles heel is the rapping, with relatively trite rhyme-play on the three non-instrumental cuts. Nonetheless, I think that if the Smithsonian were ever to update their jazz box and needed some hiphop-meets-bebop, BLOW--the most substantial of the three rap tracks--would be as good a selection as any. And isn't it ironic that the title cut was a posthumous hit single (probably Davis' first-ever)? Had he lived to tour about it, imagine Davis turning his back on audience shouts to hear THE DOO-BOP SONG played live (ala his not performing the radio faves THE MAN WITH THE HORN and SHOUT a decade earlier). If you'd like to hear how jazz and hip-hop might converge, this album is recommended despite the fact that the accompiament could have had more of a creative edge. Everyone has their own idea of what rap/hip-hop artist Miles "should" have collaborated with...I would have liked to have heard Miles mix it up with Digital Underground.
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6 of 6 people found the following review helpful:
5.0 out of 5 stars
Depends on your age, October 25, 2005
If you are a classic jazz aficionado this album is probably not for you, that is unless you've got an open mind. This album was way ahead of its time. Obviously a direct influence on Guru's Jazzamatazz series. The disc is an unbelievable blend of jazz, funk and hip hop. I suppose this album sort've reaches "cult favorite status". Toss this on at any occasion, whether it be in the car, at a party or at dinner, any decent fan of music will recognize the originality of this cd. I am 19. My Dad is turning 50 in a week. I'll say that we both groove to this disc equally hard.
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5 of 5 people found the following review helpful:
4.0 out of 5 stars
Miles Last Album, September 1, 2001
A few weeks ago while trying to get a BBQ together for 350 that was running behind I suddenly heard that familiar horn playing on the Chef's stereo but it wasn't the usual Miles Davis I was into. After inquiring I realized it was Doo Bop and after listening to a few cuts felt my tension melt away. A few days ago I picked up the album myself and loved it even though I'm mostly a fan of Miles stuff from the 50's and 60's. It's a shame Miles passed away while making this because I feel he was really on to something espeacilly considering that he was planning on working with Prince soon. If anyone is considering looking for something different than what Miles usually had put out, pick up this album today.
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by Miles Davis 
