25 years of ‘Tutu’

1985 was a year of upheaval for Miles Davis. Though he had recorded a successful album ‘You’re Under Arrest‘ and was in some of the best ‘lip’ since his return to performing in 1981, his relationship with record label Columbia was at an all-time low. The reasons for this seem to be three-fold – their other star trumpeter Wynton Marsalis was at his peak of popularity, and, as far as Miles was concerned, Columbia MD Dr George Butler only had eyes for Wynton.

Then Miles felt that Columbia had procrastinated over releasing his cover of the Cyndi Lauper pop song ‘Time After Time‘ as a single. At the time, with typical mordant humour, Miles said, ‘He (George Butler) ignored it because he’s so busy with Wynton Marsalis. He heard us do it at the Montreux Jazz Festival last year and said “We gotta do it! We gotta do it!” I said, “George, I told you man. We already did it!” And he still didn’t release it…’

And the final nail in the coffin seemed to be Columbia’s unwillingness to put any financial clout behind Miles’s stunning collaboration with Danish trumpeter/composer Palle Mikkelborg, ‘Aura‘, recorded at the beginning of 1985. For unknown reasons, the music didn’t see the light of day until 1989. Again, in contemporary interviews, Miles rounded up the usual suspects: ‘I wanted $1400 for a digital remix and Columbia wouldn’t pay it. And then George Butler calls me up. He says to me, “Why don’t you call Wynton?” I say, “Why?” He says, “Cos it’s his birthday!” That’s why I left Columbia.’ Later reports had Miles carrying out Butler’s request, barking ‘Happy Birthday!’ to Marsalis and then hastily slamming down the phone!

Whatever the real reason, Miles became a Warner Bros. artist in autumn 1985. House producer and head of the jazz arm of the label Tommy LiPuma was delighted to get him but what was he going to do with him? The first step Miles took was to take his touring band into the studio and embark on a kind of ‘You’re Under Arrest’ mark two, playing tunes by contemporary pop and funk acts like Mr Mister, Nik Kershaw and Maze. But this project was quickly abandoned, and Miles contacted various musicians including Prince (who supplied the rather humdrum ‘Can I Play With U’, later replaced by Miller’s ‘Full Nelson’), George Duke, Bill Laswell, Paul Buckmaster and Toto’s Steve Porcaro, looking for new music and a new direction. But he finally settled on an old contact, Randy Hall, the young Chicago multi-instrumentalist who had worked on his comeback album ‘The Man With The Horn‘ back in 1981. Around a dozen tracks were completed between October and December 1985 in what was now known as the Rubberband project. However, again for unknown reasons, the project was shelved. Tommy LiPuma has been quoted as saying, ‘I didn’t hear anything. To me, it didn’t sound like nothing was going on.’ To this day, none of the Rubberband tracks have seen the light of day though some, such as ‘Carnival Time’, ‘Al Jarreau’ and ‘Wrinkle’, found their way into Miles’s live repertoire.

Other collaborators were quickly suggested and then discarded including Pat Metheny keyboardist Lyle Mays and English pop boffin Thomas Dolby. So Miles went back to George Duke. Their paths had crossed many times over the years, particularly when Duke was playing keyboards with Cannonball Adderley in the early ’70s. As Duke remembers, ‘When Miles called, I initially thought it was a prank, one of my friends impersonating him. So I didn’t do anything, and a week later he called again. I said, “Who is this?” and he started swearing at me, “Mother****er, write me a song!”‘

It seems finally that George Duke’s demo of ‘Backyard Ritual‘ was deemed a direction worth pursuing by Miles and LiPuma. A strong, drum-heavy track put together by Duke using a Synclavier digital sampler with a simple but memorable main motif, he never intended it to be used as a final version, highlighted by the rather cheesy sampled alto sax solo. But Miles eventually used almost the whole demo for ‘Tutu’, embellishing it only with some slithering percussion by Steve Reid and Paulinho Da Costa and of course his own pristine trumpet playing. Miles’s take on it was that he respected a quality arrangement, demo or not: ‘A guy like George Duke, he writes a composition, it’s all there. All you have to do is play on it and respect that man’s composition’, he told writer and musician Ben Sidran. And Duke revealed that he had even played a ‘sampled’ trumpet solo on the original demo, which tickled Miles. Duke: ‘He said to me, “You think that’s the way I play trumpet?” And I said, “That’s the way it sounds to me!”‘

At the beginning of 1986, Marcus Miller phoned Tommy LiPuma out of the blue. The bassist and composer had of course played in Miles’s comeback band from 1981 to 1983. He had since made two solo albums and worked with a huge variety of artists, from Luther Vandross and Aretha Franklin to Bryan Ferry and Carly Simon, and was aware that Miles had migrated to Warner Bros. and wondered if he was looking for new songs. LiPuma sent him the ‘Backyard Ritual’ demo; Miller was instantly inspired: ‘I thought, “Wow, if Miles is willing to use drum machines and stuff, let me show my take on that.” I wasn’t directly musically influenced by George’s track but it gave me a direction.’

Miller wrote and recorded demos for ‘Tutu‘, ‘Portia‘ and ‘Splatch‘ back-to-back, playing all the instruments himself. Previewing the tracks with Miles and LiPuma in LA in March 1986, he got an immediate green light to turn this into an album project – this was the direction they had been looking for. Miller began recording the final versions of the three tunes immediately with the help of keyboardist and programmer Adam Holzman.

There’s been a lot of speculation as to why none of Miles’s touring band were invited to play on the ‘Tutu’ sessions, with opinions differing as to who made the decision. Miller insists, ‘I wasn’t party to the decision not to use the live band but Tommy didn’t push me in any direction. He let me do my thing.’ Miles seemed to resign himself to the convenience of the situation, saying, ‘Rather than get myself, the working band and Tommy into all kinds of hassles by trying to bring my band in the studio to record music I might like, but Tommy doesn’t, we do it this way.’ Consequently, although some choice session players appear on the album, such as drummer Omar Hakim and the aforementioned Paulinho Da Costa, as well as some of Miller’s trusted friends and collaborators like keyboardist Bernard Wright, synth programmer Jason Miles and electric violinist Michal Urbaniak, there’s a unified sound to ‘Tutu’ that comes directly from Miller’s amazingly-assured contributions on fretted and fretless basses, keyboards, drum programming and occasional live drums. And his soprano sax acts as Miles’s main instrumental foil on the album, particularly evident on the call-and-response phrases in ‘Tomaas’.

Once the backing tracks had been laid down, LiPuma and Miller documented Miles’s trumpet playing as spontaneously as possible without resorting to too many ‘comped’ takes (final versions made up of several performances). Apart from being a necessity as Miles didn’t like to do more than two takes, this was an intelligent arrangement idea serving as a contrast to the painstaking and meticulous piecing together of the backing tracks. According to legend, Miles’s solos on the title track and ‘Portia’ are complete takes from beginning to end. Miller found himself performing on soprano sax at the same mic as Miles during the recording of ‘Portia’. He called it ‘one of the most tense experiences I’d ever had’. By most accounts, Miles was a receptive and willing participant in the creative process, once telling Miller, ‘Come on, man, I don’t mind a little bit of direction! You wrote the tunes. Tell me where you want me to play.’ Again, Miles demonstrates his total respect for the composer.

Miles was also reportedly responsible for the inclusion of one of the more controversial cuts on the album, the Scritti Politti cover tune ‘Perfect Way‘. A US Top 20 hit in late 1985, the song was co-written by Welsh-born Green Gartside and American keyboardist David Gamson. Miles apparently cajoled Miller into recording the song, believing it had the potential to be the new ‘Time After Time’, and even wanted to call the album ‘Perfect Way’ until just before release. But Miller expressed reservations about replicating Scritti’s legendary ‘Swiss watch’ arrangements, and with good reason – the ‘Tutu’ version does sound rather laboured and weedy compared to the original. But Miles remained a big Scritti fan and two years later made a memorable guest appearance on their ‘Oh Patti’ single.

So has ‘Tutu’ stood the test of time? The title track, ‘Portia’ and ‘Tomaas’ would surely not be out of place on any Miles fans best-of, with their majestic themes, engaging harmonies, slinky grooves and strong trumpet playing. ‘Full Nelson‘ remains a great tribute to Prince’s sound circa ‘Parade’ and ‘Sign Of The Times’, while ‘Don’t Lose Your Mind‘ is a classy approximation of Sly and Robbie‘s mid-’80s collaborations. But ‘Perfect Way’, ‘Backyard Ritual’ and ‘Splatch’ unfortunately now sound suspiciously like beautifully-produced filler, featuring little of interest to fans of improvised music.

But taken as a whole, ‘Tutu’ is a very important album whose success was helped immeasurably by Irving Penn‘s striking cover portrait. It crystallised Miles’s interest in funk, soul and R’n'B more successfully than ‘Decoy’ or ‘You’re Under Arrest’ whilst retaining a jazz flavour. It was also a statement of political intent and black pride, significantly referencing both Archbishop Desmond Tutu and Nelson Mandela in its song titles. And – perhaps most crucially – it was a hit, introducing a whole new generation to Miles’ unique trumpet sound.

‘Tutu – The Deluxe Edition’ is out now on Warner Bros.