{"id":98,"date":"2019-11-08T00:00:00","date_gmt":"2019-11-08T00:00:00","guid":{"rendered":"https:\/\/postgenre.org\/staging\/4567\/?p=98"},"modified":"2020-05-04T16:29:05","modified_gmt":"2020-05-04T21:29:05","slug":"miles-davis-rubberband-album-reviewed","status":"publish","type":"post","link":"https:\/\/postgenre.org\/staging\/4567\/miles-davis-rubberband-album-reviewed\/","title":{"rendered":"Review: Miles Davis\u2019 \u2018Rubberband\u2019"},"content":{"rendered":"\n

Recorded mostly in 1985, the height of Miles Davis\u2019 most critically maligned era, Rubberband<\/em> is unlikely to be appreciated by one who generally disfavors the artist\u2019s 1980s oeuvre. However, for a listener open to Davis\u2019 music from that period, there is much to enjoy.<\/p>\n\n\n\n

Full appreciation partly \nrequires an understanding of the album\u2019s history. At the time of \nrecording, Miles had terminated his three-decade association with \nColumbia Records and was again looking to produce a new sound, which \nwould feature both the most recent technological developments, including\n increased use of drum machines and synthesizers, as well as concepts \nfrom popular music of the time. The work would be more representative of\n \u201cthe street,\u201d full of grooves and funky bass lines. Interestingly, the \ntrumpeter\u2019s voice was also to be used intermittently throughout. There \nwould be planned guest appearances by prominent vocalists of the time, \nincluding Chaka Khan and Al Jarreau. Although around a dozen tracks were\n recorded, the project was ultimately shelved for what would later \nbecome Davis\u2019 1980s masterpiece Tutu<\/em>.<\/p>\n\n\n

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