Miller-Davis LP clever but tantalisingly uneven

Press, 30 December 1988, Page 22

Miller-Davis LP clever but tantalisingly uneven

MILES DAVIS AND MARCUS MILLER “Music from ‘Siesta’ ” (Warner Bros 25655 —1). The accompanying “media information” says, “Creating a soundtrack to suit the dreamy, erotic moods of ‘Siesta,’ a surreal, sensuous, romantic mystery that both pushes cinematic boundaries and fashions a dazzling blend of images and music, proved to be a unique challenge for one of modern music’s most acclaimed young artists — (the) composer/producer/arranger/ multi — instrumentalist, Marcus Miller.”

Yes, well, but ... A previous Davis - Miller collaboration

JAZZ

“Tutu,” • was widely praised; the format here is similar. There is a background of synthesized orchestra; Miller plays several acoustic instruments, there are contributions from John Scofield and Earl Klugh on guitars, Omar Hakim on drums and James Walker on flute. Above all, there is Miles Davis.

Using his chosen palette of musical colours, Miller “put together a painting.” It’s extremely clever, but it’s tantalisingly uneven.

Davis plays on about half the tracks and it’s beautiful. The Spanish setting gives scope to his gorgeous tone, tinged with melancholy, and the lovely lines of his playing create a mood of poignancy and langour, especially in the LP’s highlights — "Theme For Augustine” and “Claire.” Otherwise, inevitably perhaps, the soundtrack element leads to a “background music” quality, even a degree of ennui, some cuts are brief, and even the recurrence of the “Lost in Madrid” theme can’t dispel an impression of fragmentation. — Frank Collins.