Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic
Miles Davis - Decoy (Japanese edition, Clear vinyl) - AudioSoundMusic

Miles Davis - Decoy (Japanese edition, Clear vinyl)

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Miles Davis - trumpet (A1-3, B1-3, synthesizer (A2, A4, B1-3) [click here to see more vinyl featuring Miles Davis]

Mino Cinelu – percussion

Bill Evans - soprano saxophone (B1, B3) [click here to see more vinyl featuring Bill Evans]

Al Foster – drums (A1, A3-4, B1-3)

Darryl "The Munch" Jones – electric bass (A1, A3-4, B1-3)

John Scofield – guitar (A1, A3, B1-3)

Branford Marsalis - soprano saxophone (A1, A3, B2)

Robert Irving III - synthesizer, synthesizer bass & drum programming (A1-3, B2)

Arranged by Miles Davis (A2, A4 to B3), Gil Evans (B2), Robert Irving III (A1 to A3)

Written by Miles Davis (A2, A4, B1-3), Robert Irving III (A1-3), John Scofield (B1-3)


1 LP, gatefold jacket

Limited edition

Original  analog Master Tape :  YES

Heavy Pressing : 180g

Record color : clear

Speed : 33 RPM

Size : 12'’


Studio & Live

Record Press : Memphis Record Pressing, Tennessee, USA

Label : Get on down

Original Label:  Columbia

Recorded on June 30, 1983 at A&R Studio, New York City ; July 7, 1983 at Théâtre St. Denis, Montreal ; September 5, 10 and 11, 1983 at Record Plant Studio, New York City

Recorded by Guy Charbonneau

Engineered and mixed by Ronald F. Lorman

Produced by Miles Davis

Mastered by Bob Ludwig at GZ Media

Originally released in June1984

Reissued in August 2022



Side A:

  1. Decoy
  2. Robot 415
  3. Code M.D.
  4. Freaky Deaky

Side B:

  1. What It Is
  2. That's Right
  3. That's What Happened


            Reviews :

            ''DECOY'' (Columbia), the new album from Miles Davis, is the first disk since his middle- and late-1970's ''retirement'' that amounts to more than a string of bluesy solos and riff patterns. Mr. Davis's stylings used to be billed as ''Directions in Music,'' and ''Decoy'' lives up to that designation by molding individual solos, themes, backgrounds, and overall sound into a coherent whole greater than the sum of its parts.

            Mr. Davis is at his best when he puts the right musicians together with the right musical concepts and lets his players fill in the details. When the trumpeter was leading tight, seamless quintets and sextets, back in the 1950's and 60's, his recorded performances were so closely meshed that it was often difficult to tell how much of the music's success was due to his direction and how much was due to the inventiveness of the other musicians.

            The sprawling seven-, eight- and nine-man electric bands that Mr. Davis led during the early and late 1970's were not as consistent, and his studio and concert recordings from this period had their ups and downs. The stormy tropical ramblings of his nine-piece juggernaut are 1974's ''Dark Magus,'' and the clamorous punk-jazz on the harrowing first side of 1975's ''Pangaea,'' (both albums were released by Japanese CBS/ Sony and are long overdue for American release) which set the stage for some of the most adventurous jazz- related music of the last decade. But the band heard on ''Pangaea'' was also responsible for the rambling blues jams preserved on the United States Columbia album ''Agharta.'' The Davis bands of this period required exceptional intensity and alertness from all participants to perform at optimum; when minds wandered, so did the music.

            Though critics argued back and forth concerning the merits of the band that Mr. Davis unveiled when he returned to playing in 1981 after a five-year sabbatical, there can be little doubt that at this juncture most of the musicians were not at the time up to his customary standards. ''The Man With the Horn,'' recorded in 1981, is still the worst clinker in the trumpeter's extensive catalogue of Columbia albums, and though its follow-ups, ''We Want Miles'' and ''Star People,'' were considerably more palatable and contained some performances of real brilliance, it was Mr. Davis himself who carried those albums as far as they went, not the other soloists.

            Mr. Davis slowly but surely weeded out the weaker players from his band, and on ''Decoy'' he presents for the first time since his retirement, a group of players who hold their own, individually and as an ensemble. Branford Marsalis, the young saxophonist from New Orleans, plays fluid, inventive lines and is a nice foil for Mr. Davis's more biting trumpet sound. The guitarist John Scofield, who is credited as co-composer with Mr. Davis on the second side's three compositions, has adapted himself admirably to Mr. Davis's concept of texture and musical space and contributes warmly bluesy solos. The rhythm section, with the drummer Al Foster and the percussionist Mino Cinelu, veterans of the 1981 band, is springier, more swinging, with the newcomer Darryl Jones on bass. And Mr. Davis has called on the arranging savvy of Gil Evans (on ''That's Right,'' the album's most atmospheric selection) and on the composing, arranging and synthesizer playing and programs of Robert Irving 3d. Taking a cue, perhaps, from Mr. Evans's own band, Mr. Davis has made tasteful creative use of synthesizers, drum machines and other modern gizmos, voicing them with saxophone, guitar and other traditional instruments without letting them dominate the music.

            Mr. Davis's own synthesizer playing is mostly an extension of his functional keyboard work on earlier disks; he is definitely at his best on trumpet. His horn solos on ''That's Right,'' ''What It Is'' and the album's title tune are jabbing, urgent, inspired, his finest recorded work in some time. If this album is a preview of the music that Mr. Davis will present June 22 at the Kool Jazz Festival concert he is sharing with Gil Evans, the evening is something to look forward to.” The New York Times, June 6, 1984

            “This rather streaky set of music features Miles Davis with keyboardist Robert Irving III (who has since slipped into obscurity) and guitarist John Scofield contributing most of the compositions and the other solos. There are some moments of interest (Branford Marsalis is heard on some cuts on soprano), but it is doubtful if anyone will be reviving "Robot 415," "Freaky Deaky," or "Code M.D." anytime soon.” Review by Scott Yanow



            AllMusic : 2 / 5 ; Discogs : 3.9 / 5

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