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Jazz - Verschenen op 1 juni 2018 | Blue Note

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There is a before and an after 1986 for Marcus Miller. That year, the bassist was 27 years old and composed and produced Miles Davis’ famous Tutu. Since then, the career of this four-string virtuoso has expanded with stunning albums for others (over 500!) and for himself (more than twenty), as well as multiple collaborations… Like often with Marcus Miller, the borders between jazz, funk, soul and blues are magnificently blurred. And it is once again the case with this Laid Black. After Afrodeezia, which he designed like a musical journey through his personal history, retracing the path of his ancestors, Laid Black falls within present time with a cocktail of all the urban sounds he loves: hip-hop, trap, soul, funk, R&B and, of course, jazz. In fact, this kind of 180° overview is the man’s trademark. Shuffling between various currents of African-American music. And even inserting a few clever references when he covers Que Será, Será (Whatever Will Be, Will Be) popularised by Doris Day, but using Sly Stone’s arrangement from 1973 Fresh… For this 2018 opus, Marcus Miller has called upon a few sharp shooters such as Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler and the young Belgian soul sister Selah Sue. Groove galore and precise yet never sickening pyrotechnics are at the core of an album that only its author knows how to make. © Clotilde Maréchal/Qobuz
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Jazz - Verschenen op 16 maart 2015 | Universal Music Division Decca Records France

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Het Slave Route Project van het UNESCO Artist For Peace-programma vormde de inspiratie voor het album Afrodeezia van de Amerikaanse bassist en componist Marcus Miller. Zodoende speelt niet alleen jazz maar ook muziek uit Afrika, Zuid-Amerika en het Caraibisch gebied een grote rol op het album uit 2015. Aan de plaat werkt een keur aan bekende artiesten mee zoals zangeres Lalah Hathaway, rapper Chuck D. en gitarist Keb’ Mo’. © TiVo
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Jazz fusion en jazz rock - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Originele soundtracks - Verschenen op 29 september 2017 | Warner Records

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Jazz - Verschenen op 28 mei 2012 | Dreyfus Jazz

Marcus Miller's career as a sideman, composer, and producer in jazz, R&B, and pop has been prolific. He's continuously pushed boundaries in order to blur and integrate genres. Renaissance is his first studio recording in five years (Free was released in 2007 in Europe and Japan, then re-released in the United States as Marcus in 2008). Renaissance's title reflects the idea that music needs a rebirth to keep up with the creative possibilities afforded by technology, and to reflect the ever-shifting, politically charged cultural landscape. The manner in which he posits this is anything but theoretical, however. Renaissance may be the most emotive offering in Miller's catalog. Groove and firepower are near constants here. Jazz-funk, R&B, rock, post-bop, club-jazz, and more come together in a wide-ranging collection that is deeply focused and expertly sequenced. Using a revolving cast whose core is alto saxophonist Alex Han, guitarist Adam Agati, and keyboardist Federico Gonzalez Peña, guests include trumpeters Maurice Brown and Sean Jones, organist Bobby Sparks, and more. Things get off to a skittering start on "Detroit," with Miller's bass riding heard over a knotty jazz-funk groove. Louis Cato's drums accent breaks in key sections, the souled-out horns highlight the choruses, and Agati's guitar nastily accents it all while Han's alto solo is a monster. The cover of "Slipping Into Darkness" melds Kris Bowers' piano and Sparks' organ with hand percussion, both trumpets, and Miller's funky reggae groove. The melody accents syncopation on the backbeat before weaving Bob Marley's and Peter Tosh's "Get Up, Stand Up" in as a logical yet surprising extension. Bowers' knotty piano solo illustrates the wide possibilities for jazz improvisation. "Jekyll & Hyde" combines alternate passages of elegant, soulful contemporary jazz with riff-driven rock as Agati and Miller complement and push one another. "Revelation" is a rumbling modal jam with funky highlights and fine soloing by Han. "Gorée (Go-ray)," with Miller on bass clarinet, is a lilting, post-bop ballad with lovely melodic interplay; it was inspired by his visit to the House of Slaves on Gorée Island, his feelings standing inside and reflecting on the horror of the slave experience. It's emotional quality contains numerous dimensions. It is a meditation on how the ends of the lives of these slaves as they knew them also birthed of the African-American experience, one of continued struggle that culturally evolved and transfromed into diverse musical forms that bore witness to tragedy but also triumph as the art created from this history has brought joy and meaning to individuals and societies across globe. Its tenderness and equanimity tells the whole story. "Cee-Tee-Eye," while a thoroughly contemporary jazz tune, pays excellent tribute to the inspiration of Creed Taylor's label. The set closer, a simple reading of "I'll Be There," showcases the bassist's gift for lyricism and understatement. Renaissance is a lofty title, but the inspired performances Miller puts on offer get very close to delivering on the ambition it promises. © Thom Jurek /TiVo
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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 1 april 2012 | Dreyfus Jazz

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Jazz - Verschenen op 23 september 2002 | Rhino - Warner Records

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Originele soundtracks - Verschenen op 11 december 2020 | Walt Disney Records

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Jazz - Verschenen op 1 juni 2018 | Blue Note

There is a before and an after 1986 for Marcus Miller. That year, the bassist was 27 years old and composed and produced Miles Davis’ famous Tutu. Since then, the career of this four-string virtuoso has expanded with stunning albums for others (over 500!) and for himself (more than twenty), as well as multiple collaborations… Like often with Marcus Miller, the borders between jazz, funk, soul and blues are magnificently blurred. And it is once again the case with this Laid Black. After Afrodeezia, which he designed like a musical journey through his personal history, retracing the path of his ancestors, Laid Black falls within present time with a cocktail of all the urban sounds he loves: hip-hop, trap, soul, funk, R&B and, of course, jazz. In fact, this kind of 180° overview is the man’s trademark. Shuffling between various currents of African-American music. And even inserting a few clever references when he covers Que Será, Será (Whatever Will Be, Will Be) popularised by Doris Day, but using Sly Stone’s arrangement from 1973 Fresh… For this 2018 opus, Marcus Miller has called upon a few sharp shooters such as Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler and the young Belgian soul sister Selah Sue. Groove galore and precise yet never sickening pyrotechnics are at the core of an album that only its author knows how to make. © Clotilde Maréchal/Qobuz
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Originele soundtracks - Verschenen op 29 september 2017 | Warner Records

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Jazz - Verschenen op 14 juli 2008 | Dreyfus Jazz

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Jazz - Verschenen op 16 maart 2015 | Universal Music Division Decca Records France

Booklet
Het Slave Route Project van het UNESCO Artist For Peace-programma vormde de inspiratie voor het album Afrodeezia van de Amerikaanse bassist en componist Marcus Miller. Zodoende speelt niet alleen jazz maar ook muziek uit Afrika, Zuid-Amerika en het Caraibisch gebied een grote rol op het album uit 2015. Aan de plaat werkt een keur aan bekende artiesten mee zoals zangeres Lalah Hathaway, rapper Chuck D. en gitarist Keb’ Mo’. © TiVo