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HI-RES25,49 Fr.
CD17,99 Fr.

Jazz - Erschienen am 1. Juni 2018 | Blue Note

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Im Leben von Marcus Miller gab es ein vor und ein nach 1986. In jenem Jahr komponiert und produziert der damals 27-Jährige das berühmte Tutu eines gewissen Miles Davis… Seither pflasterte dieser Virtuose seinen Weg mit verblüffenden Alben für andere (mehr als 500!) oder für sich selbst (über 20) sowie mit zahlreichen Kooperationen… Die Grenzen zwischen Jazz, Funk, Soul und Blues verschwimmen ganz einfach, wie so oft bei Marcus Miller. Auch bei Laid Black ist das erneut der Fall. Anders als Afrodeezia, das er als musikalische Expedition in seine persönliche Geschichte konzipiert hatte und das den Werdegang seiner Ahnen nachvollzog, ist Laid Black nun in der heutigen Zeit verankert und bietet einen richtigen Cocktail mit allen urbanen Klängen, die ihm am Herzen liegen: Hip-Hop, Trap, Soul, Funk, R&B und Jazz natürlich. Übrigens ist diese irgendwie recht gegensätzliche Vision das Markenzeichen dieses Mannes: sich zwischen den verschiedenen afroamerikanischen Musikstilen hindurchschlängeln. Er stellt auch schon mal ein paar eindeutige Referenzen in den Raum, wenn er etwa das durch Doris Day berühmt gewordene Que Será, Será (Whatever Will Be, Will Be) covert, aber in dem Arrangement, das Sly Stone auf Fresh im Jahre 1973 gemacht hatte… Für die Ausgabe des Jahres 2018 hat Marcus Miller mehrere Größen auf den Plan gerufen: Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler und die junge belgische Soul-Sister Selah Sue. Groove in rauen Mengen und präziser Einsatz von Feuerwerken - aber nie im Überdruss - führen zu einer Platte, die er wie kein Zweiter gemeistert hat. © Clotilde Maréchal/Qobuz
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HI-RES28,99 Fr.
CD20,49 Fr.

Jazz - Erschienen am 16. März 2015 | Universal Music Division Decca Records France

Hi-Res Booklet
Afrodeezia is bassist Marcus Miller's debut for Blue Note Records. Produced by the artist, the 11-track set features his core band -- saxophonist Alex Han, trumpeter Lee Hogans, pianist Brett Williams, guitarist Adam Agati, and drummer Louis Cato -- with an international list of guests. The music was inspired by Miller's work as a UNESCO artist for peace, and as a spokesperson for the Slave Route project. Afrodeezia is a masterful contemporary reflection of transcontinental rhythms and melodies that have migrated through the bodies and spirits of African slaves as they were transported to South America, the Caribbean, and the United States before refracting back across the globe in the contemporary era through jazz, R&B, and hip-hop. "Hylife," the set's first single, reflects the long reach of Ghana's popular style grafted on to contemporary jazz-funk with a host of Senegalese musicians on percussion and backing vocals. Lead vocals are provided courtesy of Alune Wade, the great Senegalese bassist. Despite its intense dancefloor appeal, the players' sophisticated rhythmic and harmonic interplay is ferocious. On "B's River," kora player Cherif Soumano and guest trumpeter Etienne Charles solo with Miller on gimbri, bass, and bass clarinet. "Preacher's Kid (Song for William H)" melds modern jazz and American and African gospel. The bassist performs on upright, clarinet, and piano; Cory Henry guests with a gorgeous organ solo as Lalah Hathaway delivers wordless vocals supported by Wade, Dakar's mezzo-soprano Julia Sarr, and Take 6's Alvin Chea. "We Were There" celebrates the example of George Duke and Joe Sample and how their love for Brazilian sounds transformed modern jazz. Robert Glasper's Fender Rhodes is a nice foil for Miller's dominant bassline. Hathaway's scat vocals are appended by a Brazilian chorus with percussion from Marco Lobo. The cover of "Papa Was a Rolling Stone" features guitarists Wah-Wah Watson (who appeared on the Temptations' hit), and Keb' Mo', whose blues approach arcs the lineage to the Delta. Patches Stewart adds his NOLA trumpet playing to emphasize that city's R&B groove in the heart of Northern Soul. Rightfully, this jam is ruled by Miller's bassline, which pays homage to the original while revealing how it influenced everything in popular music that came afterward. "Son of Macbeth" is another monster groover that re-links calypso to contemporary jazz. Just as Robert Greenridge's steel pan drums made Grover Washington, Jr. and Bill Withers' "(Just) the Two of Us" so infectious, Greenridge appears to do the same here. "I Can't Breathe," with just Miller and Mocean Worker creating a wild meld of instrumental color, back Public Enemy's Chuck D in wedding hard funk, political hip-hop, and dance music, exhorting the listener to remember that the struggle for equality is not over. Miller's wide-angle view of jazz is extended further on the glorious Afrodeezia. It reveals in a sophisticated, exceptionally ambitious manner the labyrinthine interconnectedness of earlier sounds and rhythms -- which emerged from bondage and horrific suffering -- to new ones that bring the world joy. © Thom Jurek /TiVo
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HI-RES24,99 Fr.
CD21,49 Fr.

Jazz Fusion & Jazzrock - Erschienen am 1. April 2012 | Dreyfus Jazz

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Das Leben ist kein langer ruhiger Fluss. Jedenfalls nicht für den weltweit signifikantesten E-Basser Marcus Miller. Nach seinem ebenso umjubelten wie erfolgreichen Weltmusik-Ausflug "Afrodeezia" folgt die Rückverwandlung zum Zitteraal of Viersaiting. "Laid Black" ist die Verkündung des E-Funkeliums nach Marcus: Ein echtes Brett von Bebop bis Hip Hop. Konzeptionell vollzieht Miller hier eine Drehung um 180 Grad. War das vorherige Album eine Reise in die eigene Vergangenheit, die ihn über die Sklavenrouten zur Musik seiner Ahnen führte, betritt er mit "Laid Black" wieder die Straße zur Gegenwart. Und auf diesem Highway ist wahrlich die Hölle los. Knallender Funk mischt sich im glutheißen Schmelztiegel mit R&B, Jazz, Hip Hop oder Trap. Die Wundertüte gibt sich fast ganz und gar dem Groove hin, schlendert dabei gleichwohl so laid back und in sich ruhend daher, wie es der Albumtitel suggeriert. Anspieltipp hierzu der zwischen Tradition und Moderne pendelnde Opener "Trip Trap". Miller besitzt seit jeher ein integratives Talent zum Teamplayer. Nicht umsonst glänzte er bereits in den 80ern an der Seite von Miles Davis als dessen Mädchen für alles. Miller komponierte, arrangierte und war die ordnende Hand bei Großtaten wie "Tutu" oder "Amandla". Daher erhalten auch die Gäste Trombone Shorty, Jonathan Butler und die belgische Sängerin Selah Sue hier viel Entfaltungsraum und begegnen dem New Yorker auf Augenhöhe. Daraus entsteht mal ein toller Sommergroove wie "7-T's" (mit Trombone Shorty) oder die Song gewordene Strandpromenade "No Limit". Einzig beim Evergreen "Que Sera Sera" verheben sich die Beteiligten. Der viel zu dominante Chor schlägt wie eine Machete zu und zerhackt den Gesang Selah Sues. Hinzu tritt Millers staubtrocken angeschlagener Bass, der so gar nicht zum sumpfigen Plüschsoul-Arrangement passt. Klingt im Ergebnis eher verwirrt als mitreißend. Zum Glück bleibt dies der einzige Ausrutscher auf einer ansonsten nahezu perfekten Urlaubsplatte. © Laut
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CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

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CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

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HI-RES29,99 Fr.
CD25,99 Fr.

Original Soundtrack - Erschienen am 29. September 2017 | Warner Records

Hi-Res
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CD21,49 Fr.

Jazz - Erschienen am 28. Mai 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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CD21,49 Fr.
M2

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

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CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

Ab
CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

Ab
CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

Ab
CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

Ab
CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

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CD21,49 Fr.

Jazz - Erschienen am 1. April 2012 | Dreyfus Jazz

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CD22,99 Fr.

Jazz - Erschienen am 23. September 2002 | Rhino - Warner Records

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CD20,49 Fr.

Original Soundtrack - Erschienen am 11. Dezember 2020 | Walt Disney Records

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CD19,49 Fr.

Jazz - Erschienen am 1. Juni 2018 | Blue Note

Im Leben von Marcus Miller gab es ein vor und ein nach 1986. In jenem Jahr komponiert und produziert der damals 27-Jährige das berühmte Tutu eines gewissen Miles Davis… Seither pflasterte dieser Virtuose seinen Weg mit verblüffenden Alben für andere (mehr als 500!) oder für sich selbst (über 20) sowie mit zahlreichen Kooperationen… Die Grenzen zwischen Jazz, Funk, Soul und Blues verschwimmen ganz einfach, wie so oft bei Marcus Miller. Auch bei Laid Black ist das erneut der Fall. Anders als Afrodeezia, das er als musikalische Expedition in seine persönliche Geschichte konzipiert hatte und das den Werdegang seiner Ahnen nachvollzog, ist Laid Black nun in der heutigen Zeit verankert und bietet einen richtigen Cocktail mit allen urbanen Klängen, die ihm am Herzen liegen: Hip-Hop, Trap, Soul, Funk, R&B und Jazz natürlich. Übrigens ist diese irgendwie recht gegensätzliche Vision das Markenzeichen dieses Mannes: sich zwischen den verschiedenen afroamerikanischen Musikstilen hindurchschlängeln. Er stellt auch schon mal ein paar eindeutige Referenzen in den Raum, wenn er etwa das durch Doris Day berühmt gewordene Que Será, Será (Whatever Will Be, Will Be) covert, aber in dem Arrangement, das Sly Stone auf Fresh im Jahre 1973 gemacht hatte… Für die Ausgabe des Jahres 2018 hat Marcus Miller mehrere Größen auf den Plan gerufen: Trombone Shorty, Kirk Whalum, Take Six, Jonathan Butler und die junge belgische Soul-Sister Selah Sue. Groove in rauen Mengen und präziser Einsatz von Feuerwerken - aber nie im Überdruss - führen zu einer Platte, die er wie kein Zweiter gemeistert hat. © Clotilde Maréchal/Qobuz
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CD25,99 Fr.

Original Soundtrack - Erschienen am 29. September 2017 | Warner Records

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CD21,49 Fr.

Jazz - Erschienen am 14. Juli 2008 | Dreyfus Jazz

Ab
CD20,49 Fr.

Jazz - Erschienen am 16. März 2015 | Universal Music Division Decca Records France

Booklet
Afrodeezia is bassist Marcus Miller's debut for Blue Note Records. Produced by the artist, the 11-track set features his core band -- saxophonist Alex Han, trumpeter Lee Hogans, pianist Brett Williams, guitarist Adam Agati, and drummer Louis Cato -- with an international list of guests. The music was inspired by Miller's work as a UNESCO artist for peace, and as a spokesperson for the Slave Route project. Afrodeezia is a masterful contemporary reflection of transcontinental rhythms and melodies that have migrated through the bodies and spirits of African slaves as they were transported to South America, the Caribbean, and the United States before refracting back across the globe in the contemporary era through jazz, R&B, and hip-hop. "Hylife," the set's first single, reflects the long reach of Ghana's popular style grafted on to contemporary jazz-funk with a host of Senegalese musicians on percussion and backing vocals. Lead vocals are provided courtesy of Alune Wade, the great Senegalese bassist. Despite its intense dancefloor appeal, the players' sophisticated rhythmic and harmonic interplay is ferocious. On "B's River," kora player Cherif Soumano and guest trumpeter Etienne Charles solo with Miller on gimbri, bass, and bass clarinet. "Preacher's Kid (Song for William H)" melds modern jazz and American and African gospel. The bassist performs on upright, clarinet, and piano; Cory Henry guests with a gorgeous organ solo as Lalah Hathaway delivers wordless vocals supported by Wade, Dakar's mezzo-soprano Julia Sarr, and Take 6's Alvin Chea. "We Were There" celebrates the example of George Duke and Joe Sample and how their love for Brazilian sounds transformed modern jazz. Robert Glasper's Fender Rhodes is a nice foil for Miller's dominant bassline. Hathaway's scat vocals are appended by a Brazilian chorus with percussion from Marco Lobo. The cover of "Papa Was a Rolling Stone" features guitarists Wah-Wah Watson (who appeared on the Temptations' hit), and Keb' Mo', whose blues approach arcs the lineage to the Delta. Patches Stewart adds his NOLA trumpet playing to emphasize that city's R&B groove in the heart of Northern Soul. Rightfully, this jam is ruled by Miller's bassline, which pays homage to the original while revealing how it influenced everything in popular music that came afterward. "Son of Macbeth" is another monster groover that re-links calypso to contemporary jazz. Just as Robert Greenridge's steel pan drums made Grover Washington, Jr. and Bill Withers' "(Just) the Two of Us" so infectious, Greenridge appears to do the same here. "I Can't Breathe," with just Miller and Mocean Worker creating a wild meld of instrumental color, back Public Enemy's Chuck D in wedding hard funk, political hip-hop, and dance music, exhorting the listener to remember that the struggle for equality is not over. Miller's wide-angle view of jazz is extended further on the glorious Afrodeezia. It reveals in a sophisticated, exceptionally ambitious manner the labyrinthine interconnectedness of earlier sounds and rhythms -- which emerged from bondage and horrific suffering -- to new ones that bring the world joy. © Thom Jurek /TiVo