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Jazz - Publicado el 1 de junio de 2018 | Blue Note

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El año 1986 supuso un antes y un después en la vida de Marcus Miller. Fue entonces cuando el bajista, que por entonces contaba 27 años, compuso y produjo el célebre Tutu de cierto Miles Davis… Después, este virtuoso de las cuatro cuerdas no dejaría de grabar discos impresionantes, tanto como músico de sesión (¡más de 500!) como en solitario (aproximadamente unas 20 referencias), por no hablar de sus múltiples colaboraciones con artistas de primer nivel... Para Marcus Miller no existen fronteras entre el jazz, el funk, el soul y el blues, como demuestra de nuevo este Laid Black. Tras Afrodeezia, concebido a manera de periplo musical por la historia de sus antepasados, Laid Black vuelve a situarlo en el presente con un cóctel a base de esas sonoridades urbanas que tanto le gustan: hip-hop, trap, soul, funk, R&B y, evidentemente, jazz. Y ahí reside su grandeza, en esa visión omniabarcadora que zigzaguea con acierto entre las diversas corrientes de la música afroamericana, sin desdeñar los guiños al pasado, como cuando versionea el Que Será, Será (Whatever Will Be, Will Be) que popularizara Doris Day, pero recurriendo a los arreglos realizados en 1973 por Sly Stone para Fresh… En esta nueva entrega Miller ha contado con intérpretes del calibre de Trombone Shorty, Kirk Whalum, Take Six o Jonathan Butler, así como con la joven soul sister belga Selah Sue. Un explosivo disco rebosante de groove y poderío como solo Miller es capaz de grabar. © Clotilde Maréchal/Qobuz
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Jazz - Publicado el 16 de marzo de 2015 | Universal Music Division Decca Records France

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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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Jazz fusión & Jazz rock - Publicado el 1 de abril de 2012 | Dreyfus Jazz

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Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

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Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

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Bandas sonoras de cine - Publicado el 29 de septiembre de 2017 | Warner Records

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Jazz - Publicado el 28 de mayo de 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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M2

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

A partir de:
CD13,49 €

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

A partir de:
CD13,49 €

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

A partir de:
CD13,49 €

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

A partir de:
CD13,49 €

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

A partir de:
CD13,49 €

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

A partir de:
CD13,49 €

Jazz - Publicado el 1 de abril de 2012 | Dreyfus Jazz

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Jazz - Publicado el 23 de septiembre de 2002 | Rhino - Warner Records

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Bandas sonoras de cine - Publicado el 11 de diciembre de 2020 | Walt Disney Records

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Jazz - Publicado el 1 de junio de 2018 | Blue Note

El año 1986 supuso un antes y un después en la vida de Marcus Miller. Fue entonces cuando el bajista, que por entonces contaba 27 años, compuso y produjo el célebre Tutu de cierto Miles Davis… Después, este virtuoso de las cuatro cuerdas no dejaría de grabar discos impresionantes, tanto como músico de sesión (¡más de 500!) como en solitario (aproximadamente unas 20 referencias), por no hablar de sus múltiples colaboraciones con artistas de primer nivel... Para Marcus Miller no existen fronteras entre el jazz, el funk, el soul y el blues, como demuestra de nuevo este Laid Black. Tras Afrodeezia, concebido a manera de periplo musical por la historia de sus antepasados, Laid Black vuelve a situarlo en el presente con un cóctel a base de esas sonoridades urbanas que tanto le gustan: hip-hop, trap, soul, funk, R&B y, evidentemente, jazz. Y ahí reside su grandeza, en esa visión omniabarcadora que zigzaguea con acierto entre las diversas corrientes de la música afroamericana, sin desdeñar los guiños al pasado, como cuando versionea el Que Será, Será (Whatever Will Be, Will Be) que popularizara Doris Day, pero recurriendo a los arreglos realizados en 1973 por Sly Stone para Fresh… En esta nueva entrega Miller ha contado con intérpretes del calibre de Trombone Shorty, Kirk Whalum, Take Six o Jonathan Butler, así como con la joven soul sister belga Selah Sue. Un explosivo disco rebosante de groove y poderío como solo Miller es capaz de grabar. © Clotilde Maréchal/Qobuz
A partir de:
CD17,49 €

Bandas sonoras de cine - Publicado el 29 de septiembre de 2017 | Warner Records

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Jazz - Publicado el 14 de julio de 2008 | Dreyfus Jazz

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Jazz - Publicado el 16 de marzo de 2015 | Universal Music Division Decca Records France

Libreto
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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Marcus Miller en el Magazine