Your basket is empty

Categories :

Similar artists

Albums

HI-RES£15.99
CD£13.99

Electronic - Released April 1, 2012 | Dreyfus Jazz

Hi-Res
Had Marcus Miller chosen a more fusion-centric path, it's quite possible that he would have become as iconic among fusion heads as Jaco Pastorius or Miroslav Vitous. Miller certainly knows his way around his electric bass, and he probably would have been a great addition to Return to Forever if Stanley Clarke had been unavailable for their 2008 reunion tour and Chick Corea had offered him the gig. But that is speculation, of course. What we can say with certainty is that being hell-bent for fusion is not the path chosen by the highly eclectic, broad-minded Miller, who is as well known for his work with Luther Vandross and for co-writing E.U.'s 1988 funk/go-go hit "Da Butt" as he is for the composing, producing, and playing he did on Miles Davis' Tutu and Amandla albums in the ‘80s. Nonetheless, Miller is quite capable of playing jazz when he wants to, and jazz is the main ingredient on A Night in Monte Carlo. Documenting a November 29, 2008 appearance in Monte Carlo, Monaco, this 63-minute CD unites Miller with the Monte Carlo Philharmonic Orchestra as well as with trumpeter/flügelhornist Roy Hargrove. Occasionally, A Night in Monte Carlo steps outside of jazz; "State of Mind" and "Your Amazing Grace" (both of which feature singer Raúl Midón) are essentially vocal R&B. But instrumental jazz of the electric fusion variety dominates this concert, and the fact that Miller is operating in a very orchestral environment doesn't mean that there isn't room for stretching and improvising on memorable performances of Davis' "So What," George Gershwin's "I Loves You, Porgy," Jimmy Dorsey's "I'm Glad There Is You" and Amandla's title track. Some of those tunes have been beaten to death over the years, but not by fusion artists, and Miller manages to keep things intriguing even on some extremely familiar warhorses. A Night in Monte Carlo is not recommended to jazz purists; this is mainly jazz, but it's jazz with rock, funk, and hip-hop elements. Fusion lovers, however, will be delighted to hear Miller in this electric jazz-oriented environment. © Alex Henderson /TiVo
HI-RES£17.49
CD£12.49

Jazz - Released March 2, 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

Artist

Marcus Miller in the magazine
  • The Qobuz Minute #33
    The Qobuz Minute #33 Presented by Barry Moore, The Qobuz Minute sweeps you away to the 4 corners of the musical universe to bring you an eclectic mix of today's brightest talents. Jazz, Electro, Classical, World music ...