O exímio contra-baixista elétrico Marcus Miller, como tal dispensa comentários. Nascido no 14 de junho de 1959 em Nova York, tocou com grandes músicos, entre eles: Miles Davis (1980-1990), Saxofonista David Sanborn, Bee Gees (1987), Frank Sinatra, Mariah Carey e até Djavan.
Miller teve treinamento na musica clássica como clarinetista, e toca também o clarineta baixo, teclado, saxofone, e guitarra, e é um cantor competente. Abriu caminhos no desenvolvimento de uma técnica chamada de “slapping”. Sua habilidade no baixo “fretless” (sem trastes) levou o instrumento para contextos musicais previamente inexplorados com qualquer tipo de baixo elétrico, alem do mais, Marcus Miller nunca escondeu sua admiração e sua influência do baixista Jaco Pastorius.
Cedo na sua carreira, Miller era acusado de imitar demais o estílo do Pastorius, inegavelmente uma influência que era, e ainda é, enorme.
Miller teve treinamento na musica clássica como clarinetista, e toca também o clarineta baixo, teclado, saxofone, e guitarra, e é um cantor competente. Abriu caminhos no desenvolvimento de uma técnica chamada de “slapping”. Sua habilidade no baixo “fretless” (sem trastes) levou o instrumento para contextos musicais previamente inexplorados com qualquer tipo de baixo elétrico, alem do mais, Marcus Miller nunca escondeu sua admiração e sua influência do baixista Jaco Pastorius.
Cedo na sua carreira, Miller era acusado de imitar demais o estílo do Pastorius, inegavelmente uma influência que era, e ainda é, enorme.
Clique para acompanhar Marcus Miller homenageando seu idolo, Jaco Pastorius.
http://www.youtube.com/watch?v=Qji84EgLEio
http://www.youtube.com/watch?v=Qji84EgLEio
Electric bassist Marcus Miller was born14 June 1959, New York City, New York, USA. Taking up the electric bass in his teens, Miller’s early musical experience came from the New York soul scene.
Flautist Bobbi Humphrey gave him his first serious work in the jazz idiom in 1977, which was quickly followed by a tour with Lenny White’s group. Becoming competent on an impressive number of instruments, Miller’s reputation grew in the New York studio world.
By 1980, he had recorded for Bob James, Grover Washington Jnr. , Roberta Flack, and Aretha Franklin. In 1980, he joined Miles Davis, but left after two years for the financial lure of session work, producing and playing on several albums for David Sanborn.
The second and more important period of Miller’s relationship with Davis began in 1986, when he played almost every instrument and wrote most of the music for Tutu, Davis’ first album for Warner Brothers Records. Davis had never before given away so much artistic control, but must have been pleased with the result, for Miller worked just as closely with him on his Music From Siesta ’88 and Amandlia albums.
He continues to work as one of New York’s top studio musicians putting out solo recordings occasionally.
Flautist Bobbi Humphrey gave him his first serious work in the jazz idiom in 1977, which was quickly followed by a tour with Lenny White’s group. Becoming competent on an impressive number of instruments, Miller’s reputation grew in the New York studio world.
By 1980, he had recorded for Bob James, Grover Washington Jnr. , Roberta Flack, and Aretha Franklin. In 1980, he joined Miles Davis, but left after two years for the financial lure of session work, producing and playing on several albums for David Sanborn.
The second and more important period of Miller’s relationship with Davis began in 1986, when he played almost every instrument and wrote most of the music for Tutu, Davis’ first album for Warner Brothers Records. Davis had never before given away so much artistic control, but must have been pleased with the result, for Miller worked just as closely with him on his Music From Siesta ’88 and Amandlia albums.
He continues to work as one of New York’s top studio musicians putting out solo recordings occasionally.
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