Jun 22, 2002 #1. You know, it can take me a while to find the … I’ve got to do a little bit more work than somebody who just smokes a spliff or something, you know what I mean? For my solo, I changed my sound via an amp simulator and distortion pedal every four bars, so it sounds like a different bassist is responding to what I play on the clean side. We get a lot of 14-and 15-year-old hip-hop fans coming to our shows who are loving the musicianship; they want to get out of their virtual worlds and go see bands play and sweat. Since 1983, Miller has also enjoyed significant success as a solo jazz artist and bandleader. I recorded with my band for four days at Sear Sound in New York City, and that was the foundation. I got to run some errands and I’ll be back in about an hour but don’t stop playing that groove 'til I get back!’ And we would just sit there, man, just playing this groove over and over again… it changes you, man, when you have to play the same thing over and over again and make it feel good.”. “Afrodeezia was an album where I actually decided to follow the voyage of my ancestors, and I wanted to collaborate with people from different cities and different places along the slave route,” explains Marcus, who was aided by Senegalese bass player Alune Wade in setting up an early Paris recording session with some leading African musicians. The Double Thumb Technique. I echoed some of the double-stops he played on the original, and one lick at the end of the first chorus is a note-for-note rip—so the next time he sees me, he’s gonna be like, “Really?” [Laughs.]. We’re going into year four, and I’m having a blast. It was a Hendrix-y tune written by [bassist] Alex Blake that had a bass line I never forgot [see music, page 32]; sometimes when I’m soloing I’ll slip it in, because I dig it so much. It was originally supposed to run one hour, but I go close to three hours—and I don’t mind stopping a record and saying, “You gotta hear this part again!” It’s like hanging out in the basement listening to records back in the day, as [drummer] Kenny Washington did with me. So we adjusted the range of the EQ knobs so you can turn them without wrecking your sound. I use a synth bass for the foundational bottom and my ’77 Jazz Bass for the melody. He said the first one pulls the highs down and gives the bass a thicker, more classic sound. He explained that was the result of meeting the demands of the artists who were using Markbass amps, who had come by the factory. Rest Stroke. Marcus Miller SIRE V7 bass is equipped with the newly designed Marcus Heavy Mass Standard Bridge which was specially developed at the request of Marcus Miller. His sound is so distinctive and massive. Sign up below to get the latest from Bass Player, plus exclusive special offers, direct to your inbox! Hip-hop is the one style that emerged after your developing years. So, in a way, it’s come full circle. When we’re playing in the studio, I use a mic so I can call out directions as we jam. Sire Marcus Miller Fretless – The Fretless range of Marcus Miller basses captures the clear punchy tone of their fretted range with the smooth tonal response and silky feel that you can only get from a fretless bass. It’s been kicking around in my head for a long time; if you find yourself singing a song as you’re driving, you need to get it recorded. Future Publishing Limited Quay House, The Ambury, The Audio quality is better than the earlier concert CD. Advanced techniques of anesthetic administration and updated treatment modalities have rendered root canals more effective and predictable at saving your dentition. Guitar Interactive Magazine reviews Little Marcus 800 and Marcus Miller 104 CAB. “I’m trying to expand while keeping the essence of my sound—seeing how many different ways I can still sound like me.” So says Marcus Miller addressing the many shades of bass found on his latest album, the straight-up throwdown Laid Black. Please deactivate your ad blocker in order to see our subscription offer, The rise, fall and rediscovery of the Fender Jaguar, How to set up a Les Paul: 7 essential tips, (Image credit: Getty/Peter Van Breukelen/Redferns), Meet Bassist of the Year 2020, Danny Sapko, Fusion legend Mark Egan talks creative chemistry, custom basses and the spirit of improvisation on new album Electric Blue, Thundercat: “Not every instrument carries the weight to be able to morph and change in the way that bass does“. (Bass Player) 08 January 2020, The Grammy-winning bassist and UNESCO Artist For Peace talks “Laid Black”. After another dozen years of augmenting his multi-Grammy-winning skill set via countless album sessions and jingles, producing a wide range of artists, and film composing, Miller officially changed the course of bass with his 1993 solo effort, The Sun Don’t Lie. S imply put, Marcus Miller is a living legend. I started with two themes, one on piano and one on upright bass, and Reggie chose the bass theme—so the upright became quite prominent as one of the lead voices of the film, with a couple of main themes. It’s so easy - especially when you’re travelling on the road - to not get the right sleep. He said, “When you come, I’ve got some surprises for you.” So I stopped by while we were on tour in Italy, and he pulled out a ported cabinet that had plenty of booty and low-end punch. They got it straight away! They’re more focused on sounds and placing things in the beat in a very specific way. So I said to Brett, “Ahh, this is your impression of what I do.” He said, “Yeah, we had to put some Marcus chords in there.” [Laughs.] I have Sly on constant rotation when I listen to music, and my wife encouraged me to cover the song. PastoriusRules. I was like, “Where were you hiding this?”. Body Color : BK, TS, AWH, MA. BA1 1UA. Then I’ll ask the piano player, ‘Which one do you like?’ And he’ll say, ‘I like number four’ because he played the best on number four…, “But there are some musicians that you ask and they’ll say, ‘I think number one felt the best’ or ‘I think number three felt the best’. “When I think of the guys that really made an impact on me - Jaco [Pastorius] played a 1962 Jazz Bass, Stanley Clarke plays an Alembic bass, Victor Wooten plays that Fodera, Larry Graham plays a Fender Jazz Bass and James Jamerson played a Fender Precision. The response to the video has been incredible. Marcus Miller, Laid Black, 2018, Blue Note; Afrodeezia, 2015, Blue Note; Renaissance, 2012, Concord; Marcus, 2008, Concord; Silver Rain, 2005, Koch; M2, 2001, Telarc; Live & More, 1998, GRP; Tales, 1994, PRA; The Sun Don’t Lie, 1993, PRA, Basses 1977 Fender Jazz Bass, Sire V7 4-string and fretless V7 5-string, fretless Mayones Patriot MR 5-string, 100-year-old French acoustic bass from Stein on Vine, Nord Stage 3 keyboard bass Strings Dunlop Marcus Miller Super Bright (.045–.105, .125) Rig Markbass Little Marcus 1000 head, two Markbass Marcus Miller 104 cabinets Effects Custom M2 Rodenburg Overdrive/Distortion, MXR M288 Bass Octave Deluxe, MXR M77 Custom Modified Badass Overdrive, Fulltone OCD Overdrive. And of course there’s his gift for layering basses, including synth bass, foundational bass guitar, and 4-and 5-string fretless forays. Young musicians can be so focused on their own thing so when they listen to music, they listen to their own instrument. With both a classic and modern feel and design, this new bass can produce the desired sound for all genres of music from soft to even strong metal grunge. Aug. 27, 2018, 1:50 p.m. UK Guitar Interactive Magazine reviewed Marcus Miller signature head and cab in their issue #58, including also a video test. It’s not a rule, because music is music and there’s a lot of merit to switching basses, and sometimes I really have to fight the limitations of my Jazz Bass. “You just need to be aware of where you are and what might be necessary from you. “But when I went to play with these Senegal cats, the rhythm was the easy part! For “Untamed,” I had asked my keyboardist, Brett Williams, to bring me something for the record. Double thumbing is a slap technique whereby we slap through the string (rest stroke) with a downstroke before using the upstroke to get an extra note in that single motion. Julia had the immense pleasure of interviewing the legendary Marcus Miller about his musical vision and took the opportunity to ask him about his playing techniques! Much of that came into play in our late-June discussion, but we began with the hows and whys of Laid Black. The folks at Fender were the first ones to tell me that—“It’s going to be bigger than you think.” Man, the floodgates have opened; people contact me saying, “I’ve got two of them!”. I added a third section, where Sela improvises and Adam Agati plays a killer guitar solo, to give this version a different flavor. “I would advise bass players to go and play with other musicians, every opportunity they get. Author Jean Marc Belkadi applies the latest slap bass techniques popularized by bassist Marcus Miller and Victor Wooten to the guitar. Sponsored content. “No Limit” is one of my favorite tracks. Marcus Miller is a guy you want at your party. The song has horns, so I asked Trombone Shorty to play on it—we’d been talking about doing something together. Marcus Miller sat down with Julia to talk about his career, finding his own sound and how you should approach your solos. The C section has more recognizable themes. You know, it can take me a while to find the right headspace when I’m writing music or when I’m getting ready to go onstage. A modern master of the electric bass, Marcus Miller has been landing dream gigs for the best part of 40 years. I was listening to live versions and I found one we did in Germany, and I mashed that up with the studio version. For decades a top-call session musician, his genre-hopping bass can be heard on more than 500 albums by artists ranging from Herbie Hancock to Donald Fagan and Aretha Franklin to Beyoncé. What led you to cover Sly Stone’s version of “Que Sera Sera,” and how did Larry Graham’s part influence what you played? Although it’s really fun, and I have, like, 35 basses or something like that, I only really ever play one consistently. An improved versatility is provided by a new tone setting tuned to offer a more defined, rich … stop) both the D & G-strings on the 9th fret with your index finger: this will allow you to play the phrase faster (The Marcus Miller song Power uses this technique with all of the strings being barred at the 7th fret position). This bridge has characteristics of a vintage jazz bass but with heavy mass saddles, giving the bass a vibrant and punchy sound. 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Coming off the ambitious, globally recorded Afrodeezia, Miller’s impulse was to lighten up and relax a bit. With more recent adventures, such as his popular jazz cruises, his appointment as a UNESCO Artist for Peace, and his SiriusXM radio show, Miller Time with Marcus Miller, the 59-year-old can add musical ambassador to the mix. Marcus Miller is a musician's musician. Marcus Miller has been a first-call bassist since the late 70s, when his distinctive jangly rhythmic sound seemed to be on every jazz and funk cut of note—from “Just the Two of Us” with Grover Washington, Jr. and Bill Withers to “Power of Love” with Luther Vandross. It's track nr. People know you're high but you’ve played so great that they just forgive you or they say, ‘That’s part of it!’, “That’s dangerous, because nobody’s going to call you up for being under the influence. She thought it was beautiful, but a little too basic for me, so I went in and re-harmonized the final A section. At age 21 he was simultaneously playing, producing, and writing for Luther Vandross, David Sanborn, and Miles Davis. There’s his deepest dive yet into distortion pedals, filters that bring out the instrument’s feminine and masculine sides, and amp simulators that allow Marcus to dialogue with himself. Body Shape : New Marcus Miller Jazz Type. That left plenty of room for Miller’s singular bass voice, with its feel-good signatures: back-pocketed slaps and pops, hard-plucked melodies that float over bar lines with vocal-like phrasing, and spontaneous solos, whose polyrhythmic intent arrives via hammers, trills, tapped passages, and three-finger rolls. I said, “On upright?” And he said, “Yes, because of your inflections.” He heard some guitar-like hammer-ons, and he pointed out that most upright players don’t use those, but electric bass players employ them regularly. The story is focused on one of Marshall’s early cases, in 1941, so there wasn’t going to be any electric bass on there. I told him one of my beefs is turning a knob to its extreme and getting a harsh, unusable tone. There was a problem. How about hip-hop’s programmed component? But the bottom line is they all sound great; you can use them in the studio right out of the box, and I have. The key is figuring out how to use it and be recognizable. I get it in theory and I have a pretty good 'standard' thump/pluck technique. Afrodeezia will form the musical focus point for Marcus Miller’s imminent UK shows, which showcase a truly stellar band line-up, including Mino Cinelu (percussion), Alex Han (saxophone), Brett Williams (piano) and Marquis Hill (trumpet). He opened up that language on the bass, in addition to his thumping and popping. Bath Hello, I have been trying to play a song by Marcus Miller for a while and I cant figure out the technique he is using to play it. The title refers to black music being the foundation of a lot of contemporary music, and how it shares roots with early blues, jazz, R&B, and rock & roll. “It was just fascinating, man, to see how much of what I know as an American musician comes from West Africa. That song came to me while walking down the street in Detroit, and I sang it into my phone. When I’m working with American musicians, they’ll get the notes right away when I’m trying to show them a piece of music that I’m working on, but it can sometimes take me a long time to get the right feeling and the right rhythmic lilt. Bass Player Staff The fretless is my Sire V7 5-string. That’s the rhythmic DNA of hip-hoppers, having come up with drum machines. In the late ’70s, R&B had become very produced, with layers of keyboards and strings. I always dug “Runnin’” [from All ’N All, 1977, CBS], so I put a hip-hop beat to it and we got a good, solid take in the studio.
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