Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Marcus Miller: Renaissance

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.

Fastest, most melodic thumb in jazz-funk or not-and on many days, he deserves that title-bassist-producer-composer Marcus Miller wields that digit in a manner that’s impossible to ignore. He does that instantly identifiable thing he does with great panache and high musicality from the get-go on Renaissance, his first studio recording since 2008’s Marcus.

Title aside, Miller’s latest is more about the new old-school than the new new-school. That is, he nods to the ’70s, starting with the deep funk of “Detroit,” a bass-out-front piece that often has the leader playing in unison with guitarist Adam Agati and two horn players, alto saxophonist Alex Han and trumpeter Maurice Brown. The music of the aforementioned decade is also alive on “CEE-TEE-EYE,” a partial homage to the jazz-rock crossover of Creed Taylor’s CTI label; a lively take on War’s “Slippin’ Into Darkness,” bolstered by the percussion of Ramon Yslas, Kris Bowers’ creatively rambling piano and snatches of reggae anthem “Get Up, Stand Up”; and the album closer, an unaccompanied version of the Jackson 5’s “I’ll Be There.”

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published