Bought: HMV Richmond 1989?
I first became aware of Marcus when I saw him playing bass with Miles Davis at the trumpeter’s Hammersmith Odeon ‘comeback’ gig in ’82.
He quickly became one of my bass heroes a few years later when I was bowled over by his contribution to Miles’ Star People album.
Marcus’s name came up again recently when I was talking to someone about great multi-instrumentalists. In the soul/funk/R’n’B world, obviously there’s Stevie, Prince, Lewis Taylor and Sly.
Marcus’s 1983 debut Suddenly almost puts him up there with that esteemed company too, though in the final analysis it suffers from a lack of top-quality material.
Marcus has put it on record that he was first inspired to play music by Michael Jackson and Stevie, and Suddenly was his first attempt to enter their world of quality soul/funk/R’n’B songwriting. He’d certainly paid his dues for Warner Bros Records by 1983, producing, composing and/or playing bass with David Sanborn, Donald Fagen, Joe Sample, Roberta Flack, Grover Washington Jr. and Claus Ogerman, so a Warners solo debut was always on the cards.
You can hear elements of ZAPP, Gap Band, The Time and Cameo on Suddenly, and if Marcus doesn’t quite establish himself as a genuine ’80s funk contender, there are a myriad of great grooves and musical touches to enjoy.
He pretty much plays all instruments, getting in selected guests (drummers Harvey Mason and Yogi Horton, Vandross, Sanborn, Mike Mainieri) to add spice here and there.
By his own admission, Marcus is not a great singer, his voice rather light and uncertain, but his bass and keyboard playing, songwriting and arranging really save the day.
‘Lovin’ You’ is uplifting pop/funk with a classic bassline, while ‘Just What I Needed’ features some great Richard Tee-like, gospel-tinged piano from Marcus. And his piccolo bass solo on ‘Much Too Much’ had me checking the sleevenotes in vain for the presence of late great guitarist Eric Gale. ‘Just For You’ was previously recorded by David Sanborn on the classic Voyeur album, but here it gets a nice new vocal treatment.
It’s telling though that the closing instrumental ‘Could It Be You’ is by far the most successful track, featuring Miller’s fabulous fretless bass solo. It was later covered excellently by Dizzy Gillespie on his 1984 Closer To The Source album.