Dues Paid: Marcus Miller’s Suddenly

marcus millerWarner Bros, released June 1983

Bought: HMV Richmond 1989?

7/10

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.

Unfortunately I don’t remember much about Marcus’s playing or the gig (I was 10), but 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 one-man-band albums. 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.

Marcus-Miller

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. 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 with some beautiful sax from Sanborn.

It’s telling though that the closing instrumental ‘Could It Be You’ (unfortunately only in mono below…) 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.

Let me know what you think.

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Spanish Keys: Miles Davis & Marcus Miller’s Siesta

miles_davis__marcus_miller-music_from_siesta_aWarner Bros, released November 1987

Bought: Our Price Richmond, 1988?

9/10

I came across this gem in a big crate of reduced cassettes in the old Our Price shop in Richmond town centre. I was a huge fan of Miles and Marcus’s ’80s work but Siesta had somehow passed me by. It was hardly reviewed anywhere and didn’t get any kind of promotion from Warner Bros despite the fact that it was the official follow-up to Tutu, possibly because it was ‘just’ a movie soundtrack and – even worse – the soundtrack to a really terrible movie.

But it quickly became the soundtrack to my summer of 1988 along with Prefab Sprout’s From Langley Park to Memphis, Prince’s Lovesexy, Thomas Dolby’s Aliens Ate My Buick and Scritti Politti’s Provision. Its Spanish-tinged melancholia, beautiful playing by Miles and stunning bass/keyboard work and production by Miller drew me in immediately.

Miles’s stock was rising high at the beginning of 1987. He was healthy, enjoying critical and commercial success with Tutu and playing to packed concert halls. The question was, how would he follow Tutu? A film soundtrack was definitely not the predictable option. Of course, Davis was no stranger to the world of movie scoring, even though his famous Ascenseur Pour L’échafaud (Lift to the Scaffold) soundtrack was mostly improvised in just two days, and his music for Jack Johnson was similarly spontaneous though subject to detailed post-production work by Teo Macero.

miles-kix-500

But when Davis got a call from the producers of Siesta after their request to use Sketches Of Spain on the film’s soundtrack was turned down, he turned to the trusted Miller for help. Miller was also on a roll at the beginning of ’87. Fresh from co-producing and co-composing Tutu, his career was branching out in all directions. He hadn’t done any soundtrack work before and embraced the project, thrilled to work with Miles again and rightly sensing that the movie’s Spanish elements might open up some dramatic musical possibilities. But the clock was ticking, the budget was tight and time was of the essence.

Siesta is a fascinating companion piece to Tutu and it features some of the most arresting and spontaneous Miles trumpet playing from the last decade of his life. Indeed, some Davis-watchers such as critic Paul Tingen reckon it’s the pinnacle of Miller and Miles’s ’80s collaborations. Miles sounds fit and strong, investing the material with both power and pathos, consistently providing a sound that someone once described as ‘a little boy looking for his mummy’.

Apparently when Miller played the elegiac ‘Los Feliz‘ to an assembled cast and crew, several people broke down in tears. Miles solos at length with glorious open horn on several tracks. The dramatic, flamenco-tinged ‘Conchita‘ was used by American ice skater Nancy Kerrigan for her 1992 Olympic routine – she got bronze.

The ghost of Sketches of Spain/Miles Ahead arranger Gil Evans looms large and the album is dedicated to him, ‘The Master’. One can only imagine how ‘Los Feliz’, ‘Siesta’ or ‘Lost In Madrid‘ might have sounded with Evans’ full orchestral backing and arranging, but Miller and main collaborator Jason Miles consistently find just the right musical ingredients with gorgeous piano voicings, subtle synths, fretless bass and occasional guest appearances from the likes of guitarists Earl Klugh and John Scofield, drummer Omar Hakim and flautist James Walker.

As George Cole pointed out in his great book ‘The Last Miles‘, only Michel Legrand, Gil Evans and Miller’s names have shared a Miles Davis album cover, and that really proves how highly Miles rated Miller’s efforts. According to Miller, there is much more Siesta music residing in the Warner Bros vaults – here’s hoping the album gets the ‘Special Edition’ treatment soon.