Marcus Miller, Funkin' for Jamaica

[Brad Johnson]

I don't think his slap tone is excessively bright at all. I would agree with Marcus that it's clean and articulate.

Agreed. Its nowhere near as hyped as it could be. I've heard folks have their highs so hyped I'd swear they must've had hearing damage.

Those old Jazzes had a sound that kept the highs and low out in front of the mids heard on other basses.

 

[bassarama]

Can't say I ever heard anyone play a Jazz Bass and make it sound so steely bright before he came along. Plus he modded his Jazz with a preamp to be able to make it even more bright. I have a feeling Marcus would have gotten that sound out of anything because that's what he was going for. The only real requirement would be having rounds and a tweeter.

Well with all due respect to Marcus and the great artist that he is.. However it should be noted (cuz BASS PLAYER MAGAZINE does not do articles on a lot of deserving bassists--due either to ignorance or commercial avoidances)

There were contemporary bassists in the 80's "hotbed" NYC recording scene WHO DID HAVE active "hot rodded" Fender Jazz basses other than Marcus. As hot as the scene was--it was highjy competitive--as it still now is

Timmy Allen was a killer player on the scene in the 80's with that razor clear Jazz sound.
Darryl Jones tone with Miles Davis on his 66 Jazz, though not active is absolutely killin (rosewood board again
Wayne Braithwaite had the MOST killing-iest Jazz Bass sound of them all. PERIOD for my tastes. Interestingly a lot of players today world wide regard that clear active jazz bass tone as the "Marcus Tone". Though Marcus NEVER claims to be the INVENTOR of that tone, he likewise does not share that throne with other contemporary players of the early 80s--equal contributors I strongly feel in the development of that tone-- in any articles that I have read.

Wayne also played with Herbie Hancock and was a producer/songwriter extraordinaire--virtually wearing the same "hats" as Marcus did at the time. Wayne sadly passed away in 1991 at only 32 years of age. Interestingly he and Marcus were born in the same year 1959.
Wayne played an early 70's Jazz Black finish pearl blocks and rosewood board (not maple), ( I have only seen him playing live with the Black Jazz, THIS IS NOT WAYNE in the band on the LOVE ZONE video. Neither is the cat on keyboards Barry Eastmond the other co-writer, NOR is the hot chick at the board the ENGINEER !!!! (Actually there is a quick shot of Wayne in the studio by the tape machine )
Either way THIS CAT had it going on too at the same time Marcus was getting a big name for himself with Miles and Sanborn.
BOTH his slap tone and finger tone has set a standard that has never been matched in my opinion. Interestingly a young Gospel virtuoso on the scene from Chicago- RODNEY JONES seems to embody that same killer slap tone and a Black Jazz-rosewood--coincidence ?????
Check out LOVE ZONE by Billy Ocean co written and produced by the late great Wayne Braithwaite and of course-performed on by SERIOUS groove and TONE.
https://www.youtube.com/watch?v=kzWYMGgnjxc&feature=youtube_gdata

 

[pdbass]

I was lucky enough to get guitarist Bobby Broom (who played on the session) to Zoom with me about his experiences for this video. Check this one out.

 

[jerry]

I remember '79-'80 there were a few others Like Dave Grusin's Mountain Dance, Jay Hoggard's Days Like these, and Tom Brown's Brown Sugar that just had so much happing sh&t on them from a lot of those cats. Marcus and drummer Buddy Williams were such a great rhythm section. As always, thanks for everything PD!

* special mention to Francisco Centeno, another studio badass from those days.