I just watched the whole interview. Marcus is right. He is The Man.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Marcus Miller is 100% right!
- Thread starter Dr. Cheese
- Start date
I certainly think that is Marcus Miller's approach to covers.
I have such mad respect for Marcus = exceptional player, highly intelligent (especially his musical smarts) and he seems to be an all around good, loose guy. Miles Davis noted that last attribute the book, Miles -- to paraphrase, Miles said Marcus always kept everybody around laughing and in a good mood.
By far, Marcus has my all-time favorite slap style over any bassist. He slaps with such soul. He chooses his notes with purpose... while [sigh]... so many other slappers do not.
By far, Marcus has my all-time favorite slap style over any bassist. He slaps with such soul. He chooses his notes with purpose... while [sigh]... so many other slappers do not.
Any groups or artists you'd recommend who do that sort of thing? I play a lot of jazz but I have to admit I've pretty much ignored the 'smooth' side of the genre.
Sounds interesting!
I mean.. Yes, BUT....
I think we misunderstood this btw, as he pulls out Clarke as an example. (what about school days?) I dont think he's saying "dont play the melody" PER SE, he's saying, play it as it would/should/could sound on bass. As in, instead of just running up and down the G, use roots + + + as tools to get "the melody" through. Dont view it exclusively as a solo instrument.
School days is a good example, as the technique drives the basic melody AND rythm of the song. And then you have the guitar solo ontop.
Atleast that's how I interpret it.
If that's not what he meant then idk what to make of it, as there are countless examples of bass driving the melody.
I think we misunderstood this btw, as he pulls out Clarke as an example. (what about school days?) I dont think he's saying "dont play the melody" PER SE, he's saying, play it as it would/should/could sound on bass. As in, instead of just running up and down the G, use roots + + + as tools to get "the melody" through. Dont view it exclusively as a solo instrument.
School days is a good example, as the technique drives the basic melody AND rythm of the song. And then you have the guitar solo ontop.
Atleast that's how I interpret it.
If that's not what he meant then idk what to make of it, as there are countless examples of bass driving the melody.
Because he DID NOT write that cover song and they weren't composed on bass. He's speaking about writing his own material. Sometimes you just want to play a cover song and interpret it on bass. No contradiction at all.
I disagree 100% with Marcus Miller's contextless assertion that you must compose for an instrument.
The best melodies work on any instrument
If some context were presented I may revise
The best melodies work on any instrument
If some context were presented I may revise
Right, but he's playing melodies that were not written for his instrument(s) and he (presumably) thinks those melodies work just fine when applied to bass or clarinet.
Smooth_bass88
vaxx!
- Oct 31, 2006
- 12,123
- 16,797
- Disclosures
- have been on nationally released albums, charting on the Billboard 200
Marcus knows what's up, hundred percent, always. Guy's a legend. We he talks, you listen.
I think what Marcus suggested is a composer should think about the instrument for which she or he is writing. I have heard a lot of lead bass that sounds just like a baritone guitar. Think about really memorable pieces that featured the bass. With the exception of Portrait of Tracy, that I thought was a Fender Rhodes when I heard it, most classic bass tracks sound very much like a bass.
Seems like most of these replies aren't talking about writing songs for your instrument, which is what I thought he was talking about. It has nothing to do with what you should play and nothing to do with writing songs for a different instrument (i.e. a voice!).
A bassist can develop the facility of a horn player without always playing in that horn's register.
You can always watch the entire interview if want to take the time to do it.
Any groups or artists you'd recommend who do that sort of thing? I play a lot of jazz but I have to admit I've pretty much ignored the 'smooth' side of the genre.
Michael Manson comes to mind as well as the late Wayman Tisdale.
1) In Music, there are no rules, except getting paid for the gig.
2) If I were to paraphrase what Marcus said, its that if you want to wite a song where the bass plays the melody front and center, you should know how to put together a bass line that brings out the bass's intrinsic strengths.
No contradictions.
2) If I were to paraphrase what Marcus said, its that if you want to wite a song where the bass plays the melody front and center, you should know how to put together a bass line that brings out the bass's intrinsic strengths.
No contradictions.
"Miller doesn't do anything for me...."
Marcus, being a very intelligent person, early on set his goal to market his "Marcus Miller Celebrity" , rather than playing 2nd fiddle to someone else. Unfortunately, I don't like that style. It gets stale fast.
Marcus has crazy good chops for the type of material he does, but he is also a masterful musician of all styles - he just hides it well. Marcus Niller blew me away when I heard him as a 20ish man working with Miles and the Breckers. He ocassionaly does Latin sessions.
