Loved watching Christian McBride talk with Marcus Miller about this great performance celebrating the electric music of Miles Davis. And equally loved the show! That band!
The top ten contemporary jazz recordings from the week of Feb. 13, 1994!
- David Benoit and Russ Freeman, The Benoit/Freeman Project
- Nelson Rangell, Yes Then Yes
- Tom Scott, Reed My Lips
- Richard Smith, From My Window
- Torcuato Mariano, Paradise Station
- Marcus Miller, The Sun Don’t Lie
- Yellowjackets, Run for Your Life
- Fourplay, Between the Sheets
- Gary Burton/Rebecca Parris, It’s Another Day
- Charles Michael Brotman, Pacific Rendezvous
Marcus Miller recently posted on Facebook what he’s been up to:
Finishing Alex Han’s first album, started work on Al Jarreau’s tribute to George Duke last week, writing for David Sanborn and myself.
Don’t know about you but that sounds like a whole lot of awesome to me!
Jazz For Japan is a benefit album recorded in two days by 25 of the top jazz musicians in the world benefiting the earthquake and tsunami victims in Japan. The recordings took place last week in Los Angeles at Capitol Studios in Hollywood. Legendary and Grammy nominated performers include: Kenny G, Christian McBride, Marcus Miller, George Duke, Rickey Minor, Tom Scott, Billy Childs, Boney James, Lee Ritenour, Keiko Matsui, Bob James, and many others.
Larry Robinson, Jazz For Japan producer states; “This project came about after discussing the tragic aftermath of the earthquake and tsunami in Japan with my co-workers. I told them that many of the American jazz musicians tour Japan numerous times a year. It was at that moment the seeds of Jazz For Japan were born. Within five days we called all our jazz friends and put together this truly amazing line up of musicians to record at Hollywood’s famous Capitol Recording Studio who all donated their time.”
The album features jazz standards including “Maiden Voyage,” “Body & Soul,” “Watermelon Man,” “So What,” “Sophisticated Lady,” etc. along with a DVD release including interviews with the artists stating their support and sympathy for the Japanese people. “You, the Japanese people inspire us with your resilience. We are trying to send our strength with what we have – and that’s music,” states Steve Gadd (drummer, performing on “Maiden Voyage”, and “So What”).
Jazz For Japan is being produced by Avatar Records and is available now worldwide via iTunes with profits benefiting the International Red Cross in Japan.
Tuesday, August 12, is a big day for contemporary jazz fans. It’s the day that several legends will drop new music – and all of them on two recordings. In fact, four of the five artists who were on the Legends tour about a decade ago are on them.
You’ve read the review – now it’s time to experience three bass masters collaborating on one recording. S.M.V. – Stanley Clarke, Marcus Miller, and Victor Wooten – together on Thunder. Read more about it.
Listen and buy the CD from Amazon.com!
Download it from iTunes
David Sanborn is back with an album that likely will serve as a highlight in his career. What upfront was to funk, Here and Gone might be to soul and blues. Sanborn pays homage to the music that inspired him, especially the music of Hank Crawford. “Hank was the great saxophonist and arranger for Ray Charles in the 1950s and early ’60s, and his arrangements and playing were central to me in forming my ideas about what music was and should be,” states Sanborn. “He had such a wonderful economy in what he did: He didn’t waste any notes, and there was nothing superfluous about his playing.” To help realize the vision he had for this recording, the saxman brought in some names: Christian McBride and Steve Gadd are the rhythm section and Eric Clapton sings and plays “I’m Gonna Move to the Outskirts of Town.” Also contributing are Joss Stone, Sam Moore, Gil Goldstein, Russell Malone, and Wallace Roney. I didn’t receive an advance on Here and Gone but I did hear three cuts. I don’t know if it’s a word but I’m describing it as “rootsy.” I mean, it’s Sanborn playing the style that influenced him, and it doesn’t sound like it’s a slick, overly polished record. Rootsy.
Sanborn talks about the recording and his influences: