Marcus Miller Live Review @ Jazz Cafe (London) - 03 Jul 2005

Photos:Daniel O'Connell

Live Review

To the uninitiated: Marcus Miller is to bass, what Jimi Hendrix, John Coltrane, Miles Davis (with whom he played, composed and produced), Herbie Hancock were/ are to their respective instruments. Even though a virtuoso musician, he always manages to produce musical music whilst also amazing you with his skills - something that many of his contemporaries fail to achieve.

Performing at the Jazz Café, one of the smaller venues (and one of my favourites) on the London music scene, I was initially a bit concerned that they may try to maximise revenue and squash as many people in as possible, since Marcus Miller visits are a rare event (last one was two years ago). Happily, my fears were unfounded, and though close to the stage (though in truth, you're never far from it in the Jazz Cafe), I was comfortable throughout.

It was great to see a real mixture of ages, races and 'types' inthe audience - from indie-looking teenagers, R'nB dudes through to the more refined jazz heads. Balanced on top of Marcus bass combo was a brass-looking Beethoven bust and a Bruce Lee figurine - both in reference to tracks from his latest album Silver Rain. The warm-up music (of which there was a lot due to a technical problem with one of the (Rhodes?) keyboards had a distinct slap-bass theme - readying-us for the low frequency onslaught coming our way.

Descending the walkway stairs to rapturous applause, the band slowly take their places on stage, and start performing their role in filling-out the already-playing background music "Bruce Lee" - a self-penned number off of Silver Rain. The Jazz Café has one of the smallest stages in the World (this may be an exaggeration), but still seven band members manage to take their places upon it.

After setting the stage, Marcus announces his band: Poogie Bell on drums, Michael 'Patches Stewart' on Trumpets, Dean Brown on electric guitar, Keith Anderson on sax, Bobby Sparks II on keys, Big Doug Epting on sampler/ back-up bass and Marcus Miller on everything else, which included: Bass, bass clarinet, soprano sax and 'virtual turntable' for a bit of scrathin'.

The next number is one of my favourite Stevie Wonder numbers ever Boogie on Reggae Woman which on the album version doesn't quite manage to better the Stevie Wonder Moog-basslined original, but live, manages to out-funk the 70s soul/ funk meister. The keyboard work of Bobby Sparks (also playing a Moog) was lovely - understated enough not to clash with Marcus, but growly enough just to give it a funk edge… yum!

The next track will be familiar to those of a Classical music persuasion, or those who have friends that have achieved a certain competence in Classical Piano: "Moonlight Sonata" composed by Beethoven, but - and I think I can safely say this - never conceived to have been played this funky, jazzy way, with slap bass and an electric guitar solo.

Marcus then wryly announces:

Well, that's Stevie Wonder and Beethoven, so that just leaves Jimi Hendrix

He then proceeds to play Hendrix's Power of Soul (my favourite from Marcus' Silver Rain), which was already a great track, but he takes it to a whole different level in space, time and funk continuum. This track started the battle of the instruments as Marcus faced-off (musically speaking) with each of the: saxophonist, trumpet player, keyboard player, drummer and the guitarist - each of whom gave as good as they got, and I'm happy to report it was a good clean bout. Electric guitarist, Dean Brown was clearly in his element on this song, and it had the pair trading-off licks during most of the number. The low-point was when Dean did something to cause some seriously nasty feedback which made most of the audience (me included) cover their ears. My ears are still ringing whilst writing this (over 12 hrs after the event).

Happily (for my ears), the next track was the slower, more peaceful self-penned Behind the Smile. Marcus played the bass clarinet, providing a haunting sound for most of the track, ending it by slipping the bass back on. Next comes the Edgar Winter classic Frankenstein - again , another rip-roaring interpretation.

So far, all of the songs played were from Silver Rain - but a classic from The Sun Don't Lie was waiting in the wings - and it had been Soca'd! Poogie starts with a soca-style drum pattern, on top of which Marcus starts playing one of his own compositions Panther. This song has appeared in all of the previous gigs that I have seen Marcus (four times so far: 1995 - Mannheim, Germany (Die alte Feurwache), 1997 - Brixton Academy, 2001 - The Forum and 2003 - Shepherds Bush Empire) - and I'm glad it reappeared, as I love it. The "Soca" spin on this track was great - and Marcus played the melody to the off-beat perfectly.

One of the slower numbers from the album - and one of the rare vocal tracks - the title track, in fact Silver Rain came in very much uptempo - and was continuing in the soca-fuelled vibe left by Panther. Marcus provided the bass and vocals during this song, and more battles ensued, with Marcus trading yet more musical blows with Dean, 'Patches' and 'Keith Anderson'. I must say, that of all of the Marcus Miller gigs I have been to, this is absolutely his best band. They were tight, funky, inventive and humorous throughout. It was great to see each band member variously perform an accompanying role, then lead role - and they all seemed to be having a great time - which was infectious.

The oddest part of the show was when the band did their last number and said their goodbyes. It was almost as if someone didn't think the audience were smart enough to know the routine: we wait and clap/ scream/ stamp our feet (maybe all at once) whilst awaiting the return of the band. Anyway, no sooner had the band ascended the overhead stairs out of sight, than the compere comes over the mike asking us if we want them to come back. The saving grace was that drummer Poogie Bell, then grabbed the mike and proceded to goad the crowd with nawww.. do y'all really wanna hear some more? I can't hear you!.

Back they came and did a bit more musical sparring until, one-by one, after another bout, they left the stage, leaving Marcus to start playing a familiar, yet not-quite bassline, which after a few bars is blatantly Luther Vandross' Never too Much. As if that weren't good enough, he then proceeds to play the complete track as if it were composed for bass - playing the rhythm guitar and piano parts on the bass….. Unbelievable! As soon as the first chorus was reached, the audience then started singing along - which was a great moment.

This was also the most poignant moment of the show, as Luther Vandross - with whom Marcus wrote, composed, performed and produced for much of both their careers - passed away just two days earlier. Marcus left the stage without saying a word, but with tears in his eyes. My eyes are welling-up just thinking about it again, and writing these words.

An amazing night of virtuosity, funky music and a tight band having a great time. Marcus and band: See y'all real soon, y'hear?

Marcus Miller and his band are touring Europe until the 3rd August.

More pictures of Marcus can be found on his website, and here's a few I have recently uploaded

Daniel O'Connell