Customer Reviews

Silver Rain

5 star:		(17)
4 star:		(4)
3 star:		(4)
2 star:		(1)
1 star:		(1)

 

 

Marcus Miller's "Silver Rain" is a good album, its full of all the things we've come to expect from Marcus-- great, funky electric jazz with breathtaking bass solos, some unique cover choices, a couple songs closer to r&b, an occasional vocal, and some great performances by guests.

In many ways though, this is starting to become a problem-- its not that the music here isn't good, it is, you've got to look no further than the 30 second "Intro Duction" to hear just how good of a bass player Marcus is, how great he is at this idiom, but he's covered this ground before. And in many ways, there's little to distinguish this album from his previous work.

Having stated that, if you liked his previous work, you'll probably like this one-- like I said, its got all the hallmarks, and certainly his minor key blues dirge take on "Moonlight Sonata" is quite intriguing, and it really doesn't get better than this for bass (Miller's solo on the otherwise lifeless "La Villette" is nothing short of breathtaking), and yeah, "Power of Soul" is a lot of fun, but I've just heard it all before, and quite frankly, I felt the songwriting was better on "The Sun Don't Lie".

I will say this, nice to see the packaging looking great on a Marcus Miller record-- the digipack with a great little praise piece and song notes from Marcus is a nice touch, I wish all his releases looked this good, pity the music is just standard fare for him.

Picked up the new Marcus Miller this week. For bass players and fans of fusion Marcus needs no introduction. This is his 4th studio solo outing (not counting those two dredful disco albums he made in the 80's) and I must say I was a little disappointed in the last two after his great debut CD "The Sun Don't Lie".

Before I critique the music let me first say that the sonic quality of this CD is outstanding. One of the better fusion recordings I've ever heard. He uses some new recording process that he talks about in the linear notes that I've never heard
of (and I can't recall the name of) and he's working with the engineer who recorded with Bob Marley towards the end of his career.

As for the music...it's another mixed bag for Marcus. The first half of the CD is very good. Good rhythems, good solos and great support work. Nothing ground breaking, but good solid fusion. Towards the second half of the CD he starts
experimenting with that dreaded bass clarinet that he's infatuated with for some reason and interjecting vocals to most of the tracks. Guest artists include Eric Clapton (who mumbles his way through the title track), Kenny Garrett, Kirk Whalum,
and his normal house band. In addition to his own compositions he does covers of Edgar Winter, Jimi Hendrix, Stevie Wonder, Duke Ellington, and Ludwig Von.

Someone as talented as Marcus should be putting out better music than this. With his playing, songwriting, and connections he should have a 5 star classic in his arsenal by now instead of these slightly better than average funk jams.

This CD is worth owning if you're already a Marcus fan or a bass-head. For those just looking for some good fusion with Marcus I would recommend his much superior debut CD, David Sanborns "Straight to the Heart", Dave Grusin's "Mountain
Dance", Miles Davis "We Want Miles" or "Tutu", Tom Browns "Brown Sugar", or Kenwood Dennards "Just Advance".

Overall ratings(out of 10):

Performance: 7
Recording: 9.5

Hard to believe that Marcus Miller's first recorded appearances were nearly three decades ago. Easier to believe -- based on his track record (solo, as a producer, etc.) -- that anything new he puts out will offer a variety of fresh musical twists. Such is the case with SILVER RAIN, an album that should have considerable genre-crossing appeal. His fluid and funky electric bass playing is sharper than ever, and it should be noted that on the softer tunes he plays with as much or more nuance than perhaps I've ever heard by an electric bassist (almost like an acoustic guitar, yet without losing the deep qualities expected of a plugged-in bass). As if that's not enough, he assertively takes the lead with his bass clarinet on several cuts.

Besides Marcus' bass playing and overall musical direction, two aspects of this album stick out in particular. First, his eclectic choice of tunes. Of course, there's an update or two of the funk/jazz genre ala his days with Miles Davis (including "Bruce Lee"). Yet look how far and wide he reaches for material. There are personalized takes on material as diverse as Jimi Hendrix's "Power Of Soul," Stevie Wonder's "Boogie On Reggae Woman, a funk/jazz take on Edgar Winter's "Frankenstein" (air guitar, anyone?), Prince's "Girls & Boys," Duke Ellington's "Sophisticated Lady," Brenda Russell's "If Only For One Night" (a tune made famous by Luther Vandross), and even a bluesy adaptation of Beethoven's "Moonlight Sonata."

Finally, Marcus has inserted a fine selection of guests into the mix. Veterans of past Miller CDs and tours are still on hand (trumpeter Patches Stewart, keyboardist Bernard Wright, drummer Poogie Bell, etc.), while recurring guests such as reedmen Kenny Garrett are back for more. Also on sax are the likes of Gerald Albright and Kirk Whalum. Then there are the vocalists, which include Lalah Hathaway, Macy Gray (on "Girls & Boys"), and a memorable vocal by Eric Clapton on the reggae-flavored title track (yes, he's got a guitar solo, too ... and there's an brief, unlisted reprise at the end of the CD). Familiar yet unpredictable is usually a winning formula, and that certainly holds true on this recommended album.

It's easy to critisize, much harder to actually create..Marcus is a true creator and has been for so many years now. If you know his history, you know how powerful a producer he is, with the likes of Miles and Sanborn.

This album is really fun. It's open to both older folks like me and the up and coming younger musicians. Marcus took something Miles said to heart. "Incorporate the popular music of the day." to paraphrase. Miles always gave room to what was happening in the world, instead of ignoring it. He used it and recognized and built on it. And he listened.

I have read some critical remarks here; if I have any, it's only that Marcus has such a ear for detail; the quality of this recording is a phenom; he's done what he's always done in the studio; demand absolute sonic perfection. And that's cool. It's really nice to hear the master at work.

But what will really be fun, is to hear this work live! You don't really hear what Marcus is capable of, you don't really respect the raw power and the absolute intensity of his energy until you see him play live. It will alter your life and leave you in awe.. because these guys would have been practicing the material on tour for several weeks, and be in rare form, and no holding back like they do in the studio to achieve that sonic perfection. It would leave you on the floor, gasping for air..

Please Marcus, do a live album!!!

This is another tight album. You can play it straight from the first track to the last. Every cut is great. Marcus and his band has done it again. Every musician on this album drops the music in the right spot...

I feel compelled to add an opinion on Marcus's new album, "Silver Rain," because I had first seen the news of a new album on Amazon, and saw this lineup of rather critical reviews. Luckily, I could listen to the little song clips and decided to give it a go and get the album. I would like to pass on to some fans the news: don't worry! If you want to give a quick, superficial listen -- the "critic's special" - get in your dozen blurbs a day to get a good paycheck -- then on the surface it sounds something like Marcus's other albums. Note the key element: this is a TRULY superficial assessment of this album. After the creative and spiritual brilliance of Miller's "Tales" -- a true cornerstone album in his career -- it was actually M2 that represented somewhat of a holding pattern. While a strong album with the chops that Miller is rightfully acknowledged for, it did not represent the powerful, cohesive statement that he is capable of at his best. "Silver Rain" clearly represents Marcus embracing song structure in a number of tunes (most obviously by featuring more songs with vocals), and his playing is guided more by melody on a number of the tunes. There is also a more relaxed style in the interplay between Miller and his collaborators, like that of popular song, but it certainly does not diminish the integrity or richness of the improvisations. Honestly, I must add that many of the statements I see here among the comments leave me scratching my head in their obtuseness. For example, I was quite taken with Marcus's truly original spin on "Moonlight Sonata," particularly for its ABUNDANCE of taste and creative spirit. On this page, on of the writers complains of "bad taste," and it is clear to me that it is the IDEA of a funked or jazzed up version of Beethoven that upsets people: it would be nice if they simply listened with open ears. This is vital in assessing an album by someone with as instantly recognizable sound as Marcus on bass. For those of us who have appreciated Miller's soulful bass clarinet playing over the years -- a lyrical complement to his bass playing -- he features it primarily on the "second side" to this album, along with some truly lovely musical coloring and improvisations, particularly on the luminous "Make Up My Mind"; this all serves to balance the attack of the funkier tunes of the album. On "Silver Rain," one will find some of the strongest melodies, well-layered bass parts, thickest horn sections, and subtle ballad arrangements of Marcus Miller's career.

I never wanted to own any Marcus MIller album before but I decided to buy this one today, and I do not regret. However mediocre it may seem at the first listening, the more you listen to it the more aspects you discover, and it reveals plenty of rythming, harmony, mellowness, nostalgy and mood. Recommend!

Marcus Miller is a Great Musician period. but His solo albums are pretty much always the same.Yes He can Groove on the Bass,but you don't get anything more than what you have already heard.hearing a Cat being so Polished can bring Limitation in itself.

If you like your smooth jazz with a heavy funk, authoritative, acid jazz flavor, Marcus brings it to the table on this CD. Just listen to "Bruce Lee," "Frankenstein," and "Boogie On, Reggae Woman," and you'll see what I mean. In-your-face funk! Of course, what else can you expect from one of the TRUE masters of the bass?? Get this one if you like to rock with your jazz!

I was blown away by the sheer musicianship of this album and also came away with a greater respect for the way he blows that clarinet.....man! Of course the bass lines and solos are other-worldly as usual! It's tough to say what my favourite songs were because each song has something different to offer. I found "Behind the smile" extremely intriguing though, because you keep wondering in which direction the song is going.