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In addition to these career highlights, Miller has a rich and very deep resume of outstanding collaborations, including a 15- year song-writing and production partnership with Luther Vandross, resulting in 13 consecutive platinum selling albums of which Miller Produced 7, and a double Grammy win in 1992 - for the double platinum selling album Power Of Love/Love Power winning “Best R & B Vocal” as well as “Best R & B Song”. Bass Player Magazine includes him on its list of ten most influential jazz players of this generation. With his distinctive style - a unique combination of funk, groove, soul and pure technical skills - Miller has been referred to as one of the most significant bass players in jazz, R &B, fusion and soul. His characteristic bass sound can be heard on a limitless catalog of musical hits from Bill Wither’s “Just The Two Of Us”, to Luther Vandross’ “Never Too Much”, to songs from Chaka Khan, David Sanborn, Herbie Hancock, Eric Clapton, Aretha Franklin, George Benson, Elton John and Bryan Ferry to name a few. At the top of his game for over 30 years, he is a two-time Grammy award winner, (U.S.), winner of the 2013 Edison Award for Lifetime Achievement In Jazz (Holland), winner of the 2010 Victoire du Jazz (France) and in 2013, was appointed a UNESCO Artist For Peace.
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If you enjoyed this recap, be sure to listen to the full episode on your favorite podcast app.Marcus Miller has been dubbed one of the most influential artists of our time. Because movies are such a social experience and an easy date night idea, he thinks moviegoing has a place in the future, but that it will never be like it was before. Marcus likened it to the way Napster shook up the music industry and changed it forever. To close out the conversation, John Burlinggame asked his opinion on the future of moviegoing experiences with so many films now going directly to streaming. Marcus Miller also talked about a personal project as a UNESCO Artist for Piece, which led to his album Afrodeezia. After creating digital samples, Miller found soloists with in-home recording studios and had them overdub their parts to make it sound like more instruments were participating. The pandemic interrupted their usual flow and also made it challenging to pull off a big drumline sound. Starting the process in February 2020, Miller typically has Reginald Hudlin with him throughout the writing and scoring process. Combining contemporary flavors with a drumline percussion was his approach, a tricky concept but one that paid off. He knew that it was a period piece and he would be incorporating contemporary flavors from the early 2000’s, but also didn’t want to make the score sound dated. While some may view Safety as a sports movie, Miller’s main goal for the score was to musically create the brotherly relationship between Ray and Fahmarr. Marcus Miller recalls the day when Reginald Hudlin called him from the set of Safety, preparing for the big crowd football shots, and asked him to start thinking about the score and giving him the instruction to make it sound big. It’s a working relationship that has endured through additional films including Boomerang, Marshall and now Safety.
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The idea for the film came from a song Miller co-wrote with Luther Vandross called “Bad Boy/Having a Party” and the new director insisted that Miller score his film. One day he got a call from a recent Harvard graduate named Reginald Hudlin who’s thesis short film House Party was picked up by New Line Cinema as a feature film. recording studio with a two-week deadline to score the entire film, thrown into the deep end.ĭespite having a feature film in his rearview mirror, Marcus Miller wasn’t seeking out other film scoring projects at the time.
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When they asked him to update it for the film, he looped Marcus Miller in, who thought they were just contemporizing two songs for the film. The filmmakers of the 1987 film Siesta had been using temp tracks in their editing process of Miles Davis’ album Sketches of Spain. The jazz legend soon learned that Miller had been writing hit songs for other artists and by the time he was just twenty-six, he was in the producer chair. Marcus Miller’s career objective was playing and writing jazz music, a dream that came true in his early twenties when he joined the band of Miles Davis. Host John Burlinggame chats with composer Marcus Miller about his friendship with director Reginald Hudlin, how he unintentionally became a film composer, and the unique challenges that came with scoring Safety during a pandemic. The latest episode of Disney’s For Scores podcast delves into the score of the Disney+ original film Safety.