Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
Die meisten angebotenen DVDs haben den Regionalcode 2 für Europa und das Bildformat PAL. Wir bieten aber auch Veröffentlichungen aus den USA an, die im NTSC-Format und mit dem Ländercode 1 auf den Markt kommen. Dies ist dann in unseren Artikeldetails angegeben.
Derzeit nicht erhältlich.
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+ Christian Scott, Alex Han, Ronald Bruner, Jr. u.a.
DVD:Sound:DSS 5.1/Dolby Digital 2.0;Bild:16:9/PAL;
Ländercode:0;Laufzeit:Keine Angabe / Digipack
Wirklich für möglich gehalten haben wir es genauso wenig, wie Marcus
persönlich, der auch bereits Mitte letzten Jahres mit Dreyfus Records in
Kontakt getreten war, um sein grossartiges Konzertspektakel in angemessenem Zustand für den „Zuhaus-gebliebenen“ aufzubereiten.
Nun ist es aber doch soweit:
Mitte Mai 2011 erscheint sie nun doch, die 2CD&DVD inklusiv der mittlerweile berühmt berüchtigten TuTu Revisited Show und dem Mitschnitt
eines der bestens Konzerte Marcus Millers in Zuge der sagenhaften Tour
in 2009 / 2010.
A musician as versatile and in demand as Marcus Miller rarely has down time between projects. In fact, he is usually working on at least three at once. As well as his studio work and film scoring, Marcus has recently been focused onTutu Revisited featuring Christian Scott, an endeavor that began as a one-off concert in Paris to close the inaugural “We Want Miles” commemorative exhibit that bowed there in the summer of 2009. Marcus Miller was the primary composer and producer of the 1986 album Tutu that has come to define the final chapter of jazz great Miles Davis hallowed career. The title track “Tutu” was written in praise of South Africa’s Archbishop Desmond Tutu and has since become one of jazz’s last classic compositions, instantly recognizable from its imperious opening strikes. Since the song’s debut, it has been re-recorded by the likes of Al Jarreau & George Benson, The Manhattan Transfer, Cassandra Wilson, S. M.V. (Stanley Clarke, Miller and Victor Wooten) and several “live” renditions by Marcus. But there has never been a look back at other songs from the seminal album on which Marcus showcased the raw beauty of Miles’ trumpet amid a sea of synthesizers, drum machines and keyboards (all of which Miller played himself)…until now.
“To me, Tutu captured Miles negotiating his way through a world that was half man / half machine, and finding a way to bend that world to his will,” Marcus muses. “In my opinion, it is a pretty good representation of what the ‘80s had to offer. When I was approached about revisiting that music in concert, I hesitated…because one thing universally understood about Miles is that he never looked back. Still, I was intrigued by the idea of saluting Miles and began to think of how I could present that music in a fresh context. I figured the best way to do that is with young musicians.”
The core that Miller came up with is New Orleans trumpet sensation Christian Scott in the hot seat – a player with just four albums of is own under his belt but with an assured confidence and style that reflects the past and points to the future. On drums is the explosive Ronald Bruner, Jr. who has been wowing audiences as a member of Stanley Clarke’s and George Duke’s bands. On keyboards is Federico Gonzalez Peña, a player of expert skill and impeccable taste who left his first indelible impressions as a member of MeShell NdegeOcello’s chameleonic and masterful mid-90s band, The Conscientious Observers. Finally on alto sax is Miller’s own discovery Alex Han who blew him away during an intensive 7-day master class he was teaching at the Berklee College of Music. “When I met Alex, he was incredible…especially to only be 19 years-old” Miller shares. “I was struck by his maturity, facility, ideas and spirit – everything you look for in a musician. Because he was still in school, I initially only used him for a summer tour. Now I’m proud to have this 22 year-old wonder in my band.”
Beyond the world-renowned “Tutu”, the band explores deep album tracks such as “Tomaas,” “Full Nelson,” “Portia” and the insanely funky “Splatch”. They also explore “Hannibal” from the follow-up to Tutu, Amandla (1989), as well as some things from the early `80s We Want Miles era, including the funkafied nursery rhyme “Jean Pierre.” After the first rehearsal where the young guns played the Tutu material practically note for note off the vinyl, Miller implored them to find their own voice within the music. And though Miller was a veteran of Davis’ early `80s “comeback” tours – first working with him at age 21 on his The Man With The Horn Lp - by the time of Tutu, he was not a member of the touring band. Now, Marcus gets to explore Tutu’s music live for the first time.
“Writing for Miles was nice because everything we did in that period he left his fingerprint on. It took me to another place and made me find sounds I wouldn’t have normally found. I was very inspired and could hear myself coming into my own. Miles recognized this, too, and told me, ‘Hey, you’re in that period! Recognize it and write as much as you can because these periods come and go…’ That was saying a lot because he had told Wayne Shorter (the saxophonist / prolific jazz composing genius for whom Miller produced High Life in 1995) the same thing two decades before me. After Miles gave me the benediction, I had a supreme level of confidence. I no longer cared what anyone thought of what I did. It freed me to just focus on making the best music I possibly can.”
Miles also once stated, “Marcus is so hip and into the music that he even walks in tempo.” Ever to the beat of his own capricious and demanding drummer, Brooklyn-born bassist Marcus Miller is both a smooth walking weather vane for the future and a highly exalted keeper of the cool. ( A. Scott Galloway / disquesdreyfus. com)
Marcus Miller : basse, clarinette basse - Christian Scott : trompette - Alex Han : sax alto, soprano - Federico Gonzalez Pena : claviers - Ronal Bruner Jr. : batterie
,,Klangsattes Pop-Jazz-Konzert." (Stereoplay, August 2011)
,,Der Mitschnitt begeistert mit druckvollem Live-KIang und überlegter Bildführung, während das Quintett verzierungsreicher als Miles und Miller auf der Studio-CD agiert." (Audio, August 2011)