| Track | Album |
|---|---|
| Run For Cover | Straight To The Heart |
| Panther | The Sun Don’t Lie |
| Scoop | The Sun Don’t Lie |
| Mr. Pastorius | The Sun Don’t Lie |
| Power | M² |
| Boomerang | M² |
| Blast | Marcus |
| Hylife | Afrodeezia |
| Trip Trap | Laid Black |
| Tutu | Tutu |
Long-time readers of Toppermost may recall my fondness for instrumentalists who push the boundaries of their chosen instrument, whether it’s the mandolin of Chris Thile or the banjo wizardry of Béla Fleck, the guitar wizardry of Danny Gatton or the bass playing of Jaco Pastorius. Well, strap in, because today we’re diving back into the world of the electric bass with Marcus Miller, a man who’s not just mastered the instrument but redefined it for generations of players. If the bass is the heartbeat of music, Marcus is the cardiologist who’s performed open-heart surgery on jazz, funk, R&B, and everything in between. Born in Brooklyn in 1959, Miller grew up in a musical family – his father was a church organist and choir director, which no doubt planted the seeds for his soulful approach. But it was picking up the bass at age 13 that set him on a path to becoming one of the most influential figures in modern music.
Miller’s early career was a whirlwind of session work that would make any musician green with envy. By his late teens, he was gigging with legends like Lenny White and playing on records for artists as diverse as Aretha Franklin and Billy Idol. His big break came in the ’80s when he joined Miles Davis’ band, not just as a bassist but as a composer, arranger, and producer. Albums like Tutu and Amandla bear his unmistakable stamp – those fat, slapping bass lines intertwined with Miles’ trumpet, creating a sound that’s futuristic yet deeply rooted in groove. Miller’s slap technique, inspired by pioneers like Larry Graham but taken to stratospheric levels, became his signature. He’s got that thumb-popping attack that can make a track explode, yet he knows when to lay back and let the music breathe.
Beyond Miles, Miller’s collaborations read like a who’s who of music royalty: Luther Vandross (for whom he produced hits like Never Too Much), David Sanborn, Herbie Hancock, and even pop stars like Elton John. As a solo artist, starting with 1983’s Suddenly, he’s released a string of albums that blend jazz fusion, funk, and world influences. His 1993 comeback The Sun Don’t Lie solidified his status as a bandleader, while later works like Silver Rain (2005) and Laid Black (2018) show a musician still evolving, incorporating hip-hop, African rhythms, and social commentary. And let’s not forget his film scores – Boomerang, Siesta and many more – where his bass underscores drama with effortless cool.
What sets Marcus Miller apart is his versatility. He’s equally at home slapping out a funky riff as he is bowing a melodic line on upright bass. His compositions often pay homage to his heroes – Jaco Pastorius, for one – while forging new ground. In a world where bassists are often relegated to the background, Miller demands the spotlight, and deservedly so. As of August 2025, he’s still going strong; just this month, he lit up The Late Show with Stephen Colbert alongside John Scofield and Louis Cato with a blistering performance of Black Man Blues, a timely tune addressing social issues with raw energy. At 66, Miller isn’t slowing down; if anything, he’s accelerating.
Now, on to the tracks. I’ve curated ten that showcase his range, from slap-happy funk to introspective ballads. These aren’t just bass showcases – they’re fully realized compositions that highlight why Marcus Miller is a giant.
The 1984 David Sanborn album Straight To The Heart, produced by Marcus Miller, is a masterclass in ’80s fusion. Miller not only produced the album but played on it and contributed two numbers – the title track and Run For Cover. The slapping intro grabs you by the collar, then eases into a smooth, mid-tempo groove with keyboard flourishes and a soaring sax line. It’s got that urgent energy – run for cover, indeed – as if the bass is chasing you down the street. Miller’s tone here is fat and warm, thanks to his signature Fender Jazz Bass, and the composition blends jazz harmony with R&B swing. Covered by countless bassists, it’s a staple for anyone learning slap technique, but no one does it like the master.
Panther opens The Sun Don’t Lie (1993) with a growl that lives up to its name. That opening bass riff slinks in like a big cat on the prowl, all thumb slaps and pops that set a predatory groove. Miller’s playing here is aggressive yet controlled, layering synths and horns over a rhythm section that’s tight as a drum. It’s a nod to his fusion roots, with echoes of Weather Report, but purely Miller—funky, melodic, and impossible to sit still through. The way he builds tension in the bridge, letting the bass converse with the sax, shows his producer’s ear. This track announced his return after a hiatus, and boy, did he come back swinging.
Scoop cranks up the funk to eleven. This one’s a bass workout, with Miller’s thumb hammering out a infectious riff over a bed of clavinet and drums. It’s got that old-school P-Funk vibe, but updated with modern production – crisp and punchy. The breakdown in the middle, where the bass goes solo with effects pedals, is pure joy for gearheads. Miller’s composition here is all about the groove; it’s danceable, yet complex enough for jazz heads.
Mr. Pastorius is Miller’s heartfelt tribute to Jaco Pastorius, the bass revolutionary who influenced him profoundly. Also from The Sun Don’t Lie, this ballad starts with a bowed upright bass melody that’s poignant and lyrical, evoking Jaco’s harmonic innovations. Then it shifts into electric mode, with Miller’s fretless lines weaving through piano and strings. It’s not flashy – no wild slaps here – but deeply emotional, capturing Jaco’s spirit without imitation. Miller has spoken about Jaco’s impact on his life, and this track feels like a personal letter. The subtle percussion and ambient textures make it a standout for late-night listening.
Power explodes from 2001’s Grammy-winning M² like a thunderclap. Opening with a massive bass chord, it builds into a high-energy fusion jam with horns blasting and Miller’s slap lines driving the charge. Inspired by personal strength, the lyrics (sung by Miller himself) add a motivational layer, but it’s the instrumental fireworks that shine. His interplay with the guitar and keys recalls his Miles days – layered, dynamic and full of surprises. This track has been a live staple, where Miller stretches it out with improvisations that leave audiences breathless. Pure power, indeed.
Boomerang, another M² track, is a smoother affair with a bouncing bass line that loops like its namesake. Miller’s fretless work here is sublime, sliding through melodies over a laid-back groove. It’s got a romantic feel, perhaps inspired by his film scoring, with lush keys and subtle percussion. The composition arches beautifully, building to a climax before returning to the theme. This track highlights his melodic side – bass as lead instrument, singing without words. It’s a favorite among bassists for its technical demands, but accessible enough for casual listeners.
Blast, on Marcus (2008), continues the high-octane vibe but with a hip-hop edge. Miller’s bass rumbles low and dirty, supporting a rap verse before unleashing into a furious solo. It’s a blend of genres – funk, rock, rap – that showcases his producer skills; he even samples James Brown here. The energy is explosive, like a blast of adrenaline, with Miller’s technique on full display: harmonics, chords, everything but the kitchen sink. In concerts, this one turns into a bass clinic, proving why he’s mentored players like Victor Wooten.
Hylife from Afrodeezia (2015) infuses African rhythms into Miller’s palette. Inspired by his UNESCO work promoting cultural exchange, it features kora and ngoni alongside his bass, creating a world-funk hybrid. The groove is hypnotic, with Miller’s lines dancing around polyrhythms. It’s uplifting, celebratory, and shows his global influences – from Fela Kuti to traditional griot music. Nominated for a Grammy, Afrodeezia was a turning point, and Hylife its joyful core.
Trip Trap, the opener to 2018’s Laid Black, fuses trap beats with jazz bass. Miller’s low-end rumble anchors a modern production with 808 drums and guest vocals, creating a hybrid that’s fresh and funky. His slap pops cut through like laser beams, contrasting the hazy atmosphere. Reflecting on social issues post-2016, it’s Miller getting political without preaching. The live versions, especially with his band, add even more fire. At a time when fusion was evolving, this track positioned him as a bridge between old and new.
Finally, I’ve chosen the title track from Miles Davis’s 1986 album Tutu which Miller composed and produced. Though it’s Miles’ trumpet that haunts, Miller’s bass is the foundation – slap-heavy, synthetic, revolutionary. It won Grammys and redefined jazz for the ’80s. Miller’s arrangement, with programmed drums and layers, was controversial but visionary. In his own live sets, he reclaims it, adding bass solos that honour Miles while asserting his voice. A fitting closer, as it catapulted him to stardom.
Marcus Miller’s legacy is etched in grooves that span decades. From session ace to solo star, he’s elevated the bass to art form. If you haven’t delved into his catalog, start here – these ten tracks are just the tip. As he continues touring and creating in 2025, one thing’s clear: the sun don’t lie, and neither does his talent.
Marcus Miller official website
Marcus Miller on Blue Note Records
David Lewis is Australia’s best jazz mandolinist, unless you can name someone else: then he’s Australia’s second-best. In any case, he’s almost certainly top 100. He is a regular contributor to Toppermost, and also plays guitar, banjo and bass professionally. David is also the co-host of the New Politics Australia podcast, with Eddy Jokovich, and they have produced half a dozen books on Australian Politics based on the podcast.
Read the Toppermosts of some of other artists referred to in this post: Miles Davis, Béla Fleck, Aretha Franklin, Danny Gatton, Herbie Hancock, Elton John, Jaco Pastorius, Chris Thile, Weather Report
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Leo Kottke
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