An album entitled Renaissance is long overdue for the widely acclaimed Renaissance Man Marcus Miller. In among the most enviable careers in music, Miller is a two-time Grammy-winner and the composer/producer of ten critically acclaimed and genre-defying albums (seven studio and three live). Even the most devoted follower may be astonished to realise that Renaissance is only his eighth studio project since his 1983 debut, Suddenly, considering the abundance of occasions Miller's name has appeared within album credits and that he has dazzled with performances, compositions and productions in the company of some of the world s most respected and accomplished players and superstars - from the mid-'70s to the present.
Marcus Miller (born William Henry Marcus Miller, Jr.; June 14, 1959) is an American jazz composer, producer and multi-instrumentalist, best known as a bass guitarist. Throughout his career, Miller worked with trumpeter Miles Davis, pianist Herbie Hancock, singer Luther Vandross, and saxophonist David Sanborn, as well as maintaining a successful solo career. Miller is classically trained as a clarinetist and also plays keyboards, saxophone and guitar.
Victim of Love, released in 1979, is the thirteenth official album release for Elton John. It is a disco album, released shortly after the peak of disco’s popularity. The title track of the album was moderately successful as a single. It reached No. 31 on the U.S. Billboard Hot 100, and No. 46 in Canada. When the album was released as a CD in the 1980s, the track breaks were incorrect. The first 45 seconds of "Spotlight" is part of the previous track, and similar errors occur in other tracks as well. The album was reissued in a digitally remastered format in 2003, with these issues corrected, and with improved sound and instrumental setup.
Excellent addition to any fusion music collection
Somehow passed over and nearly forgotten, languishing in the shadow of the 'Friday Night in San Francisco' set, is this great album from the guitar hero team. The immediacy of that first release is still here but this session benefits from the quiet calm of the studio and less chance for the these luminaries to get caught up in showmanship. Rather, a proper selection of music is heard and the delicate balance the three achieve between jazz spontaneity, Spanish heat, and the precision of Latin fusion is more clearly rendered than on the beloved but somewhat cold 'Friday Night'. And the music is better, too, if only from lack of exposure.