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.
The music on this CD is part of the Ritual of Motion that we have been participating in for some time now. This music atttempts to answer the question ‘Why’. Maybe ‘answer’ is not the correct word, ‘investigate’ may be a better term. The entrance into various Rites of Passage and Initiation are also a part of this investigation of ‘Why’. The symbolism of Weaving and Circles refers both to style of the music, with its interlaced rhythmic, and sonance cyclic structures, and to the continuous creation of the Cycle of Life is represented by the constant interplay of the warp (yarn arranged lengthways on a loom) and weft (yarn woven across the warp yarn) repectively symbolic of the yang and yin, binding and unbinding, male and female forces. Much of the music is symbolic of this type of thinking.
Tibbetts makes metallic folk music for disenfranchised folks. He's an elegant and multifaceted player, his compositions making use of exotic jungle rhythms (courtesy of longtime foil Marc Anderson), jazz-rock signatures, and regal European atmospheres. Tibbetts is one of the more idiosyncratic guitarists of the jazz/rock interface, with an uncanny ability to softly fondle his instrument yet rearrange its vocabulary to resemble nothing less than a sitar or tabla.
Synovial Joints is the most ambitious project of Coleman s 30+ year career, featuring 21 musicians from the jazz, Afro-Cuban, Afro-Brazilian and contemporary classical circles on horns, woodwinds, piano, vocals, percussion and strings. The music is based on the physiological processes, functions and rhythms of the human body, in particular the musculoskeletal system. Coleman also explores an orchestration technique inspired by sounds that he recorded in the Amazon Rainforest, in which instrumental colors move gradually from foreground to background, much as the variety of layered sounds reveal themselves in the rainforest.