Marcus Miller is an American bassist, composer and producer known for his virtuosic slap bass technique and genre-blending style that combines jazz, funk, soul and R&B. A two-time Grammy winner, he is widely regarded as one of the most influential electric bassists of all time.
The first night of Stockholm Jazz Festival 2025 began with a proper bang, full of funk and good vibrations. Marcus Miller took one of this year’s central stages, Konserthuset, and sold it out. The opening night is always special, not without an extra added pressure, because it’s all about convincing the audience that the next 10 days of their lives must contain more jazz. And Miller brought the much-needed clarity to the topic – be there or be square!
If you were to describe Miller’s style in one phrase, you could say “a laid-back, bass-led groove”. Most of his songs that night really made you tap your foot to the rhythm. And while the bass was the star of the show, Anwar Marshall on the drums, Xavier Gordon on the keyboards, Russell Gunn on the trumpet and Donald Hayes on the saxophone laid a solid foundation for Miller’s improvisational spotlight.
This power dynamic created a peculiar reversal of the regular order: normally, the humble bass hangs in the back, while the almighty trumpet and sax take the lead. However, Miller’s interpretation delivered a confident take on the flipped approach, being clear and attractive for both jazz nerds and jazz novices.
The smoothness of Miller’s structured melodic improvisation really elevated the compositions and shared a laid-back feeling of togetherness in every other beat. A few songs in, and you could officially state that there’s nothing subtle about that bass. From lyrical innuendos to café-bar classics, the familiar rhythms sounded sexy, fresh and effortless. All to make the audience forget where they were and remember one thing – the beat.
Well known for his impressive track record, marked by collaborations with Miles Davis, Herbie Hancock, David Sanborn and others, Marcus Miller rightfully acknowledged his musical partnerships. In a way, compositions such as Maputo and Amadla felt like sending a postcard to distant friends that you miss every now and then.
Paying tribute to the masters from the master himself, Miller proved a point – you don’t have to be a snobbish music lover to understand jazz because, if you nod along, you already love jazz. And most certainly, Miller’s A-game delivered that message in a humble but confident way. Presenting all of this band’s members, he concluded, “And I represent New York City, my name is Marcus Miller”. What else is there to say?
