born Peter Muller's debut album
M-Vibez (2003) received high accolades by many jazz fusion friends
around the world. Comparing him with Marcus Miller has several
reasons, both are playing a Fender bass, both are masters of the
slap technique. But digging deeper one finds the difference between
Marcus and Peter. Peter prefers themes of the jazz fusion genres and
stretches his repertoire to world music. So the audience was impressed by the
slap funk grooves of Kasbah and Eastbound melting
Western slap bass and turntable scratches with Arabian sounds.
Now Peter Muller is back with his
sophomore album The Flow (2008) and Peter continues his voyage
to foreign coasts. The first tune is called Cairo after the
capital city of Egypt. Frank Mead (soprano sax) is the ideal
counterpart to Peter's dark bass and again we smell the oriental
odors. Deep in the bazaar of Chân el-Chalîli you will find the roots of
this excursion into the far east.
Peter lets the bass beast out on The
Chase. Incredible how he strikes the chords on his Fender Jazz
Bass in a sick rapid way breathing down the audience neck. Lounge
Creatures mixes elements of Hip Hop, fusion jazz and some more to
a special canapé featuring muted trumpet player Christian Kappe.
Christian recently released together with Klaus Fey the album
Streetscenes performing groove oriented contemporary jazz.
Can nothing be sexier than a G-String?
When Peter let his bass sing, we find an exception. Incredible how the
bass strings tremble under Peter's fingers. Tobias Neumann on Fender
Rhodes piano adds sublime tones to this masterwork just on the point.
And when you think, you know all about Peter's bass, he shows you with
Space Train his raw site.
Frank Mead shout it out: "For
Sake!" and Peter's Funk machine is burning down the stage. This is
Funk in the quality of Pick Up The Pieces and Sex Machine.
The tune sounds fresh and should be definitely heard live!
Chanson Triste reveals another
side of Peter Muller, the multi-instrumentalist. He isn't just a
master of bass but perfectly performs drums, percussion, clavinet,
synthesizers, strings and a lot more. Teamed up on this tune Frank
Mead, who delivers a supreme impression of flute and sax.
On The Cruise Peter Muller shows
the melodious side of his bass. Supported by Tobias Neumann on Fender
Rhodes piano and Tim Cansfield (Matt Bianco, Bee Gees, Steve Winwood)
on guitar we enjoy an atmospheric romantic flow. Peter met him during
the production of Frank Mead's recording Shout It Out back in
2003, and they have become good friends since then.
Frank Mead's sax solo on Dracula
is off the hook and Peter's bass play together with the performance of
the other musicians knocked me just out of the box. To smooth out this
raw impression the album ends with the contemplative Belleza.
Peter presents an awesome fretless bass. The sheer exuberance of the
performance reminds me in attendance the joy of what is alive.
Peter's new album The Flow is a
must for every fan of the bass and if you have the slightest feeling
for music you will not resist to buy this precious album.
- Peter Muller - Website
- Buy the album at
- Title: The Flow
Artist: Peter Muller
Genre: General Jazz
Label: Mullenium Records
01 Cairo [4:38]
02 The Chase [5:12]
03 Lounge Creatures [5:53]
04 G-String [5:33]
05 Space Train [2:57]
06 For Funk´s Sake! [5:35]
07 Chanson Triste [6:15]
08 The Cruise [4:48]
09 Dracula [5:13]
10 Belleza [4:58]