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Tim Miller | Trio

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Tim Miller Tradebit MusicIsHere PayPlay Apple iTunes GreatIndieMusic

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United States - Mass. - Boston

Other Genres You Will Love
Jazz: Jazz Fusion Rock: Instrumental Rock Moods: Mood: Virtuoso
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by Tim Miller

Modern Jazz/Rock. A progressive new voice on the guitar. Memorable melodies, Fiery guitar playing with a fresh, unique sound.
Genre: Jazz: Jazz Fusion
Release Date: 

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  Song Share Time Download
1. Intro
0:57 $0.99
2. Untied
3:55 $0.99
3. Shift
3:56 $0.99
4. Paris
2:40 $0.99
5. Sparkle
1:29 $0.99
6. Straight Lines
4:33 $0.99
7. The Trees, The Sun
4:05 $0.99
8. Density One
4:05 $0.99
9. TR
4:47 $0.99
10. Two View
4:09 $0.99
11. Density Two
2:29 $0.99
12. MG
2:56 $0.99
Downloads are available as MP3-320 files.


Album Notes
"…pure melody consciousness... [with] remarkable control, a breathy, violiny tone [and] bell-like consistency."
-Guitar Player Magazine

Tim Miller’s third indie effort stands out by manifesting his influences as an aural whole. Compositionally, the freedom and openness in the music reflects the deep influence of Keith Jarrett, while sonically, the air-infused yet electric guitar sound dances with bass and drums mixed in a pastoral acoustic style. Even with headphones, the listener hears the trio of instruments entwined in the air, coupled by intense playing and musicianship.
From the perspective of guitar-related influences we hear the chordal inspiration of a fellow Bostonian, voicing-god Mick Goodrick. Linearity is Miller’s calling card, seamlessly melding Allan Holdsworth’s 21st Century legato technique with a non-guitar-centric, truly jazz vocabulary and phraseology, with notes percussing from the fretboard in pianistic fashion.
Another facet that takes Trio up a notch is the particular attention paid to tone and articulation on the high end. Miller devoted requisite consideration and time to sonics, and the dividends are sumptuous. An advocate of the ergonomically correct Klein axes, Miller's performance on “Untied” sounds as if he's playing two of them at once, electric for the atmospheric chords of the intro and acoustic for the quick sixteenth-note turn-backs found on high, doubled by the drums. Take Toriyama’s tone is apart from the more athletic norms of the “fusion” realm, with more of the room than the kit in the mix. His use of slackened snare, coupled with bassist Josh Davis’ booming upright sound, is especially effective on this track.
Miller employs a super-thick tone for his solo, alternating bop-legato mastery with sax-like repeated figures that belie the layout of the fretboard. Miller can lay into a rock’n’roll repeating hyperspeed four-note figure akin to traditional Hendrix or Page twelfth-fret pentatonics, but in the middle of the neck, using four notes at spread intervals of the harmony-of-the moment, something more out of Mike Brecker’s vocabulary.
While the recording weighs in at the forty-minute mark, there’s much to be said for concentration and self-editing. “Sparkle” is ninety seconds of inspired melodic riffing against Toriyama’s percussion arsenal and will alone reward consecutive listening surpassing the total of the disc’s real time. It would be an interesting musical exercise to map out here where each of Miller’s melodic phrases begins or ends, or to pick the midpoint of each. I am sure each roadmap would in turn comprise alternate songs. Similarly, the three minutes of “MG,” dedicated to mentor and Berklee fellowman Goodrick, forge a successful marriage of modern rock balladry with jazz.
“Straight Lines” is the composition of the set, a midtempo cut smoldering with the passion and memorable melody usually reserved for ballads, especially in Miller’s opening solo salvo. The two “Density” compositions, using minimal themes fashioned from rhythmic chordal materials growing out of and into weaving strands of single-note improvisation, reveal substantial rewards unearthed by exploring repetition as a means of mining new melodic and improvisational territory.
Nothing should stand between this one getting heard and Miller’s justifiably meteoric ascension on the worldwide guitar-watchers org-chart.
-Phil DiPietro, All About Jazz

Tim Miller’s “Trio” CD vibrates with a fresh new sound for the electric guitar. “Trio” is an offering of memorable melodies, passionate guitar playing and an innovative approach to guitar recording. Miller’s refined touch, personal approach to phrasing, and raw energy, united with a truly unique guitar tone, create a sound that has not yet been heard.
Miller combines pianistic clean and violin-like distorted tones in combination with a microphone placed on the guitar to achieve a true blend of electric and acoustic sounds that create his distinctive voice.
“Trio” consists of twelve original compositions based on themes that occur throughout the entire recording that explore the many facets of Miller’s unique style. From fiery intensity to dynamic, soulful ballads, the listener will find new things to hear and experience new levels of depth in this narrative recording with each listen.
Tim Miller is a progressive new voice in the world of modern guitarists.



to write a review

Richard Wines

This cd is so amazing, I've listened to it almost 60 times. It has so many textures it will make your head spin, and when Tim starts soloing, you won't know where you are.

James Scott --- minor7th

Tim Miller's "Trio," is a groundbreaking and enthralling collection of contempor
Tim Miller's current release, "Trio," is quite possibly one of the most groundbreaking and enthralling collections of contemporary jazz guitar music recorded in the last decade. His distinctive sound involves the placement of a microphone near his Klein hollow chambered guitar's body, which is then blended with the traditional tones emanating from his pickups. The result of this innovative recording method is a truly distinctive guitar voice, both purely acoustic and electric at the same time, and one which is further augmented by the artist's amazing command of his instrument. Miller has a very pianistic approach to fingerboard harmony utilizing lush, intricate chord voicings reminiscent of Keith Jarrett or Bill Evans. His soaring legato style soloing, often using rich, warm violin-like sustain, allows the artist to create long fluid lines not unlike John Coltrane's archetypical sheets of sound. Both Josh Davis' spirited upright and Take Toriyama's vigorous percussion complement and elevate the guitarist's phenomenal playing. Throughout the twelve original pieces, Miller demonstrates his depth as a composer and improviser. Beautifully expressive and introspective ballads, featuring Miller's pristine acoustical sound, grace many of the compositions on this recording. On "The Trees, The Sun" the guitar takes on an ethereal bell-like quality to produce a hauntingly striking melody, echoing in ones memory long after the piece is over. Another interesting composition is "TR," a bitter sweet pastoral ballad, filled with poignant chord changes and tasteful, contemplative soloing. Other pieces like "United" and "Density One" feature blistering bop inspired excursions blending seamlessly into Hendrix inspired pentatonic riffing. Miller really knows how to build a solo alternating between rapid fire chromatic runs flanked by stylishly executed melodic motifs. This album is filled with memorable melodies, extraordinary improvisational journeys, and unique tonal innovations. With "Trio," Tim Miller has created a recording of inimitable sound paintings joining an elite register of musicians who are changing the way we listen to music