Guitarist Tim Miller contributes his fiery playing and distinctive sound to a variety of musical statements ranging from jazz to rock. He can currently be heard on two self-produced CDs, "Sides" and "Trio". Miller was profiled in Guitar Player Magazine, which characterized his playing as "pure melody consciousness... [with] remarkable control, a breathy, violiny tone [and] bell-like consistency." Miller's music combines explosive raw energy, artistically balanced with soulful melodic compositions.
Miller is a native of Michigan whose musical interests have taken him to Texas, Paris, New York and presently, Boston where his is currently an Assistant Professor of guitar at Berklee College of Music. He spent 1991-1997 in Dallas attending the prestigious University of North Texas Music School. It is here that he recorded "With the Distance", an original instrumental mixture of rock and jazz textures. Miller spent 1997-1998 in Paris where he played extensively with drummer Aldo Romano. This led to recordings and European concerts and jazz festivals. Upon returning to the US, Miller joined the faculty of Berklee College of Music and recorded "Sides" with saxophonist George Garzone. He also played in a guitar quartet with Mick Goodrick. His recent performances in the US and abroad include performances with Randy Brecker, Mark Turner, Gary Husband among others.
Tim is currently composing and recording music for his future trio album and working on a transcription book from his latest album "Trio" which is receiving critical acclaim world-wide.
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Guitar Player Magazine
"...pure melody consciousness... [with] remarkable control, a breathy, violiny tone [and] bell-like consistency."
"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."
"In fact, Miller's work throughout should garner him well-deserved notoriety. His lines are executed with a legato virtuosity, springing off the fingerboard as if they are tapped out by mallets, not fingertips. More importantly, they are extremely non-guitarcentric and have a rhythmic sensibility and motion found at the highest echelons of the music. In other words, you simply won't hear Miller run a scale throughout, and when he plays you get a sense of movement akin to a kick-returner weaving through an entire defense on a 110 yard runback. The phrasing and melodic contour on “Time” in particular are exemplary-not many guitarists can blow in inside territory with as many novel ideas as Miller who, at 31, provides a fresh, promising new voice in jazz guitar. " Phil DiPietro