DOMINIC MILLER -Silent Light
ECM 572 8484
Dominic Miller (guitar); Miles Bould (percussion)
Recorded March 2016
Having toured the world as Sting's axeman of choice for nearly than thirty years, and a CV that boasts stints with Phil Collins, Chrissie Hynde, Paul Simon and Mark Hollis, this is Miller's ECM debut and lends a variety of influences of the guitarist's from his upbringing and throughout his musical life.
Born in Argentina, the son of an American father and Irish mother, and spending much of his childhood from the age of 10 in the US and England it comes as no surprise that his influences are as diverse as music from South America (especially the music of Egberto Gismonti), Pat Metheny, and a deep admiration for J.S. Bach; however what is a surprise is the somewhat low key feel to much of the music presented.
With the exception of 'Chaos Theory' in which the guitarist overdubs a second guitar and electric bass, the music is played live and perhaps this is where the music falls a little flat at tiimes. Despite all the musics thrown into the melting pot, it is sometimes difficult to discern the real substance of the music and just who Miller really is, as if in the process of writing he has written out his own personality in favour of the source material. Having listened to this music continuously over a period of time, this comment seems a little harsh yet one that I still find difficult to shake off completely. There is much to enjoy but it if often seems to difficult get beneath the surface of the music to truly understand where the heart lies.
Repeated listens have done little to change the opinion that perhaps not much happens until two thirds of the way through the set, and ironically is it with the only non original composition of the set, and a cover of Sting's 'Fields Of Gold' that I could truly get a handle on proceedings. At first I thought this was perhaps because I was familiar with the melody, but it was the feeling that was conveyed in the playing of the piece that added weight to the delicate lyricism of tune. As if hitting his stride, this feeling of communication through the music is immediately carried on for the remainder of the set, with three more solo pieces (sans percussion) that speak volumes.
As the last notes of the final piece, 'Le Pont' fades, and reaching again for PLAY button, the solo tracks at the beginning of the set become a little clearer and perhaps this is where Miller should have stuck fast and resisted the temptation to embellish his guitar with any other instruments. It is not that Miles Bould's contribution is anyway clumsy of ill contrived, the overdubbed 'Chaos Theory' works just fine and suggests how a group recording may have developed from the sessions, but perhaps simply not required in this context.
Overall, perhaps a little variable, but when Miller finds himself within the music the results stand up on their own merits.
Reviewed by Nick Lea
ECM 572 8484
Dominic Miller (guitar); Miles Bould (percussion)
Recorded March 2016
Having toured the world as Sting's axeman of choice for nearly than thirty years, and a CV that boasts stints with Phil Collins, Chrissie Hynde, Paul Simon and Mark Hollis, this is Miller's ECM debut and lends a variety of influences of the guitarist's from his upbringing and throughout his musical life.
Born in Argentina, the son of an American father and Irish mother, and spending much of his childhood from the age of 10 in the US and England it comes as no surprise that his influences are as diverse as music from South America (especially the music of Egberto Gismonti), Pat Metheny, and a deep admiration for J.S. Bach; however what is a surprise is the somewhat low key feel to much of the music presented.
With the exception of 'Chaos Theory' in which the guitarist overdubs a second guitar and electric bass, the music is played live and perhaps this is where the music falls a little flat at tiimes. Despite all the musics thrown into the melting pot, it is sometimes difficult to discern the real substance of the music and just who Miller really is, as if in the process of writing he has written out his own personality in favour of the source material. Having listened to this music continuously over a period of time, this comment seems a little harsh yet one that I still find difficult to shake off completely. There is much to enjoy but it if often seems to difficult get beneath the surface of the music to truly understand where the heart lies.
Repeated listens have done little to change the opinion that perhaps not much happens until two thirds of the way through the set, and ironically is it with the only non original composition of the set, and a cover of Sting's 'Fields Of Gold' that I could truly get a handle on proceedings. At first I thought this was perhaps because I was familiar with the melody, but it was the feeling that was conveyed in the playing of the piece that added weight to the delicate lyricism of tune. As if hitting his stride, this feeling of communication through the music is immediately carried on for the remainder of the set, with three more solo pieces (sans percussion) that speak volumes.
As the last notes of the final piece, 'Le Pont' fades, and reaching again for PLAY button, the solo tracks at the beginning of the set become a little clearer and perhaps this is where Miller should have stuck fast and resisted the temptation to embellish his guitar with any other instruments. It is not that Miles Bould's contribution is anyway clumsy of ill contrived, the overdubbed 'Chaos Theory' works just fine and suggests how a group recording may have developed from the sessions, but perhaps simply not required in this context.
Overall, perhaps a little variable, but when Miller finds himself within the music the results stand up on their own merits.
Reviewed by Nick Lea
