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PHIL MILLER

Canterbury Scene • United Kingdom


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Phil Miller biography
Phil Miller is a pilar of the Canterbury sound community. Influenced by the great blues guitarists he developped a style of his own, a mixture of Blues, Rock and Jazz with a personal melodic approach.

Bands :
'Delivery' (1966-71), 'DC & The MB's' (1971), 'Matching Mole' (1971-72), 'Hatfield and the North' (1972-75), 'National Health' (1975-80, 1981, 1983), 'Gowen Miller Sinclair Tomkins' (1981), 'Phil Miller/Phil Lee Duo' (1980-81), 'In Cahoots' (1982-.), 'Oddjob' (1985), 'Hugh Hopper Band', 'Short Wave' (1991-96), 'Phil Miller/Fred Baker Duo' (1992-), 'Phil Miller/Steve Miller/Mark Hewins Trio' (1996-98)

Miller's first band 'Delivery' was formed in 1966 including his brother Steve (piano & vocals), Pip Pyle (drums), Jack Monk (bass) and later on Lol Coxhill, (sax). Monk was replaced by Roy Babbington in 1969, and with singer Carol Grimes, 'Delivery' recorded the album 'Fool's Meeting' (1970) including five Miller compositions. In late 1970 'Delivery' split and Phil and Steve joined Lol Coxhill in a new project called 'DC & The MB's', but the project ended when Steve Miller left to join 'Caravan' and Phil was asked by Robert Wyatt to join 'Matching Mole'. After the split of 'Matching Mole' he joined 'Hatfield & The North' and played then for five years with 'National Health'. After the break-up of 'National Health' in 1980 he was involved in different projects including a duo with ex-'National Health' guitarist Phil Lee and a trio with Lol Coxhill and his brother Steve.

In 1982 Miller formed his own band 'In Cahoots' as vehicle for his compositions, with Richard Sinclair, Pip Pyle and Elton Dean. In February 1985, Richard Sinclair was replaced by Hugh Hopper and the resulting line-up recorded most of the tracks of 'Cutting Both Ways' (1987) released as a solo record, followed by a tour of Europe. Fred Baker replaced Hopper and the band recorded Miller's second album, 'Split Seconds'. In 1991 Miller' recorded his first solo album, 'Digging In' (1991), followed by a duo record with Fred Baker 'Double Up' (1992) and, a 'In Cahhoots' live recording 'Live In Japan' (1993). In 1991 Miller played also together with Didier Malherbe, Pip Pyle, and Hugh Hopper in 'Short Wave' and in 1993 'In Cahoots' recorded 'Recent Discoveries' (1994) a record with a more pronounced jazz influence. In 1996 'In Cahoots' undertook a British tour , recorded 'Parallel' and went on tour with 'Caravan'. For the rest of the 90's Miller toured with 'In Cahoots' ...
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Phil Miller official website

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Buy PHIL MILLER Music


Cutting Both WaysCutting Both Ways
CUNEIFORM 2011
Audio CD$9.99
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Phil Miller Digging in CD US $22.51 Buy It Now 15 days
PHIL MILLER / FRED BAKER "DOUBLE UP" CD CANTERBURY MATCHING MOLE NATIONAL HEALTH US $20.46 Buy It Now 16 days
Before a Word Is Said by Alan Gowen/Phil Miller (CD, Sep-1996, Voiceprint) US $15.02 Buy It Now 18 days
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In Cahoots Parallel CD Phil Miller Prog Hatfield & North National Health Mole US $24.99 Buy It Now 18 days
ALAN GOWEN PHIL MILLER RICHARD SINCLAIR TREVOR TOMKINS BEFORE A WORD IS SAID, NM US $22.00 Buy It Now 19 days
Phil Miller / In Cahoots Live SEALED 1991 CD Matching Mole Gong Soft Machine Eno US $23.95 Buy It Now 22 days
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Cutting Both Ways - Phil Miller New & Sealed Compact Disc Free Shipping US $22.75 Buy It Now 27 days
March Matching Mole CD 2002 Cuneiform Records Robert Wyatt Phil Miller 1972 US $12.95 Buy It Now 28 days
PHIL MILLER - CONSPIRACY THEORIES NEW CD US $21.04 Buy It Now 28 days
Phil Miller Split Seconds vinyl LP album record UK RECK8 RECKLESS 1988 US $22.43 Buy It Now 28 days
MATCHING MOLE-1st LP-Robert Wyatt-Phil Miller-Soft Machine-CBS (UK) import vinyl US $54.98 Buy It Now 29 days
ALAN GOWEN / PHIL MILLER - National Health ~ EUROPA 2008 {nm orig} *1981* RARE US $57.99 Buy It Now 29 days

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PHIL MILLER discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PHIL MILLER top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.19 | 23 ratings
Cutting Both Ways
1987
3.94 | 12 ratings
Split Seconds
1989
3.17 | 6 ratings
Digging In
1991
3.33 | 3 ratings
Double Up
1992
3.86 | 7 ratings
Recent Discoveries
1995
3.50 | 4 ratings
Parallel
1996
4.00 | 3 ratings
Out Of The Blue
2001
4.00 | 5 ratings
All That
2003
3.17 | 8 ratings
Conspiracy Theories
2006
4.48 | 3 ratings
Mind Over Matter
2011

PHIL MILLER Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 2 ratings
In Cahoots Live
1991
4.00 | 1 ratings
In Cahoots Live In Japan
1993

PHIL MILLER Videos (DVD, Blu-ray, VHS etc)

PHIL MILLER Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

PHIL MILLER Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

PHIL MILLER Reviews


Showing last 10 reviews only
 Mind Over Matter by MILLER, PHIL album cover Studio Album, 2011
4.48 | 3 ratings

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Mind Over Matter
Phil Miller Canterbury Scene

Review by gypsydoc5

5 stars I'm feeling quite guilty of some sort of crime here for awarding 5 stars to a CD that is obviously, after just a few moments of listening, NOT progressive rock; but essentially the perfect example of what modern jazz should sound like. What we have here, is the most astounding collection of world class musicians that one could hope to gather, working together to interpret the thrilling compositions of an old friend and brilliant taskmaster, Phil Miller.

I received my copy of this album of songs from Phil himself, via international mail, shortly after it's release. There is absolutely no changing my mind after nearly three years; that this is the most uplifting, exciting, and meticulously delivered package of ear candy that Phil has produced to date, with six of the seven compositions written by Phil. Mind you, it does bear much more resemblance to Jazz, than what many would label prof-rock; but if your pleasures take ease in drifting from one genre to another, this is a treasure worth the travel.

There are significantly exhilarating high points demonstrated by each of the band members throughout this catalog; with the usual standouts on occasion being Fred Baker's propulsion of the bottom end searing through the atmosphere, and Mark Armstrong's blazing trumpet, which surely raises Miles from his resting place with each hair-raising note. Be advised: This is JAZZ in it's spellbinding and most emotionally jam-packed form. As for our old friend Phil Miller, he could get 5 stars playing Lawrence Welk covers; but here he shines the light so brilliantly, it's difficult to observe any musical boundaries. Seek this out, and expand your threshold.

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 Cutting Both Ways by MILLER, PHIL album cover Studio Album, 1987
4.19 | 23 ratings

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Cutting Both Ways
Phil Miller Canterbury Scene

Review by Warthur
Prog Reviewer

4 stars An oasis for Canterbury fans in the midst of the otherwise barren 1980s, Phil Miller's Cutting Both Ways features a veritable who's who of Canterbury. Balancing the album between modern-sounding releases with up-to-date synthesisers in the company of Dave Stewart and Barbara Gaskin and more traditional jazzy Canterbury fare with the help of Elton Dean, Hugh Hopper, Pip Pyle and Peter Lerner, the real trick here is how Miller manages to make these differing approaches sound so natural next to each other. Phil might be "cutting both ways" here, but each way sounds like a natural outgrowth of the other, yielding one of the most original and interesting Canterbury releases since the 1970s.

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 Cutting Both Ways by MILLER, PHIL album cover Studio Album, 1987
4.19 | 23 ratings

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Cutting Both Ways
Phil Miller Canterbury Scene

Review by tszirmay
Special Collaborator Crossover Team

4 stars 'Cutting both Ways' is Phil Miller's project better known later as 'In Cahoots', an adventurous amalgamation of some damn fine musicians within the British jazz-rock scene and its Canterbury off shoots. This was a legendary union of seasoned pros, three of whom have elevated themselves into prog heaven. The magnificent Hugh Hopper mans the mighty bass and is paired with Pip Pyle, both needing little introduction, as well as fabled sax man Elton Dean (and all sadly RIP) and the unforgivably unloved keyboardist Peter Lemer who simply dazzles here.

4 tracks comprise the quintet's work and then you have 2 featuring guitarist Miller with former Hatfield and National Health stalwart Dave Stewart, accompanied on the microphone by Dave's wife Barbara Gaskin. (Tracks 4 and 5). The production and overall sound quality is phenomenal and ultra 'crisp. Opener is a rambling jazz-rock extravaganza, a 16 minute blow out with all the lads exploring their inner muse to audio perfection, the hallucigenically titled 'Green & Puple Extract', a thrilling, vivid and punchy example of classic British jazz-rock in the later period Soft Machine vein. Dean and Miller in particular both shine in their respective solo spotlights but the rhythmic bed is just so impressive, it constantly shoves you in the gut. Yet again, Lemer provides some exotic keyboard reinforcements, especially on the synthesizer. The next 2 tracks are perhaps more jazz than rock and you can really sense the variance. 'Eastern Region' is quieter, more fluttering and laid-back but really just another platform for the soloists to express themselves (Lemer again on what sounds like a Mini-Moog). I personally prefer the rockier side as expressed by the opener and 'Second Sight' where Hopper's grooving upfront bass rolls along like a boulder avalanche, while Dean scours the skies with horned exhortations.

The two Dave Stewart tracks are completely different in tone, Stewart using an array of electronics including drum programming that has a more modern artificial sound, using the Yamaha DX7 digital synthesizer (the very first one made) loaded up with a Roland MSQ unit as well as Emu SP12 sampling percussion and Prophet Emulator. The atmosphere is highly ingenious, a mutant form of synthetic electronica with a jazzy sauce on the side, Miller fooling around on his guitar-synth and the boxed drums being quite exemplary! Gaskin's vocal is actually hidden underneath the sizzle, contributing choir work but no discernable voice. 'Figures of Speech' is the longer of the two and as such really stretches the limits of experimentation but does offer up a few seductive guitar solos that search for new horizons. There is an Oriental feel to Stewart's noodling but the synthesized percussion work is stunning, never sounding boring or pre-packaged.

The final track is the celestial 'Green and Purple' and as such is a reprise of the thrilling opener to the disc and just keeps the ball rolling with assertive gusto and flair. As such, the 2 bookend pieces consist of some of the finest Jazz-rock music recorded. Lemer's bubbly synth solo half way through is a thing of total beauty, as he gives a musical tongue to the notes he dazzlingly scatters over the ivories, the Hopper bass pulsating wildly in the forecourt. Damn nice stuff!

These were awfully lean prog years, even some question of imminent extinction predicted by many, so the context here is very important.

4 bisaxual slicers

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 Mind Over Matter by MILLER, PHIL album cover Studio Album, 2011
4.48 | 3 ratings

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Mind Over Matter
Phil Miller Canterbury Scene

Review by Music By Mail

4 stars Five years have passed since the previous album "Conspiracy Theories" and finally comes a new album by guitarist Phil Miller and his band In Cahoots! Phil is a meticulous composer and it takes time to achieve the level found on this new album. We notice at first that a new horn section appears for the first time here, with saxophonist Paul Booth and trumpetist Mark Armstrong replacing respectively Picard and Finch. Then after listening to the album two three times, one general impression that struck me is the care taken to complex melodic voicings! Sometimes unisson lines form the theme, other times the melodic rose opens up in a harmonic contrapuntic motion, the chordal being the melody. A labour of love, impressive and emotionally working on the listener's fibers. The album starts with a gigant 18-minutes long medley of epic proportions. From the very beginning, some of Hatfield & the North's spirit caress your ear, the *theme* being here a long and complex chord progression opening the way to multiple harmonic modulations and a strong half-diminished feel. This is maybe the tune that is closer to progressive rock, with a massive heavy sounding guitar solo from Miller and a superb synth solo from Lemer; there are several sections where blow instruments take it away from prog and move it towards jazzier roads but we always come back to this massive harmonic sequence, the leit motiv of the piece. "Contrary Motion" offers what the title says: harmonized horn voicings against guitar movements and melodic bass walking, all in a kind of contrapuntal progression. After a guitar solo, the trumpet takes over at double time, followed by a bass solo, where we again can't but appreciate the phenomenal fretless work of Fred Baker. Follows "Pent Up", a piece in two parts, both in a 5/4 signature. Part 1 is marked by a rather slow tempo and some kind of bass ostinato while part 2 speeds it up in a Latin inflected style (the piano comping and piano/bass rhythmic line close to salsa / Latin jazz). The piece returns to the slow tempo at the end, ending with a great ethereal guitar solo. "Focus Pocus" is the only piece not composed by Phil, but instead by keyboardist Pete Lemer; based on a solid eighth note pulse, the tune has a middle section presenting you with a tough evil crossed rhyhtm of 24 eighth notes, divided by 6 by some players, by eight by other! And they keep it for the solos, not an easy task to accomplish! "E.D. or Ian" may be dedications to persons but who? This is anyway a charming ballad, at times sounding strangely like Oregon, maybe because of the meditative soprano sax and the wonderful horn voicings. Miller delivers here a superb plaintive guitar solo. The ending is wonderful, combining sustained guitar tones and a myriad of bass harmonics. "Call Sign" closes the album, starting with a rock-solid rhythm but moving in a boppish vein during both sax and trumpet solos. The bottom line: the writing of this album is superb, the music stunning! But - yes, there is a relatively important *but* - my biggest concern is about the production side of the album! There is nearly throughout a nasty disturbing use of reverberation that imo partly kills the music or at least amputates the pleasure! Too much of the music is drowning in this reverberation; the price? it takes some of the drums attack, the instruments when soloing seem at time to shift from a wet to a dry sound within no time, like if the engineer was randomly turning the knobs, every instrument seems placed dead center in the stereo field, bumping on each other, muffling the sound, masking small details. The most hearable place of this weird balance is attained during the piano solo in the ballad number; it seems like the keyboard's aftertouch function triggers both the extra sound but also this damned reverb, suddenly invading everything. Honestly, I think this is a pity and could have easily been avoided. If you want to minimize this aspect, you'll have to listen at lower volumes; if you like it loud, you can't avoid being badly wet! Another production aspect is that Baker's bass at times jumps way too much upfront in the mix, becoming too dominating and again altering the placing of the other instruments in the stereo field! I'd like to know what the conditions were when they tackled the production; I don't remember having faced this kind of problem in previous releases!

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 Conspiracy Theories by MILLER, PHIL album cover Studio Album, 2006
3.17 | 8 ratings

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Conspiracy Theories
Phil Miller Canterbury Scene

Review by toroddfuglesteg

3 stars DISCLAIMER !

I am not a jazz expert. Neither have I had much exposure to jazz. I am a newbeginner in this type of music I am starting to really enjoy now.

Phil Miller is a guitarist from the Canterbury scene. He has been involved in a lot of the most known bands here. He is also listed under the Canterbury scene. This album though is some of the most left-field Canterbury scene albums out there and many miles away from Caravan and Supersisters. In short; this is a straight jazz album....... but with some references to the likes of National Health, Gilgamesh..... well, to all the jazzy Canterbury bands. That includes my favorite band Soft Machine.

A track that could had been on Soft Machine's Six or Seven album is the excellent second track on this album; Press Find Enter. That very intense track is the best on this album by a long distance. The rest of the album is interesting too, but not of the same standard. Although this album is filled to the rafters by the good and greats from this scene, it somehow lacks in good melodies. The musicianship is excellent though. I am pretty sure jazz fans will love this album, but I am feeling too "green" to really get much out of it. But as an advert for jazz towards a Canterbury fan like myself, this album has done a grrrrrrrreat job ! I will probably come back to this album in some years time and perhaps add another star when I have sunk deeper into the jazz scene. But for now; this is a very good album, but still a bit foreign to me.

3.5 stars

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 Cutting Both Ways by MILLER, PHIL album cover Studio Album, 1987
4.19 | 23 ratings

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Cutting Both Ways
Phil Miller Canterbury Scene

Review by Evolver
Special Collaborator Crossover & JazzRock/Fusion Teams

4 stars Man, these guys sure can fuse!

Phil Miller, on his first solo album (Why did he wait so long?), along with Hugh Hopper, Elton Dean, Pip Pyle and Pete Lemer (with Dave Stewart and Barbara Gaskin in a side role), created an album of first rate jazz rock fusion. The album stands up with many of the best fusion albums out there.

The songs are all instrumentals (aside from Gaskin's voice used as an instrument), and all are very enjoyable. Part of the opening track Green & Purple Extract and the final song Green & Purple remind me of some of Zappa's work on The Grand Wazoo, but with a smaller ensemble (high praise indeed). And Hard Shoulder brings to mind some of Mike Keneally's better works.

All in all, this is a fine album for the fusion, Canterbury, or prog fan in general.

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  Split Seconds by MILLER, PHIL album cover Studio Album, 1989
3.94 | 12 ratings

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Split Seconds
Phil Miller Canterbury Scene

Review by Kazuhiro
Prog Reviewer

4 stars In this album, his Solo Album is a work of the second work following "Cutting Both Ways". First Solo Album developed the creation of his music till then further and worked. It was a work that showed the directionality of "In Cahoots" that was one of the lifeworks of him enough. He will be sure to be a measurable figure for Canterbury Scene. And, a necessary person for Canterbury gathers and develops into "In Cahoots". The musician who is performing by the tune is different in this album. It distributes the musician by the tune to make the music that Phil Miller exactly created an embodiment and the tune has succeeded splendidly. In this album, the performance where the tension by In Cahoots overflows splendidly creates current their element and idea. The knowledge of men who cultivated it with Hatfields and Softs keeps good feelings and develops high-quality Jazz Rock consistently. The sense of Canterbury splendidly appears really to the third "Dada Soul". The song of Richard Sinclair is one treasure for Canterbury. The age is caught and Miller has introduced the guitar synthesizer in this album. Miller loves item of Jazz and is said that it copied Larry Coryell and John MacLaughlin well. And, he was felt that he had to take an original element to music strongly. It appeals to people as a sound of Miller surely now ..it.. his style. "Double Talk" and "I Remain", etc. to participate also have ..Pop.. element, and other Dave Stewart And Barbara Gaskin takes the element of a sweet melody and offers us the depth of Canterbury. Overall impression..Canterbury..element..constant..keep..original..sensibility..add..very..variety..overflow..work..finish.

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  All That by MILLER, PHIL album cover Studio Album, 2003
4.00 | 5 ratings

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All That
Phil Miller Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars This is a very enjoyable Jazz record from Phil Miller, one of Canterbury's finest. He has Elton Dean and Jim Dvorak (Keith Tippett) on horns, Fred Baker on bass, Pete Lemer (Gilgamesh) on keys, and Mark Fletcher on drums, replacing Pip Pyle who had just left. Miller composed 5 of the 7 tracks. I just wish he was more out in front with his guitar playing. I guess you could say this really is a band effort, I just prefered his "Cutting It Both Ways" album a little more because he doesn't seem to mind being out in the spotlight on that one. If there's any one person who does standout it's Mark Fletcher's drum work. Miller even says in the liner notes that "Fletch is a fantastic player, his enthusiasm and sense of fun are infectious and it's great to have him on board".

"Black Cat" is a song that really features Baker's bass lines early while Fletch pounds away. Lemer takes the lead a minute in while it's Miller time before 3 minutes. Nice. Check out the bass / drum section 5 minutes in with horns to follow. It's the Dean and Fletcher show after 9 minutes. A full sound a minute later. "Big Dick" is actually one of the shorter tunes. It's darker with deep sounds and odd metered drumming. Keys come in then horns. Some nice drum work after 5 minutes. "Inca" is laid back with some good bass and I love the keys. Guitar come in as it all sounds so pleasant. Horns take over for the guitar as bass and drums continue at a relaxed pace.

"Sleight Of Hand" is light and jazzy, again the keys really impress me. "Upside" is fairly uptempo as piano leads the way, while bass and drums support. Horns later. Guitar after 2 minutes. "Out There" features mellow piano melodies with bass mostly. Cool tune as horns come in. "Your Root 2" opens with some fabulous drumming. A full sound a minute in, horns become prominant. Keys go on a run 3 1/2 minutes in. Vibes, bass and drums lead the way 5 minutes in. Keys are back. Great sound 6 1/2 minutes in.

Great album and it's a lot of fun too. Enjoy !

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 Cutting Both Ways by MILLER, PHIL album cover Studio Album, 1987
4.19 | 23 ratings

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Cutting Both Ways
Phil Miller Canterbury Scene

Review by Mellotron Storm
Prog Reviewer

4 stars With a lineup of Phil Miller, Elton Dean, Hugh Hopper, Pete Lemer, Pip Pyle, Dave Stewart and Barbara Gaskins you know you can count on something very special, and they deliver big time. Phil Miller and his band IN CAHOOTS perform 4 of the tracks which were done live in studio, while Phil hooked up with the husband and wife duo of Stewart and Gaskins to record two tracks which were given the full studio treatment. So yes this is where the title of the album comes from "Cutting Both Ways". A big nod to my friend Tom Ozric who has already reviewed this record and has helped me a lot in my understanding and enjoyment of the Canterbury scene.

"Green & Purple Extract" sounds almost orchestral in the beginning with the sax standing out the most. We get a pleasant melody 2 1/2 minutes in. Excellent sound 4 minutes in that is very jazzy. It settles right down before 7 minutes as a smooth sax melody arrives. Miller is great on guitar after 9 minutes as Hopper does his thing. Nice. The guitar stops 11 minutes in as Dean takes over with his sax. "Eastern Religion" is such a beautiful song. Pyle's playing is so delicate 2 minutes in. The keyboard work really shines as well. "Second Sight" features some throbbing bass as the sax plays over top. Light drums and keys fill out the sound. The sax really leads the way but Hopper is also quite prominant.

"Hard Shoulder" features the lovely Barbara Gaskins doing some vocal melodies as this one has more of a "rock" feel to it when the heavier drum sounds arrive after a minute. Some good guitar as well from miller. "Figures Of Speech" features light drums and some synth-guitar from Miller. A very heavenly sounding song. Tasteful guitar before a minute. Love the sound before 6 minutes. Spacey sounds 8 minutes in to end it. "Green & Purple" has a dramatic intro as heavy drums and sax follow. It settles down as light drums, bass and sax lead the way. Some great sax work from Dean here. The guitar leads the way after 3 minutes. Lots of sax and synths late.

Just an enjoyable listen from start to finish. A good place to escape from the world for a while.

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 Conspiracy Theories by MILLER, PHIL album cover Studio Album, 2006
3.17 | 8 ratings

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Conspiracy Theories
Phil Miller Canterbury Scene

Review by Atavachron
Special Collaborator Honorary Collaborator

3 stars The English are doing jazz-rock right these days. Easy, I suppose, with such a stylish and refined player as Phil Miller and his ever-improving In Cahoots, this time with plenty of brass - trumpet/sax pair Finch and Picard as well as Annie Whitehead's trumpet, Didier Malherbe's soprano sax - the keys of Pete Lemer, and the fantastic rhythm section of Mark Fletcher and Fred Baker from the original line-up. As good as Miller's 'All That' (2003) was, in many ways this is better and shows a deeper relationship between the core members.

'Conspiracy Theories' is in large part a jazz recording but the presence and push of rock is always there, making it an unusually well-balanced album that will probably be disliked equally by both camps. It is jazzrock taken in a slightly different direction by sage masters of their craft; refined palates that prefer suggestion and subtlety over obvious aggressions. Fusion aged in oak barrels, smooth but poignant, and requiring some patience. The title swings with the deft harmonic style this ensemble has forged over the years and moves in between Latin, trad jazz and smokin' bop. Eight-minute 'Press Find Enter' is a pulsing beauty at times, packed with good jams if a bit too long. 'Flashpoint' finds a spacey groove with great fills from bassist Baker, and Dave Stewart & Barbara Gaskin guest on the very reminiscent '5s & 7s', moody and deceptively slow, hiding deep intricacies and making the Canterbury presence nicely felt. 10-minute 'Freudian Triode' is complex but loose, open to new avenues and much room for soloing, modulations, style shifts and spontaneous discoveries, 'Ornica' is fun and almost commercial, and both 'Crackpot' and 'Lydiotic' are slow-growing creatures of immense power that groove with quiet determination topped-off with our frontman's seasoned guitar phrasing. A splendid example of contemporary English fusion from this classy bunch, recommended to anyone willing to listen.

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Thanks to alucard for the artist addition.

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