* Your musical inspirations?

I was inspired my parents, mainly my father as he loves music, especially traditional chinese instruments

* Favorite CD's, songs, or musicians?

Toni Braxton, Momoe Yamaguchi

* Has music helped you thru a difficult time in your life?

Yes. I was just a little girl by the time I got accepted by Central Conservatory of Music, the most reputable music college in China, I was shocked & scared at the beginning. Because I was surrounded by the most talented & skillful young musicians. I was afraid that I was not good enough. I was completely lost & stopped practising for a period of time. My father & one of my most thankful teachers were aside me watching & feeling that pain of mine. My teacher told me that 'Chance would only come to the people who are prepared,' All out of the sudden, I was awaken by what he said, & started practising again, ignored the people around, ignored all that talented professionals, & just kept music inside me. Being selected as a member of TGB, to me, it's a prove of hard work, and I will never ever give up again.

Shuang Zhang/Pipa player

Twelve Girls Band Bio

As they build a lasting musical bridge between East and West, Twelve Girls Band from the People's Republic of China, return with Romantic Energy, a vibrant new showcase of abundantly diverse music. The group's vivid originality and special enchantment has charmed the people of many nations around the globe, making them a 21st century phenomenon. A multi-platinum selling act all over Asia, the Twelve Girls Band fill arenas there, and has now been discovered by America. The aptly-titled, evocative and sweeping Romantic Energy, is a two-disc CD and DVD collection that follows-up the group's 2004 U.S. arrival, Eastern Energy, which entered at Number 62 on the Billboard 200 album chart. Their charting marked the highest debut in Billboard history by an Asian recording artist. The album also debuted in the Top 10 on the Internet Album Sales Chart, keeping company with names such as Tim McGraw and Usher. In Japan alone, the ensemble is already a supergroup, selling more than two million records, and has even appeared in TV ads for chocolate and cell phones, among other products.

Drawing upon more than 1,500 years of traditional Chinese music, the group blends that rich legacy with classical, folk, and contemporary sounds. They weave a vividly lush and original landscape that finds kinship in the orchestrated Celtic pieces, such as Riverdance and the haunting strains of Eastern Europe, while also offering a new vision of today's pop music.

The Twelve Girls Band signifies the symbolic choice of a dozen members found in various aspects of Chinese numerology with twelve months in a year; and in ancient mythology, twelve jinchai (golden hairpins, which represent womanhood). Inspiration was also drawn from Yue Fang, the female chamber orchestras that played in the royal courts of the Tang Dynasty.
Each member of the Twelve Girls Band ensemble is classically trained, with backgrounds that include the China Academy of Music; the Chinese National Orchestra; and the Central Conservatory of Music. Skilled multi-instrumentalists, they perform on traditional Chinese instruments that include the zither-like gu zheng with adjustable bridges, and as many as 25 strings. They also play a squared-off hammered dulcimer called a yang qin; the erhu, which is a two-string violin; the pear-shaped, four-stringed pipa lute; and the bamboo dizi and vertical xiao flutes. Electronic keyboards and punctuating percussion add modern textures for spellbinding creations that span the centuries.

As the group released its American debut Eastern Energy in 2004, critics were ecstatic over rapturous renditions of Coldplay's Clocks and Enya's Only Time, calling it folk techno-fusion. Varietytrumpeted, China dolls take traditional music off the shelf and CNN reported, Twelve girls rock the classics.

The band's first U.S. tour drew both awe and frequent smiles, while reviewers noted the effortless blending of pieces by Mozart and Beethoven, alongside startling renditions of jazz standards like Dave Brubeck's Take Five, To quote TIME magazine: There's something mesmerizing about the band's graceful stage presence, their technical virtuosity -- and most of all, their euphoric expressions as they play their instruments.

The entrancing and expansive music on the new Romantic Energy reflects the group honoring their heritage, combined with a genuine love for all styles of music -- from complex classical works to enduring pop tunes. The aura of a beaming morning sun colors the album's title song; and a lovely wistful version of Simon and Garfunkel's El Condor Pasa brings a new dimension to a beloved classic. Other highlights include the liquid flow of River Shule, the fragile beauty of Whispering Earth and lively impressionistic Carnival as well as the traditionally-based Tan Court Ensemble. Eastern Energy heralded the international arrival of Twelve Girls Band, Now with Romantic Energy, the group's joyous creative spirit continues to blossom, offering a lush garden of musical delights to lift the heart and sooth the soul. For Twelve Girls Band, music is a blissful exploration upon which to take wing and soar.


My musical inspirations:

God's creations, Bach, John Coltrane, Miles Davis, Bill Evans, Scott LaFaro


Anyone acquainted with David Friesen’s exceptional music quickly thinks of his creative universe. Ocean-deep in his sensitivity to the human spirit, Friesen is compassionate and his music founded on integrity and the pursuit of excellence.

He began playing the ukulele and the accordion at 10, and a guitar professionally at 16. Born in Tacoma, Washington May 6, 1942, he was raised in Seattle. Friesen’s first exposure to jazz was Slim Gaillard in an L.A. club when he was underage and playing guitar.

At 19, while stationed with the U.S. Army in Paris, he sat in with George Arvanitas, Johnny Griffin and Art Taylor. Then, in Copenhagen, he gigged with drummer Dick Berk and met Ted Curson in 1961. Back in the U.S., he became committed to the bass in 1964, practicing about ten hours a day. He was jamming in Seattle with local musicians - Larry Coryell and Randy Brecker were among his young compatriots - at such places as the Penthouse, where Miles, Coltrane and Bill Evans would perform; David would play opposite them and occasionally sat in with the visiting giants. Also, for two years Friesen played piano and bass at a coffee house called the llahngaelhyn owned by bassist Jerry Heldman.

After a long tenure touring with Elmer Gill, who played with Charlie Parker and the Lionel Hampton band; Friesen opened his own coffee house in 1973 in Portland where he and his family make their home. Word began to circulate and his gigs assumed a different perspective as he hooked up with John Handy and others. Jazz education also entered his sphere of interest, and he became a faculty member of the National Stage Band Camps for a couple of summers working with Marian McPartland, John La Porta, Phil Wilson, and the Jamey Aebersold combo clinics.

Joe Henderson was his next association, which was followed by a 1975 summer tour of Europe with the Billy Harper Quintet. This tour opened new doors and led to stints with Stan Getz, Sam Rivers, Kenny Drew, George Adams and Danny Richmond (records with the latter three), and concerts with Dexter Gordon and Mose Allison. Then in 1976-77, he joined Ted Curson, who showcased Friesen’s solo bass work and gave him more visibility in the jazzscape.

I first became acquainted with Friesen’s gifts at a very moving, successful clinic the Curson group gave to the jazz studies students at Western Washington University in Bellingham, where I was on the faculty in 1977. Then at the 1977 Monterey Jazzfest … Friesen captured the entire audience of more than 7,000 as he opened the festival with a bass solo – sitting on a drum stool, cello-style.

With barely half of 1977 gone, Friesen was joined by the imaginative young guitarist John Stowell; together they geographically dotted the West Coast from B.C. to L.A. with performances and clinics, garnering more fans along the way.

Musical associations with legendary pianist Mal Waldron and f lutist Paul Horn resulted in duet albums with each man, and several concert tours in Europe and America. In August of 1983, Friesen accompanied Paul Horn on a historic 4 week, 18 concert tour of the Soviet Union.

David Friesen has recorded over 65 CD‘s as a leader/ co-leader and appeared as a sideman or featured artist on more than 100 recordings. He has performed and/ or recorded with many of the great names and legends of jazz including: Stan Getz, Dexter Gordon, Joe Henderson, Sam Rivers, Michael Brecker, Bud Shank, Dizzy Gillespie, Woody Shaw, Freddy Hubbard, Art Farmer, Clark Terry, Joe Venuti, Mal Waldron, Jaki Byard, Kenny Drew Sr., Chick Corea, Milt Jackson, Slim Gaillard, John Scofield, Philly Joe Jones, Elvin Jones, Paul Motian, Jack Dejohnette, Airto Moreira, and many others. He has performed in concert as a soloist (Friesen is one of two or three bassists in the world that is able to play a solo concert and keep an audience riveted) and with his own groups throughout the United States, Canada, United Kingdom, Sweden, Denmark, Norway, Germany, Belgium, Switzerland, The Netherlands, France, Spain, Portugal, Italy, Austria, Hungary, Slovenia, Turkey, Poland, Japan and South America.

Friesen’s music, which is imbued with certain ingredients of jazz, is also characterized by folk-f lavored things and classical and Jewish veins with substantial spontaneity, lyrical strength, warmth and creative discoveries in the musical wilderness.

Dr. Herb Wong/Jazz Times


Photo by Knut Bry

* Your musical inspirations? 

-It started when I was a kid, listening to all the pop and rock music in the late 60s and 70s. Especially the more heavy bands, like Deep Purple and Led Zeppelin. This inspired me to pick up the guitar at eleven. But my favourite bands were Pink Floyd and Yes. Music with depth, time and space. And their use of electronic instruments, making long and sustaining musical soundscapes.

Gradually I became interested in other kinds of music as well, like jazz (Miles Davis) and contemporary classical music (John Cage). And diverse ethnic and world music styles. 

Music that has elements of time and space has always interested me. Music that has something abstract that can make me think in new ways.
* Favorite CD's, songs, or musicians?

-Some years ago I made a top ten list of my all time favourite albums.
But today I feel that it is difficult to do that. I am born in 1961 and I have
always been interested in the musical currents of my time. So it is more a
 matter of genres, than some particular favourite CDs or artists.
* Has music helped you thru a difficult time in your life?

-Music has helped me to find my own way of living my live. For every human being it is important to have a project in life, something to believe in. For me this has been music, and it has helped me to handle the many aspects and diversity of life.
* Your thoughts on the connection between music and healing--

-I do not believe so much in the "new age"  way of music and healing. Instead I believe that good music can open up and broaden your way of looking at life in general. First of all intellectually, but also physically. And trying to give people a kind of music that is not mainstream music, but music or sound that is new and yet unheard. So that the listeners can explore new areas within themselves.  If we talk about traditional healing, I think performing an instrument can important. Not just be a passive listener. Like drum circles, where all the participants can join in, and be a part of something.


Erik Wøllo
was born in Hemsedal, Norway (1961), and he has been a professional artist since 1980. His musical experience covers a wide range of styles from rock and jazz, to experimental electronic and classical music.

He has been composing and performing music for films, theatre, ballets and exhibitions. As well as composing for strings, woodwinds and larger orchestras. As a guitarist he has been leading his own groups, playing at clubs, concerthalls and festivals in Scandinavia , the USA and Canada.

During the last decades, he has produced solo albums at his own "Wintergarden Studio". His music has been released on CD worldwide. His music has been very well recieved in music magazines, and his solo albums have been played on radiostations in several countries.

He creates music that is both lyrical and rhythmical with emphasizing melodic and structural formations. With his diverse musical background, he successfully integrates elements of jazz, rock and classical, as well as ethnic and electronic ambient music. This synthesis shows on his albums as he mixes of technology sounds with the acoustics gathered from the environment.

His music reflects the musical currents of our time while offering the listener a highly original and exciting sonic experience.

Member of NOPA and Norwegian Society of Composers (NSC).
Publishing through BMI (USA/Canada) and TONO (rest of the world).


Photo by Steven Silverstein

I find inspiration for my music through sounds of nature and everyday's life.

My favorite cds of all times are Miles Ahead plus 19 and (Miles Davis and Gil Evans) and Blow by Blow by Jeff Beck.


For those who know Flora, an introduction is unnecessary.  Her music has interwoven the life fabric of anyone with a passing interest in Latin and American jazz music for over 25 years.

Her once-in-a-generation six-octave voice has earned her two Grammy nominations for Best Female Jazz Performance and Downbeat magazines Best Female Singer accolade on four occasions. Her musical partners have included Gil Evans, Stan Getz, Chick Corea, Dizzy Gillespie and Airto Moreira, with whom she has collaborated on over 30 albums since moving with him from her native Rio to New York in 1967.

Her musical genius was inbred thanks to a Russian émigré father who played violin and a mother who was a talented pianist in her own right. Before leaving Brazil to escape the repressive military regime of the time, she had mastered piano and guitar and liberated an exhilarating vocal talent.

In New York, she and Airto became central to the period of musical expression and creativity, which produced the first commercially successful Electric Jazz groups of the 70s.

Blue Note artist Duke Pearson was the first American musician to invite Flora to sing alongside him on stage and on record. She then toured with Gil Evans about whom she says, this guy has changed my life. He gave us a lot of support to do the craziest stuff.  This was the beginning for me. Her reputation as an outstanding performer gained her work with Chick Corea and Stan Getz as part of the New Jazz movement that also contained the nurturing influence of sax man Cannonball Adderley.

Shortly after, Flora started in earnest to re-educate discriminating musical minds, after linking up with Chick Corea, Stanley Clarke and Joe Farrell to form "Return To Forever" in late 1971.

Two classic albums resulted - "Return to Forever" and "Light as a Feather" - nodal points in the development of fusion jazz. When Chick decided to drive further still down the electric road, Flora and Airto chose their own path. Airto by this time had already begun to create his own legend by playing with Miles Davis in 1970, before helping to found the jazz wellspring that was "Weather Report".

Her first solo album in the US, Butterfly Dreams was released in 1973, which put her right away to the Top Five Jazz Singers on the Downbeat Magazine Fame Jazz Poll.

Flora went on to contribute to some of the greatest recording of the seventies - Carlos Santana, Hermeto Pascoal, Gil Evans, Chick Corea and Mickey Hart all benefiting from her vocal and arranging skills.  In the mid-Eighties, Flora and Airto resumed their musical partnership to record two albums for Concord - "Humble People" and "The Magicians" for which she received Grammy nominations. In 1992 she went one better by singing on two Grammy winning albums - "Planet Drum" with Grateful Dead drummer Mickey Hart (Best World Music Album) and the Dizzy Gillespie "United Nations Orchestra" (Best Jazz Album).

The launch of the highly combustive Latin jazz band Fourth World in 1991 with Airto, new guitar hero Jose Neto and keyboards and reeds supreme Gary Meek, marked a new era in Flora's career. The band signed to new UK-based jazz label B&W Music - and Flora consciously set out to win over the next wave of listeners.

Gigs at the Forum and collaborations with leading UK DJ/producers Gilles Peterson and Patrick Forge led to Flora and Airto as guests on several influential contemporary recordings, including the James Taylor Quartets "Supernatural Felling" and Urban Species "Listen".  Gilles subsequently spent time in the studio remixing "Now Go Ahead and Open Your Eyes" with help of hot new producer Tyrrell and London session drummer and producer Andrew Missingham.

Flora's 1995 world tour started in traditional style with a month a Soho's Ronnie Scott's Club with a new band that includes Gary Brown on bass, Helio Alves on keyboards and regular Fourth World rhythm and psychedelic guitar player Jose Neto, along with Puerto Rico master of congas Giovanni Hidalgo and, of course, Airto, joined Flora to take her new album "Speed of Light" on the road.

Recorded across two continents and featuring some of the top names in contemporary jazz such as Billy Cobham, Freddie Ravel, George Duke, David Zeiher, Walfredo Reyes, Alphonso Johnson, Changuito, Freddie Santiago and Giovanni Hidalgo, the album demonstrates emphatically that Flora is ready to shape the sound of the nineties. With important writing and performing contributions from Chil Factor and Flora's daughter Diana Booker.  "Speed of Light" makes the connection between her experimental beginnings with Chick Corea and Gil Evans and the new "head" music being produced by jazz players out of the London and New York "Trip Hop" scenes.

Whilst this is certainly music for the head, it is the heart that responds to Flora's extraordinary voice. Open your ears and you will fly.

In 2002, with two new releases by Narada Records, the jazzy "Perpetual Emotion" and the world music "Flora Sings Milton Nascimento", once again Flora takes the listeners to the edge of their imagination.

In September of 2002, Brazil's President Fernando Henrique Cardoso named Flora Purim and Airto Moreira to the "Order of Rio Branco", one of Brazil's highest honors. The Order of Rio Branco was created in 1963 to formally recognize Brazilian and foreign individuals who have significantly contributed to the promotion of Brazil's international relations. The order is named after Barão do Rio Branco, Brazil's Minister of Foreign Affairs from 1902 to 1912, famous for his role in negotiating the national borders of Brazil and referred as the "Father of Brazil's Diplomacy".

The album "Speak No Evil" was released in January of 2003. This is Flora's third album with Narada Records. After listening to the album, George Duke had this to say:  "Flora is one of those rare talents that truly understand how to phrase lyrics and melody". Then he said, "she can swing - and she can sing!"

Flora's new album entitled "Flora's Song" was released by Narada Record on June 28th, 2005. "Brazilian Jazz at it's best with colors and rhythms of world music. Rhythms of my soul mixed with the sounds of my heart communicating with words that express the times, trials and tribulations of the world right now as I perceive it."

"I am sitting at the edge of the universe of my own mind, trying to decide."
Diana Booker

"You don't need to understand a word of Portuguese to know when a Purim song speaks of ecstasy or anguish, of delight or desolation, of laughter or loneliness. It's all there in the performance."
Mike Hennessey

Flora's Song
Flora Purim
724356032125 Narada Jazz

 -4-time winner Down Beat Magazine's Best Female Jazz Vocalist
- 2-time Grammy nominee for Best Female Jazz Performance
- Performed on 2 Grammy-winning albums

After nearly four decades of extraordinary performance, Flora Purim has become synonymous with Brazilian jazz - her seductive voice intertwining effortlessly with native rhythms and exotic instrumentation. This is FLORA'S SONG, an intensely personal album which showcases all the divine diva's refinement and flair.

Purim's close connection to the music pervades all aspects of the new album, including the choice of musicians. "The musicians were chosen with the same care as one would choose a craftsman to construct the navigation instruments of a ship," she muses. Some choices renewed old friendships - FLORA'S SONG sees the chanteuse re-team with keyboardist George Duke - while others forged new musical friendships, notably with steel drum phenom and co-founder of the Caribbean Jazz Project, Andy Narell.

Artists & Instrumentation

Flora Purim - vocals
Mark Egan - bass
Christian Jacob - piano
Airto Moreira - drums
Gary Meek - flute, alto flute
George Duke - piano
Reggie Hamilton - bass
Sandro Feliciano - drums
Grecco Buratto - guitar
Dom Camardella - Hammond B3
Marcos Silva - keyboards
Gary Brown - bass
José Neto - guitar
Andy Narell - steel pans
Harvey Wainapel - saxophone
Jimmy Branly - drums, timbales
Giovanni Hidalgo - congas
Dori Caymmi - acoustic guitar
André de Sant'anna - bass
Krishna Booker - keyboard programming, human beat box
Diana Booker, Corei Taylor and Rob Gardner - background vocals


1Las Olas
2Less Than Lovers 
3This Is Me 
4Flora's Song 
5É Preciso Perdoar
7Forbidden Love 
8Anjo de Mim  
9Lua Cheia  
10Anjo do Amor


Your musical inspirations?  

Miles Davis, John Coltrane, The Beatles, Suba, Ivan Lins, Jobim, Mozart

* Favorite CD's, songs, or musicians?

Kind of Blue, Bitches Brew, Coltrane Ballads, East West, Gaucho,Tanto Tempo, Boss Guitar, Jobim meets Getz,

* Has music helped you thru a difficult time in your life

Why would I have dedicated my life to this if it didn't?-It constantly helps but the line between Business and creativity had been drawn and they have nothing to do with each other so it's getting harder to just rely on the music to make a living.


Of all the music you will hear today, this month, or even next
 year, MILES TO MILES stands alone. Its funky, edgy grooves
and angular melodies hearken back to something heard in 1986,
 but now it’s nearly 20 years later, and MILES TO MILES
is new, exciting, and different. The production is expansive, the
 arrangements embrace exotic world music tonalities and
rhythms, and the music itself features some of the hottest names
jazz has to offer. The man who constructed this dynamic
sonic palette? His name is Jason Miles.
Jason Miles — producer, arranger, keyboardist, and synthesizer
programmer. He has crafted music for Luther Vandross and
Gato Barbieri, and has helmed ambitious musical tributes to both
 MUSIC OF IVAN LINS, from which the track She Walks This
Earth (Soborana Rosa) featuring Sting won a Grammy® for Best
 Pop Male Vocal). In 2001, Jason Miles produced TO GROVER
 WITH LOVE, the acclaimed and visionary tribute to
 saxophonist Grover Washington, Jr. More recently, he
masterminded the contemporary jazz collective Maximum
 Grooves, which released its debut COAST TO COAST in early
Of all his career highlights, the one that resonates most in Jason
Miles’ mind is his work with the legendary trumpeter Miles
Davis. Davis was and is more than a musician; he is an icon, a
spirit whose singular influence continues to loom large over
the world of jazz. Stories of Davis’ intense personality, appetite
for both life and self-destruction, and continuing search for
new musical vistas have kept him in the minds (and music) of
 musicians and fans for generations.
In the late eighties, Jason Miles was tapped by his friend,
 bassist and producer Marcus Miller, to assist in building the
adventurous sonic landscapes that would become the backbone
 of Miles Davis’ 1986 release TUTU. Davis, characteristically
 looking to reinvent his music, was searching for something new
 and different that would again push his music into uncharted
 territory. He was astounded by Jason Miles’ ability to craft
 dramatic soundscapes and orchestrations on the synthesizer,
 which at the time was far less common a creative tool than it is
“I hold an interesting place among the musicians Miles worked
 with,” explains Jason Miles, “because he could tell a horn
or guitar player that he was out of tune or behind the beat, but
 synthesizer programming was a new art, and it was something
Miles — and most people — didn’t understand. When I met him,
 I told him I could make any sound he heard in his head
happen. We came up with sounds that no one head ever heard
 before, with samples, panning, and all types of orchestration.
We pushed everything we knew as far as we could take it.”
As with most musicians who have crossed paths with the
 legendary trumpeter, Jason Miles’ time with Davis continues to
inspire much of his subsequent work. It is no surprise, then, that
 TUTU’s other-worldly production values, daring sound
samples, and push-the-envelope creativity are the spring-board
 from which MILES TO MILES is launched, taking the ideas
pioneered in 1986 to fresh and exciting echelons.
MILES TO MILES, however, is not a tribute record. Far from it.
“This music is real, it’s now, and it’s dangerous,” says Jason
Miles. “When we made TUTU it was about taking sound to the
 next level. MILES TO MILES takes it one step further.
I thought about what Miles would be digging on today, and tried
to capture a bit of his creative, renegade spirit in the music.”
The opening cut, Ferrari, says it all. The title comes from Davis’
 love of fast cars, and from Jason Miles’ recollection of a
particular high speed drive up the Pacific coast with the
 trumpeter at the wheel. The energetic rhythms capture Davis’
velocity as a driver and his voracious search for uncharted
musical territory. Saxophonist Michael Brecker adds an angular
melody line over the electronic funk that singularly captures
 Davis’ restless intensity, while DJ Logic’s turntables add extra
dimension and coloring.
Up next is Butter Pecan, a reminiscence of Davis’ legendary
 sweet tooth. On one occasion, Davis requested Miles’ wife
to bring butter pecan ice cream to his home, against doctor’s
 orders. The track features an overdubbed saxophone
section courtesy of Gerald Albright, and a solo from Davis’
 former live synthesizer player Adam Holtzman. Then comes
Guerilla Jazz, featuring the late saxophonist Bob Berg (a
 childhood friend of Jason Miles), along with trumpeter Tom
 Harrell and bassist Me’Shell Ndge’Ocello. The track’s strident
 melodies remind the listener that they too must go beyond the
tried-and-true and search the musical underground if they wish
 to discover bona fide cutting-edge sounds.

King of the Bling — well, almost any photograph will tell you
 that Miles Davis was king when it came to fancy clothes and
radical styles. Drummer Carter Beauford of the Dave Matthews
 Band, and trumpeter Randy Brecker bring the track to life.
Next comes Bikini and Love Code, both recalling Davis’
 legendary love of women of all sizes, shapes, and colors.
Flamenco Sketches, the Spanish-influenced song first heard on
 Davis’ classic 1959 release KIND OF BLUE, follows. It is
the one KIND OF BLUE track that does not often get covered
 by other artists, and a favorite of Jason Miles. Pianist Keiko
Matsui, trumpeter Barry Danielian, and guitarist Marc Antoine
 are featured, and both are afforded an artistic freedom that
allows them to stretch far beyond their usual smooth jazz forays.
 Voices On the Corner (featuring P-Funk keyboardist Bernie
 Worrell), Street Vibe, Suba, and New World follow, each telling
their own story of the Davis vibe. “Miles loved listening to the
 sounds of the street, and he loved Indian music, anything
with tablas,” recalls Jason Miles. “These songs are my version
 of Miles’ vision. When you play music with people, you don’t
focus on their looks or nationality. You see the person at their
 most pure, their most emotional. Every combination of
 background and nationality works, and Miles could appreciate
 that. He could see inside a person, to their most pure elements.
That’s what I tried to do here.”
And what of that title, MILES TO MILES? Therein, too, lies a
 story. “MILES TO MILES,” explains Jason Miles, “comes
 from the first time I met Miles Davis. He drew a little stick
 figurine on a pad in the recording studio, and was going to throw
it out. I asked him if I could keep it, and he asked for it back,
 and inscribed it ‘Miles to Miles’ with a little trumpet. I’ve still
 got it to this day.”
 As a friend and collaborator with Davis, Jason Miles has stories
 to tell. Some people write books, some tell their stories to
their circle of confidants. Jason Miles is a musician. He makes
music. MILES TO MILES is a collection of stories and
recollections of Miles Davis, as only Jason Miles can tell them.

Next Page

©Voices and Visions