Posts Tagged Jason MIles

Jason Mile’s Global Noize: A Prayer for The Planet

I decide to take a walk in the opposite direction from all that I have learned geographically of my newly adopted city. I walk under a freeway ramp whose concrete columns are cracked and for some reason make me think of an old time taxi dancer now bereft of music. There are some barbeque places and alike, several tiny dive bars dark which seem to be siblings. All being kept propped up by the regulars who in turn are held erect by the cheap vinyl of their stools, stiffened with age and the work week need to eventually get back to it. The side of one of the places had chain link fence whose bottom did not quite reach the ground or perhaps the earth had retreated from its touch. There are the skeletons of several cars with concrete block feet, a graveyard of stilled motion. Objects and their myths. I decide to go in and let myself briefly be anesthetized by whisky hopes and carnival dreams.

The juke box is no good, contrary silence which is what the regulars want as they have heard it all before and are intent upon studying the diminishing returns of their perpetual last rounds. It is all right, I truly am only here for one. I leave without having been offered a word by anyone but I trust they knew I was, as always simpatico.

Walking back I hum to myself, the music lulling me into contemplation. Lately I have been reading the Russians, not just the immortals but the newer greats too (Babel, Solzhenitsyn, Olesha). It has made me contemplate a stoicism which tries to see a little good even in a bad situation without lapsing into any sort of Panglossian blind optimism.

Music no longer has the steadfast genre classifications and while this in itself may not be viewed as a bad thing, there have been some definite negative side effects. Although proper usages for genre terms are more often than not now made vague and irrelevant, a common point of reference is needed for any kind of interaction. Speaking in the broadest sense, for there will always be exceptions to every rule; this has quelled the casual listener’s ability to see and hear things which fall under the mainstream’s radar. With the bottom line almost always winning out, to find anything different one must now make an effort to search, which means it stays largely unknown to people who like music but do not live for it.

As I now strive to see the positive, the good thing to come from this is that those artists following their muse outside of the mainstream are now freed up to draw upon diverse influences differing from what their work may end up as. The freedom caries over too into their ability to incorporate myriad stylistic turns within their own work.

Jason Miles is a Grammy winning producer/composer/musician. From the very start of his career his pedigree shows diversity in the spirit of which he continues to create with today. Within his large and varied palette can be found some pop elements. Pop, not in the pejorative term as used to describe the vapid state of the genre now but harkening back to producers and arrangers like Van Dyke Parks, Quincy Jones and George Martin. He has also introduced components of world music and electronica into the realm of pop and fusion.

A Prayer for the Planet is Global Noize’s second album. As with some of his other projects, here Jason brings in some guest stars: world vocalist Falu and turnbulists/efx maestro DJ Logic among others.

The sound throughout the entire album is pristine. “Tokyo Sunrise” starts with softly ascending electro-washes over which a soprano saxophone played not in the nasal mid-eastern cadence as is so often utilized but with more legato gentle breathy notes, slowly unfurls. There is the percussion of drums intermittently peppered with finger snaps. The piece has the ambience of when one is initially arriving back from the land of slumber. Those first golden ambassadors of the early morning sun waking one as projected fingertips gently caress still closed lids, the soft growing heat signaling an end to the night. There is a churning of bass and vintage sounding synthesizer washes which add richness to the piece from its halfway point. The piece finishes with the sax trailing off, the sun moving down the street to wake the rest of the city, heralding the start of the new day.

“Charisma Love” has world music vocalese by Falu. Although I do not know what she is singing I greatly enjoy the song, which emphasizes the universal aspect of all music and underscores the general philosophy of Jason’s project. There is a compelling mélange of world music meets funk, led by a transistor toned guitar which serves as contrast to the plucked string section swells and soprano saxophone runs. The whole song in general seems to exist within a series of pulses as could be created by seeing a beautiful woman or something as equally enjoyable and perhaps nocturnal.

“Viva La Femme” is my favorite track on the album. It starts off with voice coming as if from a long ways away via a radio. There are layers of percussion and electro flourishes as signal flares that something is about to happen. The melody created by a chant is mirrored by harmonica; some local in a café in Marseilles who plays for change and cannot but help have the ambient surroundings enter into his own music. Bolstered by a dark oscillating ambient churning a rhythmic panting can be heard before a more song-like and melodic vocalese enters. There are some Gitane like scales upon which the melody is built. I can taste Pastis in my mouth as my feet feel the cobblestones of the street. The song successfully creates a layered mélange of electro and acoustic elements. It is a joy derived from music with the music generating an organic near on eroticism. It is all beauty which sets the mind to wandering and toes to tapping.

“Walking On Air” has a great relaxed vibe combining a down-tempo feel with elements of jazz in the soft flute lead voice. Over the entire album, even with guests coming and going, there is cohesiveness to the playing. It never feels like anyone is merely playing a part which will be jig sawed into the rest of the song. Even though there are electronic elements to the songs it is never at the cost of emotion.

With his Global Noize project Jason has set out to create works with various collaborators which ignores any kind of stylistic restrictions in execution or from where they pull in their influences. Subtler and left unsaid is the shown example within this album of how music can be fun, groove and still be art.

Maxwell Chandler


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Global Noize: Sly Reimagined

Driving down the night, thinking in broken rhymes, the city sings out in a soulful falsetto that does not match up to its darker ambitions. Not all appetites are the same nor is the way in which we seek to satiate them but there is a commonality in that we all want. There are bound to be similarities, many facets of what we all have or want that is the same. Two things which transcend cultural differences of language and social mores are food and music. It can serve as a sort of shorthand to convey one’s intentions or overall identity. Offering up a sweet to someone who does not speak your language; humming “Ode to Joy” or “Take the A Train” shows that when all the subtle differences are stripped away, humanity as a whole is all in the same boat. Connected to this phenomenon of commonality is dancing, if not outright then at least moving to the groove. Dancing can encompass a sort of communal celebration or when reduced down to an individual, a ritual of and for one. Either way it is a narrative told by bodies all in motion to a beat but proclaiming themselves individually by the nature of their movement, the Saturday night dichotomy of being together yet apart.

Global Noize is a collaboration of turnbulist/composer DJ Logic and Keyboard/Composer Jason Miles. Both artists have never limited themselves in regards to who they will collaborate with, the diversity transcends not just genre but style (jazz/electronic/pop/world). DJ Logic’s music impresses because no matter who he has performed with, he keeps his voice while simultaneously making it mesh with that of his collaborators regardless of their genre. YouTube is loaded with videos of DJ Logic jamming with artists that when listed on paper seem it would not work but always do so in a compelling way.

One of the powers of traditional jazz was that it was ever in flux, new genres shooting Juno like up out of the head of established ones. Traditional jazz has stagnated, there is still plenty of joy to be had from seeing some of the surviving masters do their thing or a young up and comer adeptly serve up an offering from jazz’s lexicon but the effect is not dissimilar to seeing one of the great paintings by the masters in a museum. This album is their third together and like the previous works utilizes a cast of musicians from wide ranging backgrounds. Both Jason and DJ Logic have helped the downtown sound further evolve in the way traditional jazz used to. The downtown sound for the longest while was a sort of off branching of free jazz sometimes encompassing aspects of modern Western classical component (Varese, Lighetti, Webern et al). Organically, through their efforts both together and separately, new elements have entered into the downtown sound. DJ Logic has cross pollinated with the jam band crowd, hip-hop and rockers while Jason has brought in later day fusion, the aural perfections of pop productions and electronica. Further added to this mix are elements of world music.

There is a whole new generation of musicians and composers of world music who grew up practicing the traditional works of their culture while also embracing what was au current elsewhere. This has allowed for the creation of work which rather than forsaking what came before it, builds off of it combined with outside elements to create something new. These musicians’ attitude of freedom from the restrictions of rigid tradition fits in perfectly with Global Noize’s artistic mission which is to serve as a sort of all-embracing cultural ambassadors, creating works and performances which draw upon whatever turns them on regardless of its source.

The music of Sly Stone offers the perfect template for this project. In attitude his was among one of the first multi-racial groups in rock for which he took much heat. Among the messages in his music was a strength through unity. Stylistically, Sly’s music was highly original and encompassed several genres, from the doo-wop he sang in his youth (Start of “Dance to the Music”) to the Fender Rhodes drenched funk and straight out guitar solo crescendo of rock and roll. Sly has remained a steady influence on current music, more so than a lot of his peers whose work is pleasurable and important to the canon of what came out of his era. With Sly, some of each generation of artists continues drawing directly from if not aspects of what he did then possibilities which he freed up.

This album is highly listenable and gives a surprisingly straight ahead read on the source material. The program is made up of all Sly penned songs except the last piece “Dreams’ written in homage by Jason. The sound is pristine as is to be expected given Jason’s pedigree. The album eschews the luminescent from sheens of sweat funk for the more laid back soul groove parts of Sly’s work.

“In Time” starts with some beat boxing and an infectious world music version of scat singing by Malika Zarra which is sexy and fun. Along with Jason Miles and DJ Logic there is a rotating cast of musicians that vary from track to track including original Sly drummer Greg Errico. The musicians all come from different backgrounds but their enmeshment is perfectly organic which is fittingly appropriate given Global Noize’s mission statement and the scope of Sly’s music too. Throughout the album different guest vocalists are brought in, Nona Hendryx taking lead on this song. With each song the spirit of the original is maintained without ever sounding like mere parroting. The different vocalists do not fracture the overall cohesiveness of the project but underscore how some aspects of works of art effect people the same regardless of whatever other totems we make of them.

There is such a full sound on this track where every instrument is clearly heard, deftly layered but never overly busy nor muddied. It also underscores how this part of Sly’s oeuvre was as compelling in its intricacies as some of his more dramatic harder edged funk which is probably better known to the more casual listener. While new sonic elements such as scratching/beat boxing are introduced into this track it does not forgo the traditional brass section as Sly would have used which sonically adds a warmth and further layers that would be missing had it all been midi(d).

The album has two different versions (mixes) of “It’s a Family Affair” and “The Same Thing” on it. “It’s a Family Affair-Falu Mumbai Mix”is named after the singer Falu whose chant-like vocalese entwines itself around the songs traditional vocals as done by Roberta Flack. The song has a bubbling bass whose mood is mirrored by the occasional wah-wah of guitar. The song is all subtle contrasts coming together, from the two different style vocals to the old soul declamations of saxophone and late night organ mixing with slow electro washes of synth. In some ways this piece is emblematic if not of the ensemble itself then this current project.

The album facilitates the urge to dance, whether just with friends, a potential romance or just by one’s self. We are all just the creature of Prometheus and must occasionally honor that gift by getting out on the dance floor to shake our asses.

This article is not to be used or reprinted without the expressed permission of Maxwell A. Chandler (

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