Miniature America by Miles Okazaki MINIATURE AMERICA

“exquisite quality and contemporary taste . . . an opus that attentive fans of creative music will want to explore.” - Filipe Freitas, Jazz Trail

“a seamless sphere of oneness” - Martin Longley, Jazzwise

“breathtaking”  - The Stash Dauber

“absolutely amazing” - Phontas Troussas, Diskoryxeion


Miniature America is Miles Okazaki’s 12th album and is strikingly different from his previous work, which has been firmly based in song forms and live performance in the studio. After a statement of the album’s poignant theme, the listener moves quickly through a wildly contrasting succession of abstract fragments, atmospheres, and mysterious events. The unusual sound of the album comes from a compositional approach that uses the studio itself as an instrument, where the goal is not just to capture a performance, but to create a library for post-production work. Okazaki describes the idea in his liner notes:

“. . . I realized I could write some instruction pieces to create the raw materials (“slabs,” as I called them), and then excavate them, sanding and polishing to find hidden musical artifacts . . . There are many pieces on this album that use variations on this technique, which makes them less like compositions and more like sonic treasure hunts.”

Sometimes this process is hidden, but it can be heard clearly on “Lookout Below,” where the guitar plays rapid-fire unison melodies with a constantly changing cast of characters. The score for this track found in the booklet shows the type of work involved. Okazaki says:

“I had some environments I would set up and then some instructions I would give the musicians. We made dozens of different little episodes. Dense blocks of sound. I took them home and carved away at them until just the minimum remained, learned that, and then played along.”

Okazaki uses traditional electric and acoustic guitars as well as quarter-tone and fretless guitars. The former can be heard on accompanying trombone on “The Cavern” and the latter on “Whack A Mole,” where the guitar slides to catch the entrance of each of five voices that appear in a three-dimensional space. There’s a rhythmic idea that appears (“Wheel Of Cloud,” “A Clean Slate”) generated by the band reciting the final lines of various poems to produce a field of erratic accents that are picked up by the guitar. The rhythmic tension reaches the peak on “Pulsation Station,” where Okazaki mediates a conversation between two groups at slightly different speeds. In addition to these abstract pieces, there is a melodic theme that runs throughout the album, heard on “The Cocktail Party” as a piano in a room of babbling guests, on “The Cavern” as a melting chord progression, on “The Firmament” as a group hymn, and “In The Fullness Of Time” as a yearning cry by Ganavya. The album closes with a fitting line from “The Artist,” by William Carlos Williams.

The album title is from the drawing by Ed Ruscha shown on the cover. The connections between this art and the music, a detailed look at the studio process, and photos of the session can be found in the booklet for the CD at www.milesokazaki.com/mabooklet

Miles Okazaki is a NYC-based guitarist originally from Port Townsend, a small seaside town in Washington State. His approach to the guitar is described by the New York Times as “utterly contemporary, free from the expectations of what it means to play a guitar in a group setting — not just in jazz, but any kind” (Giovanni Russonello).