"...it's another" stars all of the above, plus Randy Sutin on marimba, saxophonist E.J. Yellen, and special guest vocalist Wendy Simon.
"Drummer Jim Miller assembles a CD that bristles with political and musical ideas...Miller starts with 'Clear Channel Suite,' which satirizes radio land by turning a fictitious tuner and finding an overwrought take of Antonio Carlos Jobim's 'How Insensitive,' followed by several imitations of a Pat Robertson-like preacher and a country singer who says 'If Jesus was alive today, he'd be a truck-driving man.' The CD attacks the Iraq war on the acidic 'Green Zone Blues,' while lionizing the soldiers who fight there with a passionate take of Aussie Eric Bogle's Scottish-sounding anthem, 'All the Fine Young Men.' Miller's Dreambox co-founder, singer Suzanne Cloud, is a prominent presence, writing lyrics to the originals and leveling shots at TV news with the sound-bite-strewn 'Broadcast Snooze.'
The players represent some of Dreambox's elite...The session is caustic at times, even angry, but it's never dull, and there's some hearty blowing, especially from DiBlasio."
- Philadelphia Inquirer
"...(D)ecidedly unusual, in that it combines humor,
straight ahead and/or slightly out Jazz, Fusion, and
Zappa-like musical journeys with vocal numbers
and a political stance...wide-ranging eclecticism...
For example, the opener 'Clear Channel
Suite' is meant to be a sarcastic musical portrayal
of the Clear Channel radio network and its political
and musical limitations. It is pointed and funny...
'High Point' has a
catchy ostinato motif in an up Latin bag, and Randy
Sutin’s marimba solo over a riff is really rather
good. One of the more political tracks, 'Green
Zone Blues,' is an indictment of the Iraq war and...sounds like a modern-day 'Boogie
Woogie Bugle Boy'... Denis DiBlasio’s baritone has a few very short
interludes that are impressive...solos by Ridl, baritone
and guitar that are noteworthy, and Jim Miller
heats things up on the drums.
'Katrina' and 'Invasive Species' are out
Fusion numbers that got my attention. They spotlight
some dissonant out guitar a la Rypdal,
McLaughlin, et al., by Jef Lee Johnson with interactive
bass and drums. Jim Ridl has some worthy
piano solos on 'Seradib Lasio...'
...it is
refreshing to hear something political, and there
are very nice moments to this disk..."
- Cadence
"Miller Time...combine(s) social commentary, straight-ahead jazz, overdubbing, unexpected intervallic choices, electronic effects, propulsive rhythms, ironic snippets of spoken broadcast segments, and extraordinary, unpredictable improvisation...
'nineleven' uses Jef Lee Johnson’s electric sitar to suggest a beginning deceptive calm before all hell breaks loose. For 'nineleven' recalls the individual horrors of that event as studio voices read New York Times transcripts of actual cries and pleas from 9/11...as Miller’s back beat and documented sounds of horror and theatrical exhortations and DiBlasio’s free improvisation commemorate the victims.
But beyond 'nineleven,' Miller Time contains numerous other highlights, particularly the track of a live performance of 'Suzy’s Upright' at Rowan University, where DiBlasio leads jazz studies. A lightly swinging waltz, 'Suzy’s Upright' merely and supremely entertains as DiBlasio takes the suggestions of the melody and gracefully unfolds them into a fully developed improvisational whole. Pianist Jim Ridl is as imaginative as ever, particularly in bringing to life the underlying possibilities of the relatively simple tune, 'Eudemonia,' which DiBlasio performs on soprano sax. Extending the tune beyond its repetitive phrases comprising the melody, Ridl works in chord substitutions and rolling accents before DiBlasio returns for a minimalistic solo creating sketches rather than embellishments.
Suzanne Cloud’s presence is felt on tunes like 'Cool,' which bears little resemblance to the West Side Story version as she and Knox stretch the melody almost beyond recognition while Miller provides the percolating energy under the streaming lyrics. More conventional--but not really--is Cloud’s lament about the American dream lost, 'American Fado.'...that’s the Suzanne Cloud we’ve known in the past with her caustic social and political observation, take it or leave it, thereby joining the ranks of past jazz social commentators like Charles Mingus or Max Roach/Abbey Lincoln. Even in the absence of the electronic effects and displaced accents of 'Cool,' 'American Fado' consists of uncommon modulations and unexpected harmonic resolutions. And so, the element of surprise prevails throughout Miller Time, as we would hope.
But all of Miller Time is not politically driven or effects-laden. Tunes like 'Sonoluminescence,' combining crashing light and glowing sound, as it title implies, exists purely for the joy of the music as DiBlasio, Ridl and bassist Tyrone Brown take the potential of the song and run with it.
...sassy, musically inspiring, uncompromising, observant and technically impressive..."
- jazzreview.com
"This set, employing some of the region's best players, ranges from the angry and political to the swinging and humorous. It rollicks with a helping of funk and features plenty of paradoxically off-center straight-ahead, blown by the percolating saxophonist Denis DiBlasio...
...Miller assembles a set that requires more of the brain than the usual recording. The tune 'nineleven' begins with the beguiling novelty of Jef Lee Johnson's electric sitar and builds to a shattering climax as various voices recite quotations from people who were trapped in the World Trade Center.
Singer Suzanne Cloud, a longtime coconspirator of Miller's, offers up a dreamlike, slow-motion version of 'Cool' from West Side Story...Miller kicks off the set with an ear-catching solo titled 'Sex Cymbals.'
- Philadelphia Inquirer
"...a lively contingent playing music with plenty of drive and spunk. Nearly all of the songs are the creation of Miller and have an up-tempo spirit with room for soloists to establish a ringing atmosphere with their hard-bopping approach. Miller is a muscular drummer. He makes assertive statements by taking short, explosive solos within the structure of the tunes. Additional muscle in the recording comes from reed player DiBlasio, who pours oil on the fire through his baritone, alto, soprano, or flute.
Vocalist Cloud...offers an earthy rendition of the Bernstein/Sondheim tune 'Cool' from West Side Story complete with motivating power-drumming from Miller. Nine speaking voices agonizingly rise above the electric sitar of Johnson on 'nineleven.' Elsewhere, Johnson's guitar and bass electrify the air...The recording becomes a vehicle for kicking back and letting loose as the driving rhythmic patterns commandeer the scene. Miller is into good times on this set..."
- Cadence
"Miller has assembled a fine band, including keyboardist Jim Ridl, whose name has been on the rise in recent years...Ridl's contribution to the record is substantial; his solo over the walking bass line of 'Eudemonia' demonstrates a unique voice that deserves broader recognition. Denis DiBlasio shines on multiple saxophones, but especially on baritone, which is all-too-seldom heard as a lead voice; his work on the lightly swinging 'Grateful Regret' shows the baritone can be a remarkably tender instrument.
Miller's compositions are, for the most part, interesting and pleasant...the one exception is the track 'nineleven,' which...is an unbelievably difficult track to listen to, and...is extremely successful in capturing the sense of panic and desperation, both musically and with the voice-overs...
The track segues into the concluding piece, 'American Fado'...kudos to Miller for creating a pair of pieces that recreate the emotions of an historic disaster...Miller clearly demonstrates the incredible power of music, but there is a certain feeling of exploitation that leaves one feeling more than a little angry.
...these pieces, in their attempt to convey a deep set of emotions, are at the same time successful as pieces of art..."
- AllAbout Jazz.com