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Miles Okazaki via giant steps through a matrix based in the phenomenon placing most of the 7.8 billion of us within 6 or fewer degrees — steps — of each other...

  • Steps from Miles Okazaki:
    I'LL TAKE YOU THERE! ▶
Miles Okazaki
  • 0 Author
  • 0 Composer
  • 0 Guitar
  • 0 Jazz
  • 0 University of Michigan Faculty

'mātriks / "source" / from "mater", Latin for "mother". We're real mothers for ya!

I'LL TAKE YOU THERE! ▶

  • Steps forward by: The Matrix

Who I Am & Where I Live

  • Name: Miles Okazaki
  • City: Brooklyn, NY
  • Country: United States

My Life & Work

  • Bio: Miles Okazaki is an American musician based in New York City. His main focus is on rhythmic concepts for improvisation, composition, and music theory. 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.”

    Okazaki grew up in Port Townsend, Washington, a small town near the Olympic Mountains in the Pacific Northwest. He began music on classical guitar at age 6, and was playing regular gigs on electric guitar by age 14, after studying for several years at the Centrum Jazz Workshop. He received many awards as a guitarist throughout his early years, and eventually placed 2nd in the Thelonious Monk International Guitar Competition.

    Okazaki moved to New York City in 1997 to pursue a career in music and begin writing his own material. His teacher on guitar at this time was Rodney Jones, who recommended him for his first gig, with Stanley Turrentine. Okazaki spent four years on the road with vocalist Jane Monheit, while also writing and rehearsing the music for his first album Mirror which was released independently. The album received a “Critics Pick” in the New York Times, calling it “a work of sustained collectivity as well as deep intricacy.” He expanded to a septet for his second album Generations described by pianist Vijay Iyer “the sonic equivalent of Escher or Borges, but with real emotional heft” in Artforum’s “Best Music of 2009.” His third album Figurations was recorded live with a quartet, and was selected as one of the New York Times top ten albums of 2012, described by Ben Ratliff as “slowly evolving puzzles of brilliant jazz logic.” His most recent album of compositions Trickster was released in 2017 on Pi Recordings to wide acclaim, receiving editor’s picks in Downbeat and Jazztimes, landing on Best of 2017 lists in the Los Angeles Times and Pop Matters, and called “a true concept album” by the Wall Street Journal and “a mature work for the ages” by Pop Matters. Okazaki wrote, produced, and illustrated these albums. In 2018, Okazaki released Work, his first album of standard repertoire, a five hour performance of the complete compositions of Thelonious Monk for solo guitar, praised by critic Nate Chinen as “an act of immersive scholarship and exhaustive scope. . . a singular achievement,” and selected by the New York Times as one of the best albums of 2018, a “monumental statement of devotion.”

    As a sideman, Okazaki works in many areas, ranging from Standard repertoire to experimental music. In recent years, he has worked with a variety of artists including Kenny Barron, Steve Coleman, John Zorn, Jonathan Finlayson, Amir El Saffar, Adam Rudolph, Dan Weiss, Nasheet Waits, Aka Moon, Linda Oh, Darcy James Argue, Jane Monheit, Vijay Iyer, Francois Moutin, Carl Allen, Ohad Talmor, Mary Halvorson, Jen Shyu, Mark Giuliana, Patrick Cornelius, Rajna Swaminathan, Matt Mitchell, Craig Taborn, Tony Moreno, Ben Wendel, Donny McCaslin, and many others.

    Okazaki’s first book, Fundamentals of Guitar, was released on Mel Bay Publications in 2015. He has taught guitar and rhythmic studies at the University of Michigan since 2013. He has also taught at the Banff Institute, The New School, the School for Improvisational Music, Queens College, The Juilliard School, Amsterdam Conservatory, and many other institutions. Outside of guitar, his past teachers include Anthony Davis (composition), Ganesh Kumar (Carnatic percussion), and Kendall Briggs (counterpoint). His awards and grants include Chamber Music America’s “New Works” (2007), Chamber Music America’s “French-American Jazz Exchange” (2009), the Jazz Gallery and Jerome Foundations Residency Commission (2010), the American Music Center’s Composer Assistance Program (2011), the Mid-Atlantic Arts Foundation’s US Artists International grant (2012), the Rockefeller Brother’s Fund Artist Residency (2012), and the Jazz Gallery Mentorship program (2015). He holds degrees from Harvard University (B.A.), Manhattan School of Music (M.M.), and The Juilliard School (A.D.), and lives in Brooklyn, NY with his wife and three children.

Contact Information

  • Management/Booking: Booking:

    USA/Canada
    info@bigfishbookingco.com
    Europe
    flyedofly@yahoo.com
    Asia/Other
    info@milesokazaki.com

My Media & Markets

  • ▶ Buy My Music (downloads/CDs/DVDs): http://okazakiwork.bandcamp.com
  • ▶ Book Purchases: http://fundamentalsofguitar.com
  • ▶ Twitter: milesokazaki
  • ▶ Instagram: okazakistudio
  • ▶ Website: http://www.milesokazaki.com
  • ▶ YouTube Channel: http://www.youtube.com/user/milesokazaki
  • ▶ YouTube Music: http://music.youtube.com/channel/UCWRTvT9MEovj2UgaB-r9mwg
  • ▶ Spotify: http://open.spotify.com/album/2AdIDUshdjHl0svt0AJBiq
  • ▶ Spotify 2: http://open.spotify.com/album/2BsVVEeU6X5NBofzojdCVN
  • ▶ Spotify 3: http://open.spotify.com/album/2bSS0EQHEpCMNaNKCzu4qc
  • ▶ Spotify 4: http://open.spotify.com/album/4ezDGuSuxlLNp5DUAasC2d
  • ▶ Spotify 5: http://open.spotify.com/album/08dzt4R8GiaoYLZfY8cCC5

My Recordings

  • Discography: Miles Okazaki: Work: The Complete Compositions of Thelonious Monk (2018)
    Miles Okazaki: Trickster (2017)
    Miles Okazaki: Figurations (2012)
    Miles Okazaki: Generations (2009)
    Miles Okazaki: Mirror (2006)
    Matt Mitchell: Phalanx Ambassadors (2019)
    Steve Coleman: Live at the Village Vanguard (2018)
    Steve Coleman: Synovial Joints (2015)
    Steve Coleman: Functional Arrhythmias (2013)
    Rajna Swaminathan: Of Agency and Abstraction (2018)
    Mary Halvorson: Paimon, Book of Angels Vol. 32 (2017)
    Jonathan Finlayson: Moving Still (2016)
    Jonathan Finlayson: Moment and the Message (2013)
    Amir El Saffar Not Two (2016)
    Dan Weiss: Sixteen (2016)
    Dan Weiss: Fourteen (2014)
    Dan Weiss: Jhaptal Drumset Solo (2011)
    Dan Weiss: Tintal Drumset Solo (2005)
    Alexis Cuadrado: Poetica (2016)
    Adam Rudolph: Turning Towards the Light (2016)
    Jen Shyu: Jade Tongue (2009)
    Patrick Cornelius: While We’re Still Young (2016)
    Patrick Cornelius: Maybe Steps (2011)
    Ganesh Kumar: Endless Beats (2015)
    Jane Monheit: Surrender (2007)
    Jane Monheit: The Season (2005)
    Jane Monheit: Taking a Chance on Love (2004)

My Writing

  • Publications: Fundamentals of Guitar presents the results of 30 years of study. It is a reference book for any style of music. The preface is below, as well as informal instructional videos made to accompany the book. For samples, reviews, more information, and purchase, visit fundamentalsofguitar.com.

Clips (more may be added)

  • Standards With Friends #20 // Off Minor With Miles Okazaki & Ben Wendel
    By Miles Okazaki
    100 views
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The world's artistry via giant steps through a matrix based in the phenomenon placing most of the 7.8 billion of us within 6 or fewer degrees — steps — of each other ...

 

... a project conceived and built in the fertile, fecund and atavistic ground zero of Bahia, Brazil initially for the discoverability of this singular region's dispossessed genius.

 

All explained in the window immediately below. Followed — beneath this window — by scores of magnificent artists, each leading to myriads more artists/categories. Inside this window also  may be found our Brazilian record store radio, named by British journal The Guardian as one of 10 of the Best Radio Stations Around the World!

 

IF YOU CAN'T STAND THE HEAT

 

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles -- jungle and desert and dense urban centers -- both the equator and the Tropic of Capricorn. It absorbed over ten times the number of African slaves taken to the United States of America, and much of its aboriginal population was absorbed into the general population-at-large. Its people have lived under oligarchy, plutocracy, dictatorships and massive corruption, with elements of these still strongly entrenched today.

 

But!

 

Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of -- or perhaps because of -- the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

 

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

 

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

 

Raimundo Sodré, in a conversation ranging through New Orleans and Harlem and the South Side of Chicago ... and Appalachia and Irish villages and Russian shtetls and the unofficial symbol of Brazil's Bahian-born national music (the pandeiro) almost certainly having arrived in Brazil in the hands of Sephardic Jews (including conversos) fleeing the Inquisition, once remarked: "Where there's misery, there's music!"

 

A pandeirista on the roof. And it's not just music. And it's not just Brazil.

 

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