INTERVIEW: Robert Miller

Interview with Robert Miller

Can you tell us more about your latest single “The Queen’s Carnival”?

“The Queen’s Carnival” is a fun, upbeat, Latin/Caribbean fiesta. A feel good song. My wife always encourages me to write upbeat, fun songs that people can groove to. Every time we play it live the place goes wild – dancing in the aisles. So I knew that this one should be the focal point of the album.

Did any event in particular inspire you to write this song?

My father played the trumpet and was a big lover of Latin music. Whenever we were together in the car for example he would have one of the NYC Latin stations on the radio. And that music – particularly the rhythms – just got into my soul. And the guys in my band are all Latin. I call them my International Cartel. So when I was composing the songs for the new album this all came together one evening. “The Queen’s Carnival” came to me in a rush – the rhythm, melody and feel. I literally pictured a carnival as I was writing it, with all the colors and fun that go along with that image. I was originally going to call it “The Queens Carnival” because I grew up in Queens, NY, but I decided that the royal “Queen’s” sounded better and created a wonderful image!

How was the filming experience of the official video?

The official video for the song is a combination of some stock carnival footage together with footage of the band playing the song live. I think that the director did a wonderful job of merging the two. Initially the video ran into some problems on Facebook – they thought it was too racy! How crazy is that? But we worked it out with Facebook and now the video has been viewed over 500,000 times around the world.
https://www.youtube.com/watch?v=N9gKhUeW8yo

Why did you choose to name the album after this track in particular?

Coming up with an album name is always a challenge to me. And because the album has such diversity of material there was no one theme that dominated. In the end my team and I just thought that “The Queen’s Carnival” was a cool, distinctive name for the album – and we were able to come up with a great visual for the album cover.

Can you tell us about the recording and writing process of the album?

I write in a very idiosyncratic manner. Since I play the bass, I’m always thinking about the feel and the groove of a song. So most of the time I come up first with a bass figure which kinds of guides the rest of the creative process. Once I have something that I like I sing a melody to that figure. If I like what I’ve done I then “record” a short demo by recording a snippet to my iPhone! I usually let the idea germinate for a few days and then I go back and listen. If I like what I hear I try and finish off the song.

I pride myself on the diversity of my material. I’ve never been a fan of albums where all the tunes basically sound alike. I’ve always admired artists like the Beatles who made albums with great variety. That’s what I tried for on the new album. So the songs run the gamut from near-hard rock to punk to funk to Latin to Celtic to fusion, with a gentle lullaby thrown in at the end.

When we record an album we do it the old fashioned way – we play the song live in the studio as opposed to recording track-by-track as in pop music. I’m trying to capture the perfect feel. We then do some overdubs where needed, but mostly it’s a live in the studio sound.

On the new album, after we recorded the basics of the title track, I felt that something was missing. It was supposed to be a carnival, a fiesta, but it didn’t quite have a carnival feel. So I got the idea to have my guys – all Latin – go back in the studio, stand around a mic, and overdub fiesta sounds. Whooping and hollering and yelling in Spanish. As if they were at a carnival. That’s what you hear on the final version. It was the cherry on the cake.

You cover a few classic singles (by Jimi Hendrix, The Kinks) – How did you choose which songs to reinvent with your own renditions?

I’m a child of the ‘60s. I grew up with the British Invasion bands and all the great music of that era. In fact, I only played rock music until I was about 19 years old. People like covers because the music is familiar. But I’m not interested in doing a cover that sounds exactly like the original. So I got the notion to “reimagine” a song. To keep enough of it so that the listener can identify it and relate to it, but otherwise to make it my own. I’m not trying to show up the original artist, it’s really a form of homage.

I’ve always loved Hendrix. Who doesn’t? 20 years ago I recorded a version of “Fire” on one of my albums by The Robert Miller Group. It was kind of a psychedelic version. Interestingly, I had Al Foster playing drums for that session. Al played with Miles Davis. He had never played the style that we played for that session. But he nailed it.

When we were getting ready to record the last album, “Made In New York”, I thought about that version of “Fire” and decided to redo my own version. (How’s that for chutzpah?) So I changed it around completely from my older version, and gave it a completely new feel. Kat Robichaud sang the vocal, and I think that the final version is out of sight! And the critics all agreed, as we got incredibly good reviews for that song.

When it came time for the new album I decided to continue the concept of taking a classic rock song and reimagining it. I always loved The Kinks. And “You Really Got Me” is one of my favs. I always considered it to be a forerunner of grunge. It had that great guitar lick and a nasty attitude. I felt like I could take it to another level. Ironically, when we first practiced it, it sounded way too blah for me – like Sade singing it at a Bar Mitzvah. It needed to be toughened up. So I came back the next go round with a new, improved and tougher version – and this one worked right from the get go!
https://www.youtube.com/watch?v=aQ7R83qO2lw&feature=youtu.be

You also get to blur styles/genres on this album – how did your ‘post-fusion’ jazz/rock sound evolve?

Like I said, I was raised on rock. Then I evolved into jazz when I studied for a bit with Jimmy Garrison, John Coltrane’s bassist. But the rock/jazz dichotomy has always been a part of me. I knew when I was writing the songs for the new album that I wanted to have a mix that walked that fine line between rock and jazz. I wanted the power and feel of rock and the improvisation of jazz. I wanted to take fusion to a new level. I may be the only guy out there playing this kind of stuff but this is me. This is my artistic vision. I can only hope that people get it and dig it.

What role does Latin culture play on this album, and why do you think the title track has become so popular among Spanish speaking nations?

Like I said, all my guys are Latin, and I was raised in part on Latin music. The title track embodies all of this. When we put the track out there on the Internet and on Facebook, it immediately resonated in various Latin countries – Mexico, Argentina, Brazil, Dominican Republic. Even Italy. But it works
with all audiences because it’s fun and upbeat. When we play live this is the song that gets the loudest and best response.

Where do you find the inspiration for your original songs and lyrics?

Ha! I have no idea! I just do my thing. I try to stay true to my two loves – rock and jazz. When I write something I never fully orchestrate it. I write a lead sheet with the melody and basic chords. I bring it to rehearsal and I let the music evolve. I rarely tell any of the guys what to play. I let them figure it out for themselves. After all, they’re all supremely talented pros. Sometimes I get surprised. So, for example, when I wrote “The Rescue” for the new album, I had in mind “Crossroads” by Cream as the feel that I wanted. But when we played it like that at rehearsal it was totally flat. My guitarist then started playing a James Brown kind of lick, and we all jumped in. And voila – the song was born. I really love when that kind of thing happens.

Any plans to hit the road?

We are concentrating on building a strong following in the tri-state area. We play frequently in NY but also in NJ, CT and PA. And we like to open for people in the bigger venues. So this past year we opened twice for Boney James in two performing arts centers in NJ and PA, we opened for Scott Weiland at the Gramercy Theater in NYC, we opened for The Reign Of Kindo at the Knitting Factory in Brooklyn, and we were the featured performer at the F.M. Kirby Center in PA.

Our upcoming dates include a special Thanksgiving benefit concert for Citymeals on Wheels at the Iridium in Times Square on Nov. 21st, and a featured performance at the Highland Lakes Concert Series in NJ on Dec. 3rd. Plus we have a monthly residency at a neat club in the Village called The Groove.

What else is happening next in Robert Miller’s world?

Isn’t this enough? But seriously, outside of music I like to spend time with my family – I’ve been married to my college sweetheart for over 40 years, we have two grown, married daughters, and a 16 month old granddaughter who I passionately adore. I wrote and recorded two songs for her – “The Gift (Juliet’s Song)” on the last album, and “Lullaby For Julesy” on the new album. I’m also a big tennis player and a mad fan of the NY Giants!  Visit –http://projectgrandslam.com

PGS’ ROBERT MILLER ON HIS SIX-MONTH RESIDENCY AT THE GROOVE, NEW YORK AND MORE

Now in the midst of a six-month residency at Greenwich Village venue The Groove, Project Grand Slam is a New York City-based jazz fusion band with a revolving lineup. Although Project Grand Slam was founded in 2007, leader, composer and bassist Robert Miller has helmed his craft for decades. The group caught a big break when five of its songs were featured on the soundtrack to the NBC series Lipstick Jungle, which starred Brooke Shields, Kim Raver and Lindsay Price.

Robert caught up with Downtown to talk about the residency and what else is coming up for Project Grand Slam. Surprisingly, as I learned, the name of the act — which released a new album last month, The Queen’s Carnival — has nothing to do with baseball. However, that does not mean that Robert does not have plenty of pride for some New York sports teams.

A lot of your songs were used on Lipstick Jungle. How did that come about?

Robert Miller: Our former manager was friendly with one of the show’s producers. They needed a band for an episode and we were chosen. They wound up using five of our songs on the soundtrack, and I had a small speaking part as well — scariest thing I’ve ever done professionally!

Your band is doing a residency in Greenwich Village. How do the shows compare to one another?

RM: Our monthly residency is at The Groove. It’s a neat little club with a cool ambiance and a great sound. Some of the shows I do completely instrumental, and others I add our singer Ziarra. I like variety! The band’s lineup also changes from show to show depending upon who is available and which combinations I want. Our set includes the tunes on our new album, The Queen’s Carnival. Despite the lineup differences, the band is always totally rehearsed and on!

Had you performed at The Groove before starting this residency?

RM: No.

Who’s in the current Project Grand Slam lineup?

RM: The guys on the album are Joel E. Mateo on drums and percussion, Marcello Casagrandi on keyboards, Mario Castro on sax, and Yasser Tejeda on guitar. After the album was recorded, I added a full-time percussionist, Guillermo Barron Rios, who gives the music so many colors and flavors. Ziarra Washington is my go-to incredible singer. My other key players from time to time are Willy Rodriguez on drums, Flavio Silva on guitar, and Gabriel Chakarji, Baden Goyo and Takahiro Izumikawa on keys. Everyone is from another country. I call them my “international cartel!”

What’s coming up for you after your residency wraps?

RM: Our residency currently runs thru 2016 and we hope that it will continue into 2017. But we play many other concerts too. Coming up we are opening — again — for Boney James on Oct. 19 at the Ridgefield Playhouse in Conneticut, opening for Reign of Kindo on Nov. 2 at The Knitting Factory in Brooklyn, and performing at the Highland Lakes Concert Series on Dec. 3 in New Jersey.

Robert Miller of Project Grand Slam

When not busy with music, how do you like to spend your free time?

RM: My family is the most important thing to me. I have a 15 month old granddaughter who is the light of my life. In fact, I wrote a song for her on the new album, called “Lullaby For Julesy,” which closes the record. I also play a lot of tennis, and I’m a mad fan — and season ticket holder — of the New York Giants!

Do you have a favorite restaurant in New York?

RM: My wife and I love diners! We’ve got one in our neighborhood that we adore.

Favorite music artists?

RM: I rely on my wife to tell me who’ happening! My personal tastes run to jazz fusion — no surprise — and ’60s rock and roll. In fact, I’ve played with a ’60s band on the side for the last six years!

Per your band’s name, are you a big baseball fan? Go to any games at Citi Field this year?

RM: A lot of people think that the name Project Grand Slam has something to do with baseball or tennis. Actually, I got the name from the James Bond film Goldfinger, where the plot to steal the gold from Fort Knox was called “Project Grand Slam” — except it wasn’t! I learned belatedly that in the movie it was called “Operation Grand Slam.” As far as baseball goes, I’ve always been a big fan. I grew up as a Yankees fan, but recently I’ve added in the Mets because my family loves them.

Finally, Robert, any last words for the kids?

RM: It’s taken me 30 years of playing and writing to get to where I am now. But I couldn’t be happier. I’m playing my music, as I want it played, with fantastic musicians. Take the long view!

Master Musician Robert Miller Make Project Grand Slam His Mission

With his dark shades and black/white garb on stage, master bassist Robert Miller seems like a cool cat out of a 1950s Hollywood casting of a jazz musician. But he’s much more than that. The 60-ish player is leader of Robert Miller’s Project Grand Slam, a band formed nearly 10 years ago to perform a fusion of rock and jazz that’s both familiar and fresh.

“I am as much a product of rock as I am of jazz,” Miller acknowledged in a recent conversation in midtown Manhattan. “I love them both equally.”

Over a salad lunch, the New York born and bred Miller outlined his valiant effort not only to keep a sound initially made popular in the late ‘60s/early ‘70s, but advance it using a young generation of musicians not necessarily schooled in the same influences as he was. He draws on a pool of talented, mostly foreign born musicians, what he calls, “my international cartel.”

To that, the plucky player with an energy beyond his years added, “All my guys are trained musicians who have gone to schools like Berklee in Boston. If I need someone  — a great saxophonist say — for a certain date I contact them and they give me recommendations. It always works out fine.”

The band currently plays an ongoing monthly residency at a Greenwich Village music den called The Groove NYC. There he works out new tracks, or unique arrangements for covers of rock classics done with a unique twist.

One such cover performed during their July date was the second single off The Queen’s Carnival, theirlatest album: a cover of The Kinks’ great rock hit “You Really Got Me,” with guest vocalist Lucy Woodward. It’s getting attention; Kinks‘ co founder Dave Davies even gave his endorsement.

Miller’s PGS continues to play many other venues as well. In May 2016 the band opened for four-time Grammy Award nominee Boney James at the Bergen Performing Arts Center in New Jersey. In July, the band was the featured performer at the Kirby Center For The Performing Arts in Pennsylvania. In August the band performed at the Tin Angel in Philadelphia and was the after-show for YES at Garcia’s at The Capitol Theater in NY.

Miller further noted, “We’ve played before a rock audience. We played a gig in November at the Gramercy Theater in NYC — we opened for Scott Weiland formerly of Stone Temple Pilots a week before he passed. We were one of three other acts — all hard rock bands like Weiland’s. We played before a completely rock audience and it went great. I knew then that we could play before any audience.”

While bandleader Miller is a high-minded jazz aficionado possessed of chops equal to any living jazz great — having been trained by the likes of Jimmy Garrison — his influences range beyond the usual that the jazz genre reflects today. That’s because, like it did with so many young people of his generation, the ‘60s British Invasion had a pivotal impact on his musical education.

And, it provided much of the spark that pushed Miller into playing bass guitar rather than a horn or keyboards. Project Grand Slam has, to quote one critic referring to their latest single, “The Rescue” — “a timeless, youthful passion.”

He laughs, “I became a bass player when I was 13, playing in a rock band formed with friends. We all had acoustic guitars that we were learning to play that we made into electric guitars by taping a microphone from a small reel-to-reel tape recorder onto the guitar.

“We bought Beatles sheet music and we noticed that there was a line on the bottom for the bass clef. I already played the trumpet so I knew the treble clef while my buddies were struggling to learn it. So I volunteered to learn the bass clef. And my entire musical career evolved from that!”

In those days, from high school during the ’60s until the early ’70s, Miller played in or fronted rock and roll bands. Four bassists — Paul McCartney, Cream’s Jack Bruce, BS&T’s Jim Fielder, andVanilla Fudge’s Tim Bogert — were crucial inspirations at that time. In the ‘70s he became a fixture in the Boston music scene as a founding member of a jazz fusion band, playing with acclaimed musicians such as Sonny Stitt, Jaki Byard, and Anton Fig.

In the 1990s, The Robert Miller Group was formed. The band’s first CD, Child’s Play (1994), featured several self-penned compositions and included guest musicians Fig, Randy Brecker, Jon Lucien, Al Foster, Tim Reis and Tony “Thunder” Smith. The band played the Telluride Jazz Festival, the San Bernadino Jazz Festival, the NYC Downtown Jazz Festival and many well known clubs including The Blue Note and Birdland.

Along the way, he learned the music business, both the legal and label managing aspects, as well as musically, which lent him the confidence to soldier on releasing four other albums on his own terms before this latest one. PGS also had a featured role in the hit NBC-TV series Lipstick Jungle starring Brooke Shields, with five of Millerʼs tunes on the soundtrack.

As Miller noted, “The core group of musicians that I work with are he ones who did the new album — and all but one will be there on August 16th when the band officially celebrates the release of The Queenʼs Carnival“, distributed by Sony/RED. The new album — which is officially out on the 19th — features nine original tunes written by Miller including the premiere single “The Rescue.” Mostly instrumental, it is textured and diverse, applying influences from Latin to Celtic and everything in between, while staying true to the PGS sound.

The record is more rock oriented than his previous works. “My main sax player plays with effects and pedals. I love the sounds that he gets — they work great with the band.”

He added, “On the record I have three songs that I call my arena songs because when I wrote them I visualized that they could be perfect for a big arena: “Gorilla”, “Lucky Seven” and “Beyond Forever”. The latter is really a tribute to one of my favorite groups, Return To Forever and [its leader] Chick Corea, a major influence. I love all these guys [identified with fusion such as Miles Davis] but I do not set out to reproduce what they do. I combine influences.

As outlined in Wikipedia, “Jazz fusion — also known as jazz-rock — is a musical genre that developed in the late 1960s when musicians combined aspects of jazz harmony and improvisation with styles such as funk, rock, rhythm and blues and Latin jazz. During this time many jazz musicians began experimenting with electric instruments and amplified sound for the first time, as well as electronic effects and synthesizers. Many of the developments during the late 1960s and early 1970s have since become established elements of jazz fusion musical practice.”

And that pretty well sums up what one gets either listening to the recorded band or seeing them live in one of their permutations. The only question is, “How much of an audience is there for jazz fusion?” There’s alway been a serious jazz audience, but that’s been for classic straight ahead jazz.

Says Miller, “I know that straight ahead jazz has an audience but it’s not my niche. I didn’t want to go down that path. For a number years, I’ve been considered a contemporary jazz artist but that’s a very open designation. So many things go into that [label]. Nor is smooth jazz my thing.”

“And these forms don’t reflect the other aspect of my career — the rock n roll which I played for 20 years like the British Invasion stuff. I’ve taken classic rock and tried to reimagine what I grew up with. I looked for a way and went down the middle between rock and jazz. Some have called it fusion; there’s no other name I have for it. It has the power and beat of rock but the improvisational complexity of jazz. I’ve looked for the middle ground and in my search for it I’ve come up with Project Grand Slam.”

The MW Interview With Bassist Robert Miller

by G.H. Harding

MILLER’S CROSSING — We’ve tub thumped bassist Robert Miller and his group,Project Grand Slam in this column. Now, with their new album (their 4th) The Queen’s Carnival being properly released next month (via CEN/RED), we went for an in-depth behind-the-scenes conversation with Mr. Miller: 

Tell us about the new album The Queen’s Carnival? How does it progress from the previous one?

This album was much more faithful to my two musical loves – rock and jazz, and I feel like I was able to combine them as never before. This is the album that I’ve been building towards my entire professional career.

You played the F. M. Kirby Center in Wilkes Barre (PA) last week and we heard it was terrific … and, you streamed it! Tell us about it and what made it such a memorable performance?

First of all the venue is historic, dating from the early 1900’s when F.M. Kirby founded it (as well as the town of Wilkes-Barre!). Second, the band was really hot! We played like our lives were on the line! Third, we were able to live stream the event over our Facebook page all around the world. How cool is that? As of this writing the concert has been viewed by over 13,000 people, just a few more than were in attendance at the Kirby Center!

We read about your bass-guitarist influences recently; what do you love most about the instrument?

The way that I play bass I’m dictating and controlling the vibe and feel of every song. It’s like a conductor waving his baton at a full orchestra. I guide the emotional and musical feel of the music – which is an awesome joy!

Tell us about working with The Voice’s Kat Robichaud? And, about Lucy Woodward?

I guess I’ve got a thing for beautiful, talented female singers! And the songs that I picked for them to sing (“Fire” and “You Really Got Me”) are quintessential guy songs. So in addition to reimagining the song and making it my own, I’m flipping the entire feel by having it sung by a woman instead of a man. And these two ladies just owned the songs!

How did you come to choose the song by The Kinks? (“You Really Got Me”) Does the audience get it right away?

I’m a baby boomer and a child of the 60’s. I grew up on the Beatles, Stones and the British Invasion bands. I played only rock and roll until I was 19. This music is in my DNA. “You Really Got Me”is one of the hardest, edgiest songs ever recorded. The Kinks were the forerunner of grunge. I loved that song. What better tribute to the Kinks and Ray Davies then to take his song of 50 years ago and give it a new set of clothes! So far the audiences have loved it!

The album is out August 19 and I know you’re holding an event at Rockwood Music Hall in NYC for it. Will you and the band be performing at it as well?

Is the Pope Catholic? Of course we’ll perform! We’re looking forward to playing for about 30 minutes – about 5 or 6 songs from the new album. Enough to get the audience ready for the free drinks afterwards!

The music business today seems to be evolving everyday; first from a singles-market, then to an album one, and then back to a singles-one. I know that the first single from the new album (“The Rescue”) made a lot of noise and the next one is The Kinks re-worked one. Did you have a cover in mind when you began this album?

Yup. I knew that I wanted to try “You Really Got Me”. But I went through a few iterations with it before I got the feel that I wanted. The first time we played it it sounded like Sade singing at a Bar Mitzvah – totally bland! I knew I had to toughen it up. So I told my sax and guitar players to rock out. And voila!

Tell us about the players in your group.

I play with a rotating cast of young, supremely talented, music school educated, mainly foreign born musicians. I call them my International Cartel. And their leader is a guy who grew up in Queens, NY!

Social Media – how much of it is a plus for you and PGS?

I’m still trying to figure out the whole social media thing. My biggest problem is that it’s a very “cool” medium – it takes no effort and no commitment to “Like” something on Facebook or any of the other sites. Translating “Likes” into actual fans that come out to see you perform and buy your albums and songs is a big hurdle. And the other thing that’s daunting is the world has really gone from CDs to downloads and now to streaming – and the artists get paid next to nothing for a stream. So music has sadly evolved into a nearly-free calling card.

I know you’ve played Lucille’s at B. B. King’s and The Cutting Room in NYC and you have a monthly a residency at The Groove in Greenwich Village. Where else would you like to play in the city?

Madison Square Garden, Carnegie Hall and the Ed Sullivan Show!

The Improper: Robert Miller Swings for the Fences With Project Grand Slam

Blends Rock, Jazz, Fusion for Unique Sound

Robert Miller played piano and trumpet growing up, but his first love was the bass. He studied under Jimmy Garrison, who played for John Coltrane and now leads Project Grand Slam, a rock, jazz and fusion band.The six-member combo has a unique sound that has won praise from music critics.

Its third album, Made in New Yorkwas released last year.

It features Miller penned hit singles “New York City Groove” and “The Winner,” four other original songs and two tracks recorded live at the world famous New York City jazz club, Blue Note. A re-imagined version of Jimi Hendrix’s “Fire” is also included.

The band’s fourth and newest album, The Queen’s Carnival, is due next month. The lead single “The Rescue” is already out.

Kat Robichaud, a semi-finalist on NBC’s “The Voice,” guest sings with the band and appears in videos for “Groove” and “Fire.” They have been viewed more than 150,000 times to date on YouTube.

Other band members includeMarcello Casagrandi on keyboards, Mario Castro on sax,Yasser Tejeda on guitar, Joel E. Mateo on drums, and Guillermo Barron Rios on percussion.

The band’s music was featured on the NBC-TV series “Lipstick Jungle,” starring Brooke Shieldsand Kim Raver. Five tunes were included on the soundtrack.

IM caught up with Robert fresh from a rehearsal to gain some insights into Project Grand Slam’s unique sound.

TheImproper: Tell us about the formation of Project Grand Slam.

Miller: I formed PGS in 2007. I wanted a different and cool name for the band so I chose the name of the scheme to steal the gold from Ft. Knox from the James Bond movie ‘Goldfinger.’ Only, I got it wrong! In the movie it was called ‘Operation Grand Slam,’ but I had already named us Project Grand Slam!

IM: How did you come to play the bass; and what players did you admire?

Miller: I took up the bass at 14 because I knew one of the Beatles (Paul McCartney) played bass and I already knew the treble cleff from playing trumpet, so I volunteered to learn the bass cleff. My early favs were Jack Bruce (Cream), Jim Fielder (BS&T) andTim Bogert (Vanilla Fudge). My later favs were Jaco Pastorius (Weather Report),Stanley Clarke (Return To Forever) and Victor Wooten (Bela Fleck).

The band’s latest album, The Queen’s Carnival, will be released next month. (Photo: Robert Miller)

IM: Tell us about recording with Kat Robichaud, (The Voice semi-finalist 2013) How did you both hook up for the recording?

Miller: Kat works with my music team and they introduced us. In addition to being a great singer, she’s very theatrical, which I think is on full display in the two videos she did with us for ‘Fire’ and ‘NYC Groove.’

IM: Your new album, The Queen’s Carnival comes out in August; tell us about the album, which features the first single ‘The Rescue’ and how the SONY/RED connection came to be.

Miller: I wanted to do an album that truly reflected my love of rock and jazz and that would push the boundaries of each. I also wanted diversity. So the album runs the gamut from funk to Carribean jazz rock to Celtic rock to Arena rock.

I think that’s pretty cool! I was introduced to the two guys who run Creative Entertainment Network (CEN), which is part of SONY/RED. They are my ‘Music Quarterbacks.’

IM: I noticed that the word fusion comes up several times in your bio; I remember the term jazz-fusion being used a lot back in the day; what does fusion mean now?

Miller: Fusion got a bad rap in the ’70s for some reason. But I always loved it. To me it’s the combination of the power and beat of rock with the complexity and improvisation of jazz. When you get it right it’s heavenly!

IM: The accompanying video to ‘The Rescue’ is out too; it has a terrific feel. Tell us how that was put together?

Miller: “The Rescue” was literally the last song that I wrote for the new album. I needed another song and this one came to me one day – it rescued me! I initially was thinking about “Crossroads” by Cream, but the song quickly morphed into James Brown-meets-jazz rock fusion funk. The video was put together by my management team at CEN. It’s upbeat and dazzling – just like the track!

IM: Tell us about the others players in PGS?

Miller: I use a rotating cast of young, terrific musicians mainly out of Berklee Music in Boston. The group on the recording is sort of my A Team. Fabulous, creative, enthusiastic – great fun and joy to play with.

IM: I really love the re-worked Kinks song, ‘You Really Got Me’ featuring Lucy Woodward. We’re big fans of hers; tell us how that song came together?

Miller: People like covers because the songs are familiar. But I have no interest in doing a song just like the original. Instead I try to totally reimagine the song and I lean toward covers of classic rock songs from my era. On the last album, I completely reworked ‘Fire’ byJimi Hendrix and it came out great. The reception was superb.

This time around I just had an inkling that I could totally reimagine ‘You Really Got Me,’ one of my all-time faves by a great band. I was so fortunate to have the great Lucy Woodward sing it with us. I told her to think about the lyrics as she sang it. The song is about someone totally under the spell of their lover; completely obsessed. She nailed it in one take.

IM: Any other possible remakes down the line?

Miller: There are a million more songs from the ’60s left for me to mess with, so I’m probably going to continue the trend.

IM: What other music are you listening to right now?

Miller: I just got into Snarky Puppy because Lucy plays with them.