Words

CONTENTS

The Miller Bothers and me
Phil’s Hard Shoulder
Tributes to Paul Dufour


“The Miller Brothers and me” by Hag

THE STEVE MILLER TRIBUTE GIG 12th May 2001

Phil Miller /guitar, Lol Coxhill /sax, Mark Hewins /guitar, Hag /guitar, Pete Lemer /piano, Dave Hammond /percussion & vibraphone, Steve Ash /Bass, Paul Dufour /drums, Arranged by Hag.
Recorded by Steve Lane using a ‘Soundfield’ microphone. This records the space in the room from one point in four tracks;  Up, down, left and right. Steve then mixed these four tracks live to stereo.

BELOW IS THE NEW PIECE  BY HAG, specially written for our website in three parts. To give you an idea of what the piece is about I have drawn up a list of the names of the people who appear in it:
Champion Jack Dupree, Alexis Corner, Mark Hewins, Pete Lemer, Patrick Dean,The Who, Jan Dukes de Gray, Pink Floyd, Nick Griffiths, Francis Moze, Mark Knopfler, Dire Straights, Steve Phillips, Laurie Allen, Alan Holdsworth, Roger Odell, Shakatak, Gilgamesh, Hugh Hopper, Alan Gowen, Richard Sinclair, Soft Machine, Steve Cook, Robert Plant, Pip Pyle, Elton Dean, Jim Dvorak, Fred Baker, Mark Saunders, Jack Monck, Lol Coxhill, Carol Grimes, Roy Babbington, Gong, Matching Mole, Hatfield and the North, Eddie Prevost, Steve Ash, Lou Gare & Keith Rowe, Tony Moore, Nick Biggins, BJ Cole, Steve Lane, Paul Dufour, Phillipe Janoyer, Veryan Weston and Dave Hammer.
                                                                                                                                          HERM


 PART ONE: STRANGE COINCIDENCES

I first saw Steve Miller, the elder brother of Phil Miller, playing solo blues & boogie-woogie piano at a London Blues Society gig at the Conway Hall London WC1 on the 7th December 1968. He was on the same line up as Champion Jack Dupree, (1909 -1992) ‘…..a New Orleans blues and boogie-woogie pianist, a barrelhouse professor’. This is a testament to Steves standing at that early date. He more than held his own. A white, gently well spoken English middle/upper class young man. His playing excelled & it equalled Dupree’s in quality & authenticity. I was sitting on the front row, fresh from Leeds enjoying the bigger city at the end of my 1st term at the ‘Regent St Poly’ London UK. To this day I can still recall his performance not only because I retained the flyer for the gig as I had asked for the chords of the song ‘Strange Rain’ (Tom Paxton 1962) which another performer had sang at the gig. I’m guessing either Gordon Smith or Dave Kelly. He kindly wrote them out on the back for me. I didn’t discover this for many years when I found the said flyer amongst my music after I had become a friend of Steve’s in the early 1980’s. Alexis Corner was also on the same bill who greatly respected Steve’s blues piano & whom Steve performed with. Later when Steve moved into Free Jazz Steve told me Alexis did not approve. The second time I saw Steve Miller I thought was my first. It is a strange tale of coincidences going back to my youth that brought me to the Bull & Gate public house in Kentish Town around 1982 to see Phil Millers ‘In Cahoots’. As I arrived somewhat worse for wear Steve & Mark Hewins were performing. The music was strange, very strange with Steves free form piano and Marks neck rubbing spiralling sonic accompaniment. I found it brilliant and amusing. It made me laugh out loud. There are not many kinds of music that actually make one laugh in a complimentary manner from sheer enjoyment. It was the bravado, confidence and perfect seriousness I found so amusing. Steve told me much later that he recalled that gig with somebody cackling at the back of the hall. He wasn’t offended. My friend Peter Lemer was playing with ‘In Cahoots’ which was the reason for my presence. They weren’t bad either. How I came to be friends with Peter Lemer is as complicated as life. It goes back to my earliest musical friendships. I began trying to play my elder sister’s ‘Framus’ guitar in 1962 when I was 13. She didn’t mind as she only used it for posing in front of her mirror. It took me some time just to discover how it should be tuned. It was awful to play, action dreadful, intonation bad & it didn’t stay in tune. That was all I knew when one sunny afternoon in 1973 with guests around I got up took it from the wall and smashed it for effect a la Townsend and Hendrix. I later discovered ‘Framus’ is a noteworthy antique German guitar. Yes I was smashed & stupid. Patrick Dean was playing Purple Haze with his ‘Sugarloo Blues Band’ on stage in 1967 at Leeds University where he was a student when I first set eyes on him. He was dating Angela a friend of mine and shortly after that at a party at Angelas, Patrick played Jimi Hendrix’s first album fresh from the record shop booth. He had only got as far as listening to the feedback and first chord at the start of ‘Foxy Lady’ before leaving said booth to make the purchase. ‘Are You Experienced’ changed everything but that’s another story. Patrick became a journalist for the Yorkshire Post, (see the back liner notes for the Who album ‘Live at Leeds’), where he worked with Mark Knopfler, later of Dire Straights fame. We had a jam, me, Patrick, Mark & his friend Steve Phillips. I had by then learned to tune a guitar. In 1973 Patrick left his wife, my same friend Angela, and his life as a journalist, to join the band ‘Jan Dukes de Grey’ who had a new contract with Panda, a management company in London. So Patrick came to stay with us, my wife Valerie and I and we both got work for Panda. The office was in a large flat in London’s West End, Montagu Mews. Dave Griffiths was their manager & Nick Griffiths his brother was also living there. We all became friends. Nick was then working for the BBC as a recording engineer. The owner of Panda management, Norman Lawrence, became the accountant for Pink Floyd around 1976. This is how Nick Griffiths applied for the job as Studio Engineer/Manager for Pink Floyd’s Britannia Road Studios then under development. The Floyd at this time were tax exiles. Nick succeeded in the appointment and put the studio together. When it was completed Nick Mason drummer of the Floyd asked him to record an album to work the studio up to a usable state. Nick Griffiths is best known for recording the kids singing ‘We don’t need no education’, the chorus in Floyd’s ‘Another Brick in the Wall part 2’ amongst other sound effects for The Wall album and engineering the subsequent tour. Nick chose to record Peter Lemer’s band whom he had recorded at the BBC in various other bands. Nick asked me to come in to meet the musicians. Well yes I would. Nick was working alone and Peter was also looking for a record cover. This is how I was introduced to Peter Lemer with Francoise Moze bass (Gong) Laurie Alan drums (who earlier had played with Steve & Phil Miller in Delivery) and later Alan Holdsworth guitar who was overdubbed onto one track. I began photographing Peter at the grand piano at the house where he lived. The idea was to make him transparent, so I photographed the piano with him naked and without him in the frame. I did experiment with using this idea for the cover of Peter’s recent release “Son of Local Colour” Live at the Pizza Express, Soho. I also helped Nick by listening to the mixes he would give me on quarter inch reel to reel tape whilst I was working on the cover photo. However at that time Peter did not get a deal to release the music. The CD ‘Peter Lemer and friends – Jet Yellow’ was finally released on 13th May 2019. It was embarrassing for me as Pete did not have any masters only some cassette copies of Nick Griffiths mixes. Nick had sadly passed in March 2005. I knew I’d had some original mixes from the multi track but upon going through the old tapes I used on my Akai reel to reel mainly for doing ping pong recording of guitars I found the box but I had recorded over all the tracks. Such is fate. I did not expect to be holding masters. It is a beautiful fine recording not touched by time.Listening to it now I am flown straight back to those days in the mid 70’s in my first darkroom in Belsize Park London NW3 working on my photographs. My work for Peter was not wasted either as I used one as the piano shot for the inside sleeve of Steve Millers ‘See Hear’ piano solo collection Phil released on his label Crescent Discs in 2002.

      1. See Hear

This brings me back to why I was at The Bull and Gate witnessing Steve Miller & Mark Hewins supporting In Cahoots in 1982. Six of us, Peter Lemer & I, with our then partners, and the same Nick Griffiths, plus the bass player Steve Cook, had bought the large Glebe House situated between Spellbrook & Bishops Stortford which we were converting into four separate abodes. Steve Cooke realised after moving into Glebe that he used to rehearse there around 1971 with the band CMU which contained Roger Odell on drums who went on to form Shakatak in 1980. Steve later joined Gilgamesh which Peter Lemer, Hugh Hopper, Alan Gowen & Richard Sinclair also performed with amongst others. Steve Cook became a member of Soft Machine in 1976. Nick Griffiths had found Glebe House as he had lived on Hobbs Cross Road as a child, the opposite end from All Saints Church where Steve Miller had his workshop. (Just a few more coincidences of many). Glebe House needed woodwork so we employed Steve Miller in 1983 to build our kitchen. He carried out work for all the households at Glebe House, Peter, Nick and Steve Cooke. This is how I became friends with Steve Miller. He came around to give a quote. We talked about music almost immediately having seen him perform with the great Mark Hewins. I had continued to play with Patrick Dean down the years but he had now moved back north to Leeds. We had a great musical rapport based around improvisation. I loved improvising, being in the moment. Listening rather than thinking about what you’re playing.It was thus great to find somebody who just wanted to play and was local. It wasn’t long after that first meeting before I entered All Saints Church near Old Harlow where Steve had his workshop. So yes we played and I got to see our Iroko kitchen coming to life. I still have elements of this kitchen in my present kitchen, bathroom & a coffee table top 40 years later. Steve was not only a craftsman of the piano he carried this over into his woodwork where he made his living. He rejected power tools and modern methods. He embraced traditional skills of sharp hand tools, no screws no glue just perfect joints & wedges. He practiced this to the extent of renovating ancient barns restoring them to their original form. I recently asked a local carpenter to join two of the rescued Iroko boards to create the coffee table. Upon collection he said. ‘A real craftsman made these boards, joined in the correct traditional manner of reversing the grain with a hard wood tongue inserted into the joint so the boards always remain flat’. I then mentioned to him the same craftsman had a band with Robert Plant before Led Zeppelin. He looked up at me, mouth open then looked down and gave the newly joined boards a stroke. My visits to All Saints became a regular event. We played, we talked, we smoked, we drank coffee. The Miller’s father was a coffee importer and coffee was part of the ritual. To this day Steve taught me how to make coffee with nothing more than a pot and hot water. He also taught me how to make music seriously. He didn’t appreciate me slipping into amusing little riffs, rhythms or nursery rhyme’s randomly. Steve would stop on play back. Yes these were recorded on cassette as part of the ritual. Then explain this wasn’t appropriate. ‘This is serious music and should be treated as such’. It was OK for me to be amused as part of the audience but not as the performer. There became a desire to have a night with Steve. It crept up as a need to play. The gaps were irregular, from weeks to months, though never years. Sometimes at Glebe, sometimes at All Saints. Children for both of us arrived so demands on time and perspectives changed but always the need to play remained. We made a cassette collection recorded from 1992 to the end of 1995 called Pantheist Dreams in mybasement at Glebe with Steve playing synthesiser and one track on piano recorded at ‘The Premises’ in Hackney, London, near Phil Miller’s. This friendship expanded to include Phil as I went to more In Cahoots gigs. He often visited Glebe House to work on arrangements with Peter Lemer & the whole band for various things. I would peer out of my window and see Herm photographing all of In Cahoots with Pip Elton Jim & Fred.

 


PART TWO: MAKING MUSIC


We are starting part two with Steve Miller’s Piano Solos, Crescent Discs CD7CD
Recorded at St Johns Arc, Old Harlow, Essex between 26th August 1996 and 18th May 1997

 


Over the years Steve Miller began introducing me to other musicians and I once brought my old friend who started me on this path, Patrick Dean. It was a satisfying evening. Another early recorded meeting was on 21st March 1993 with Steve, myself and Jack Monck.

      2. Miller Monch Hag 1993

Another meeting was with the drummer Mark Sanders who recorded with both Steve and Phil and earlier with dear Jack Monk with whom we recorded four sessions in 1993, from March to May. Here is a recording of a session in November 1995 with Steve and Mark playing.

      3. Steve Miller. Mark Sanders. All Saints 11.95

I became aware of the rich history of Steve, Phil and Jack Monck. In 1966 Phil & Steve had founded the ‘Bruno’s Blues Band’ with Phil’s school friend drummer Pip Pyle with Jack Monck on bass. The band gigged around London for a few years. In 1968, saxophonist Lol Coxhill joined them, and the band’s name was changed to ‘Steve Miller’s Delivery’. In 1969, the band teamed up with blues singer Carol Grimes and the bassist Roy Babbington replaced Jack. They then recorded ‘Fool Meeting’. Later Pip Pyle left to join Gong and was replaced by Laurie Alan who later left to also join Gong. When Delivery disbanded Steve joined Caravan & Phil went on to found Matching Mole with Robert Wyatt and Dave Sinclair. In 1972 a new Delivery line-up was assembled with the Miller brothers, Pip Pyle and Richard Sinclair on bass & vocals then Steve Millers bandmate in Caravan. They played a few live shows later that year but with Dave Sinclair on keyboards replacing Steve Miller. They then changed the name to ‘Hatfield and the North’. Their first gig under that name was on the 17th November 1972. On this occasion, Hatfield were appearing, along with several obscure artists, at a benefit concert for Radical Alternatives to Prison at London’s Imperial College, in what was hoped to be the first in a series of fundraising concerts for RAP.

I knew that Phil had been in Hatfield & The North but had no idea of the other history.
One time at All Saints when Jack Monck came and played, he turned to me after one piece and said. ‘You thought that was in Am didn’t you?’ ‘Yes’ I confessed, he was correct. ‘It was actually in F’ said Jack. Not in a dismissive way. Just gently communicating by way of information. I can’t remember the actual keys but I know I was wrong. I felt somewhat silly but was greatly impressed with Jack’s listening skills, pitch and of course his fine qualities as a Bass player. No singing was involved.
Looking back now it may have been something they both had played in their shared rich history.
This is probably exaggerated in my memory. I can remember feeling uncomfortable with my playing and not being sure about the key. It all goes back to my mother who loved singing. ‘Just move your lips but don’t sing, you’re tone deaf’. She told me in church as a child. All the years I played with Steve I can’t ever recall discussing a key! The rule in Free playing seemed to be the obvious, ‘If you want to know the key you shouldn’t be there’.
Since I first wrote this memory a few months ago Herm has found a cassette marked ‘Steve, Hag and Jack at the church 21/03/93’.

I was surprised by this as I hadn’t recalled at all recording with Jack but now I could investigate this in my diary. This has revealed that we recorded together four times, this being the first and part of the second. I have also found that I have all the original cassettes and have now re-mastered this recording. I guess I had recalled the ‘key’ story as I had written it up in my diary. These are my diary entries for these two dates…

’21/03/1993 Jam with Steve and Jack the bass player, pleasant play but didn’t like my sound or the cold in Steve’s church.
1/04/1993  Jam in SJH….. with Steve Jack & Hag. It was fun – but Jack as already mentioned ‘Gigs’!……I told him I’d never done it in front of people. Still I’m open to the idea.

But their [sic] was the Am/D controversy – where they played in D & I played in Am & never changed – Jack ticked me off, most politely, but I felt like I’d been told off – a new experience in music!  anyway we’ve moved onwards a bit and here we go playing it in the basement. Lets stick one together.  V. nearly fell down the basement hatch!
By 1994 Eddie Prevost would occasionally play with us and a local bass player Steve Ash, though not often at the same time. Eddie Prevost was the drummer/percussionist who co founded AMM, the experimental improvisation group with Lou Gare & Keith Rowe in 1965 and was then still active. Steve had released his double vinyl album ‘Millers Tale, Steve Miller Trio meets Lol Coxhill’ with Tony Moore on bass & Eddie Prevost drums from a live concert on 11th November 1985 also at the Bull & Gate Kentish Town. Still available as an LP for sale on Discogs and is also on Utube.                                     

On 16/03/1994 we appeared in a short ‘Slot’ for a cable network called Wire TV videoed at All Saints. It consisted of a short intro piece, interviews with Steve & Eddie and an Outro. The mix is rather poor, the piano being mostly drowned out by the other instruments. This could be considered the first incarnation of K.Ostra. Watch the video here

By 1996 we had another bass player on our regular Thursday night meets at All Saints Church, Nick Biggins, who’s daughter attended the same school as Steve’s daughter in Sawbridgeworth.
Steve Miller must have been happy with my performance as he invited me to do a gig with him at ‘St Johns Ark’ Old Harlow, an arts & music venue where Steve regularly performed, often with his brother Phil & Lol Coxhill. He loved the sound of that baby grand piano in an excellent converted church acoustic setting. We titled the gig ‘May the Fourth be with You’.
You guessed it, on 4th May 1996. The band was augmented with a group of seasoned players well above my pay grade. This was billed as Steve Miller, keyboards. Eddie Prevost, drums. With guests BJ Cole-Pedal Steel guitar, Nick Biggins-bass, and Hag- guitar. No rehearsals or anything of course. We played in various formations from the complete quintet to duos. Here is one featuring me and Steve:

      4. Steve & Hag gig 4_05_96, 15.15

Here is a review of the gig by Paul Newman

Steve was in charge. Eventually he asked me to do a duo with Eddie, a great opportunity. I walked over and picked up my guitar next to Eddie. He had started playing when I noted that my guitar was not plugged in and as Steve Lane was recording I was so scared not to make any unwanted noise I just sat there with my guitar on my lap, just me and Eddie, waiting for a suitable gap but none arrived and thus I did not play a note. Seems silly now, just nerves. I can still recall the fear & now at last I have confessed all. Listening now, Eddie Prevost’s drum solo is impressive

      5. 6 Drum Solo Eddie Prevost silence Hag 40596

There is nothing I could or want to add. My just being there makes this my first but not last Cage-ian performance. This was my first ever paying gig, with an audience, at the age of 57! Later Steve told me Eddie had said. ‘If Hag doesn’t want to play what’s he doing there?’. I communicated all this to Eddie on the 24th anniversary of the event and confessed all. He was pleased to hear from me but did not recall the gig, fortunately for me. I however had caught the bug, my diary entry simply reading ‘Great gig (in the end) My first after all these years! – I want more.’ The next gig Steve asked me to play at, he was performing with his brother Phil who would arrive by train with his guitar over his shoulder and his Amp on a 2 wheeled trolley, with his calm persona and a happy beaming smile. I cannot recall if Phil knew Steve had asked me to play. I guess not as Steve had a bit of a Miles Davies approach to band members in that he liked to surprise them to illicit more interesting performances. I knew Phil well by now and we were comfortable with each other. I think it was the first time we had played but I was aware then that I was playing with two guys who had been doing this since they were teenagers, over 30 years ago. Despite my initial nerves I settled in with Phil quite happily. I recall it being a dramatic, exciting night with some thrilling trades with Phil. Unfortunately it was not recorded. Unusual for us. Many years later talking to Phil on the phone towards the end of his time discussing music and musicians he payed me the greatest of compliments for a musician of his quality standing and respect. ‘You know Hag whilst playing with you and Steve I often used to think what am I doing here, Hag is doing everything that is required’.
It was in late 1996 K.Ostra began to coalesce. By then we asked both bass players, Steve Ash and Nick Biggins to join us for our Thursday evening meetings. This worked well as they were both very experienced players but with different sounds and styles. It melded well expanding the sounds. Steve Lane, who had met Nick Griffiths when they both worked for Pink Floyd had become interested in recording Steve and us and became a regular member. I had always encouraged Steve Miller to consider making a set of solo piano pieces. He didn’t need any accompaniment. Much as I enjoyed making music with him he always flew without a parachute and would soar solo. From 26/08/96 to 18/08/97 Steve’s Miller & Lane recorded the tracks for his solo piano collection ‘See Hear’ at St Johns Ark Old Harlow (which is the CD playing at the top of this page).I had the honour of attending all the recordings and powerful they were as Steve set off from silence and moved through his own spaces he formed moulded and conjured in that air. Towards the end of 1997 it was Steve Lane, yes we had three Steve’s, who suggested a drummer he knew who may be interested. So at the next meeting Paul Dufour arrived tentatively with some percussion and a minimum kit of a snare, high hat and cymbal. He slipped in well, clearly for him too, as at the following event he arrived with his full kit and a percussionist Phillipe Janoyer creating the final sextet line up. It was a great feeling and from that point Thursday’s became band night. We were all interested in the same thing. Making coherent freely improvised music. Sadly it was around this time that Steve Miller recognised he was not well. That dance began for him through differing moves finalising with a pancreatic cancer diagnosis in 1998. On the evening of 14th May 1998 we had a K.Ostra rehearsal as we tried to do every Thursday. I wrote…..‘A sombre night at K.ostra.But some good music played’. I am sure the sombre comment referred to Steve at this time as we were all well aware of his medical situation. Steve Lane recorded all these rehearsals on DAT. There is a recording by Steve Lane at St Johns Ark in Old Harlow earlier that day with Phil Miller as Steve Miller loved that baby grand so much. You can listen to the recording here.

      6. Steve and Phil St Johns 14.05.98


This I am assuming was a rehearsal for their forthcoming gig at The Vortex on 28th June 1998 with Carol Grimes, Lol Coxhill, Fred Baker & Pip Pyle. Almost the original ‘Delivery.’ We are hoping to get a recording of this concert for later inclusion into this article. Meanwhile here are some photos from the gig:


That gig was Steve Miller’s last public performance. Steve Lane had been recording Steve Miller at various performances & our sessions at All Saints with his Soundfield microphone which records the whole space in multiple directions. We decided to record the band using this mike whilst also close miking all the instruments so it could be mixed down from 8 tracks. This was set up for Friday 31st July 1998 in the evening at St Johns Ark so Steve Miller could use the baby grand and his Synthesiser keyboard. We all arrived except Phillipe Janoyer who couldn’t make it. Steve Miller arrived late. Things were beginning to get difficult for him. He had also invited another guitarist, Mark Hewins, a seasoned professional of many talents, the guitarist I first saw Steve with all those years earlier. He hadn’t let me know. As I mentioned above that old surprise trick.I admit I was put out with these changes as we were supposed to be recording our sound and I had gone to great lengths to arrange this. It was a difficult set up with people being late and equipment failures but we did eventually get going. After all that and my disgruntled state it was a very satisfying set. To play with Mark was a delight and always has been as we have become good friends playing together on numerous occasions. Gathering at Steve Lane’s to listen to the recording was always a nervous event but this, recorded more carefully than at our usual band nights was exciting with two guitars. I recall the band blending well. I remember the excitement. I only heard it the once as we resolved to try again with Phillipe present which became the K.Ostra ‘….its out there’ recording. This session was never mixed down from the eight track and that master was lost somewhere sometime well into the 2000’s. I still live in the hope of it turning up. The next session at St Johns Ark was 11th October on a sunny Sunday afternoon with the light streaming through the churches stained glass windows. It was a much more relaxed session. Everybody arrived on time and the sound check and balancing went well. So well that the opening track on Steve Millers K.Ostra ‘….its out there’ is actually the piano sound set up as Steve plays some good old boogie piano as the band gently joins in. This was a rare thing for him to then play but still wonderful. The session is exactly what is recorded on the CD in that order. A very satisfying result. Tragically in 8 weeks and 3 days Steve Miller, at such a young age, would be gone. There was no reflection of Steve’s position in his performance that day. There was a certain energy present. My memory fails me on how this happened but a small part of these recordings was sent out into deep space forming examples of terrestrial music with other examples on a unmanned space mission. I think it was something Steve Ash arranged. From this recording we were all excited and were planning ahead with creating a set of music for performances. This entailed having a new premise. We began rehearsing beginnings & endings so we all knew where to start and where we were going. What happened in between was just that. What happened. We took this seriously to the extent of hiring a rehearsal studio warm enough for Steve Miller, for us to work out the parts, formulate keys, scales, rhythms and time. Now we would all know where we were when the show began. Sadly time overtook us. Veryan Weston is a pianist that Steve had spoken about with great respect. They occupied the same musical orbits. Clearly the feeling was mutual as understanding Steve’s situation Veryan had been in touch and arranged with Steve to record another set of solo piano pieces in his studio on his piano. These were the final pieces Steve Miller recorded. I have never heard these recordings. His health then deteriorated rapidly as Steve Miller departed his mortal coil on December 9th 1998.


PART THREE: TOO SAD TO CALL

For this last part of Hag’s piece we are starting with Steve Miller’s K.Ostra …’its out there’ CD which Phil released on Crescent Discs in 2002 featuring Steve Miller on keyboards, Hag on guitar, Nick Biggins bass, Steve Ash bass, Phillipe Janoyer percussion, Paul Dufour drums, and recorded by Steve Lane.

 


Steve Miller’s death was, of course, tragic for Phil, Min his wife and Stephanie, his young daughter. I can recall the moment I was told he had died and I just collapsed in tears. Steve was my first close friend who had moved on to a better place in my lifetime. I knew, as did his family and friends, that he was, of course, irreplaceable.

Phil Miller wrote these liner notes of the In Cahoots ‘Out of the Blue’ CD released in March 2000. ‘Over the past three years since the release of ‘Parallel’, amongst the various compositions I have written, has emerged a strong contingent with a distinctive blues influence. With several of these pieces completed it seemed to me that they would be best served if I put them together in a suite. With this in mind I wrote the remaining compositions, trying to contrast and complement the existing pieces.’ Whilst Phil was writing these it coincided with the re-release of the Delivery album ‘Fools Meeting’ echoing the strong blues influence of that original band of Steve and Phil, hence the title ‘Out of the Blue’. Phil dedicated this CD to his brother Steve. He asked if he could use one of my images for the cover for which I was more than happy to oblige. Asking what my fee would be, I replied. ‘My first guitar lesson’. Phil was 53 days older than me, so after 38 years of playing I thought it was time to have some instruction from an elder master. 
I recall having that lesson at Colvestone Crescent but not what we did, except that Phil took it seriously in offering me instruction.
On May 12th 2001, with Phil’s assistance, the remaining members of K.Ostra (Hag – guitar, Steve Ash – bass and Paul Dufour – drums, Nick Biggins having moved to Scotland and Phillipe Janoyer returning to France), organised a tribute concert in memory of Steve Miller at St John’s Ark in Old Harlow. (This event is played in full at the begining of part one of my saga).To quote the flyer: ‘Plus esteemed augmentation from Peter Lemer – piano, Mark Hewins – guitar, Lol Coxhill – sax, Phil Miller – guitar and Dave Hammer – vibraphone & percussion.’ Yes, quite a line-up out of respect for Steve Miller. Yes, three guitars, but we were all very familiar with each others abilities. It wasn’t a competition. Myself, Peter Lemer, Paul Dufour and Steve Ash had a rehearsal for the tunes we were thinking of playing. I then took the risk, with such an esteemed list of improvisors, to write a kind of set list with outline arrangements. This was met with some amusement by the other players when I handed them around. Some were vague, such as the first tune, ‘Free Up for Steve’, which became a 13’08” performance. Next, a composition by myself, then there was a liberal interpretation of Brahms’ Lullaby, two of Peter Lemer’s and a kind of John Scofield’s ‘Groan Man’, ‘Blue Monk’, two other free pieces and an Andrew Hill. An eclectic mix, which of course the assembled musicians took great liberties with in following my arrangements in the spirit of Steve Miller. It was a great evening. Phil Miller released K. Ostra’s ‘…its out there’ ( appearing at the start of this part 3) and Steve Miller’s ‘See Here’ collection of piano solos, both from the St John’s Ark recordings on his Crescent Discs label in 2002 (appearing at the begining of part 2). Here is Paul Newman’s review of these CDs:

It has been a great honour and privilege to have known, played and performed with both Steve and Phil and all the other wonderful musicians I have met through this relationship. I am ever surprised that many were and still are willing to play music with me.
Phil and Herm did make the journey into the deepest Fens to visit me around this time. I remember Phil banking up with coal on the open fire, saying ‘That will keep it going’ – and cosy we were. I also appreciated his compliments about a track from a collection I had made in the 90s of my own compositions I called ‘Music for metaphysical lovers’, called ‘Funky takes and funky gives’, which included his brother Steve on electric piano. Here it is:

      7. Funky takes and funky gives


There is however another person only mentioned briefly in the above tract, but who was ever present. She still is to this day pivotal in supporting Phil Millers’ music. She told me many years ago, whilst talking about Phil’s early career, that when she moved to her spacious flat in Dalston in 1980, she and Phil decided to join forces and started living together. With Steve’s help they soundproofed one of the rooms to use as a music studio, and from then on Phil spent most of his time in there writing his music. When he formed his band they used the flat for rehearsals. He recorded there, started the record label there. The flat became the hub for Phil’s music. Well, that certainly paid dividends, not just for Phil but to all those who love the music he created and all those touched by such a creative force. I am of course talking of Herm. When Phil’s life was approaching the end, I did manage to visit him before I was due to go into hospital for my second new hip. What a moving meeting. How strong he was towards what he knew he was facing, just as his brother Steve had been. Impressive as ever. Below is the letter I wrote to Herm explaining why I was not able to attend his funeral, which sums up my feelings for  both Phil & Herm.

Dear Herm,

I am thinking of you and your family, sending you love and strength at this difficult time.You were inseparable and Phil’s rock. He only ever spoke of you in terms of the love and care you both shared. Yours is a jewel of a loving relationship. I was so moved and honoured to have seen you both just a few weeks ago. It was with saddened heart that I heard the news. How amazing Phil was both in that meeting and the conversations we have had recently, and of course all the rest. He appreciated his life, both creatively as a musician and with you. He considered himself a lucky man to have been able to do what he loved doing and spending that time with someone he loved. I need not stress the gifts he gave the world and the influence he had on so many people. He was truly a gentleman first, always respectful and kind in his praise of others whilst exhibiting a true modesty towards his own exceptional talents. He consistently expressed a positive outlook on his current difficulties and the life you both led. Impressive without shirking the reality of his position and caring for those around him. Phil was a fine appreciative friend, and again I am honoured to have known him and Steve, played with him and Steve, and having contributed photographically to In Cahoots. Sadly I am unable to attend the ceremony on Saturday. I want to express to you how I feel and offer my deepest condolences. I have found a way with the help of Pete Lemer to be there, but upon discussion with my nurse it would be reckless of me to attempt such a long day in my current position despite my healing well. I will be present in spirit with you all, as Phil will always live in our hearts.
Wishing you peace – 25 October 2017

Herm is still doing amazing things supporting Phil’s music, not least by creating this rich gift of Phil Miller – the Legacy and giving it freely for all to enjoy.

Postscripts:
I also photographed Steve as a model.
In 2002, I used this portrait on the back of his ‘See Hear’ solo piano CD, and also in the book ‘Understanding Dreams’ (New Holland Publishers UK Ltd), for which I was commissioned to contribute numerous illustrations. This was in retrospect portentous. They were all to illustrate dreams, of course. Completely beyond my choice were three pictures I was asked to make which perfectly illustrated Steve Miller’s final journey.The shoot was 19th April 1998, before he was diagnosed, though he was aware that he was not well. The first as a marked man bearing the imprint of a cross.

The second was a recreation of Edvard Munch’s ‘The Scream’ as a Scottish farmer. The realisation of the situation
The third as flying away into a psychedelic heaven.
By the time the book was published in 1999, Steve had gone.
We – myself, Steve Lane, Paul Dufour and Nick Biggins – would also like to remember Phillipe Janoyer, who was the next to leave us after Steve Miller, followed by Steve Ash a few years ago. Sadly, to this list I have now added Paul Dufour. May they be at peace. Here is a photo of Paul and Phillipe together:

Finally this image, photographed 08/03/1988, commissioned by ‘The Telegraph Magazine’
As described on my website, I was not concerned with the face, just the hood.

https://hagsphotography.com/a-head-2

 

 


Phil Miller’s HARD SHOULDER – it’s hard to play – hence the title

This week I want to give some insight into how Phil approached recording his compositions. I recently came across an article that Dave Stewart wrote about Hard Shoulder – a piece of Phil’s you can find on the Cutting Both Ways CD Phil’s first CD featuring his band In Cahoots. The second CD was Split Second. Both albums contained some compositions played by In Cahoots and some put together with Dave Stewart using what was then very new music technology. To quote from the excellent interview Phil Howitt published in issue 15 of Facelift Phil said “I had written some rather awkward material, unsuitable for the band that I decided to do with Dave Stewart having had the first glimpses of what machines could do to facilitate playing certain sorts of music. I had written some pieces that I could only just about play on guitar if I practiced very hard because of their sheer statistical density (to borrow a quote from Zappa).  That’s why the Figures of Speech track I did with Dave on Cutting Both Ways was something you could only do properly with a machine. Not that I wrote it for a machine, it just happened that I had all these chiming polyrhythmic things going on that needed a dead steady beat. The titles Cutting Both Ways and Split Second acknowledge this dual approach although I often think that, with these two albums, it would have been better to have done a whole album without a band and then a whole album with a band.”

Here is what Dave Stewart wrote in his article:
Can sequencers and drum machines play jazz? Folks, you’d be surprised at what these expensive little boxes can do after you’ve put in the requisite weeks of programming. Observe the appended blast of fly excrement. Written by my friend Phil Miller (once guitarist with analogue group of yore Hatfield & The North in which I played keyboards). These eight bars are a selection from a long complex piece of his entitled Hard Shoulder. Initial attempts to perform this opus with live musicians produced a depressing maelstrom of wrong notes and approximate rhythms, especially in one densely written contra-Puntel section in which three fast melodic lines interweave in fugal style over syncopated chord changes. It’s hard to play – hence the title. After some thought Phil decided to record the piece with an automated rhythm section. Below, in score form, you can see the details of the drum and bass programming that he and I evolved for one section. The rhythmic feel is a kind of fast walking bass with driving ride cymbal and snare accents a la bebop, but the drum sounds, courtesy of 12-bit sampling, are of the ‘80s. Those of you who own drum machines and sequencers should try programming this beast into your machines. You’ll have fun with this one!”

Click the image or this text for the score as a PDF.

      8. Hard Shoulder

Tributes to Paul Dufour

Hag posts this tribute:
Steve Lane perfectly summed up Paul Dufour’s character with clarity: ‘Paul was a sweet and kind man. He loved his music so much. I will miss him’.
Ever positive, laid back, cool, full of enthusiasm for his passion – Music in many forms.
He departed this world listening to John Coltrane at his request which a nurse quietly played close to his ear. He was a most sensitive drummer/percussionist. He really listened to everything that was going on reacting immediately to any changes. He will be greatly missed by all those who knew him, family, friends, fellow musicians and fans. Be at Peace Paul.
Jack Monk posts this tribute:
 It was a lucky chance when, a few years ago I went to see Pete Lemer’s Latin jazz group with whom Paul was playing at the time, and I remade contact with Paul who I had met many years previously when we were both playing in Suffolk. In 2014 Phil, Marc and I were working on some new music and we were thinking of who we could get for the drum chair. Although I had not myself played with Paul, I was aware that he had played on recordings with Steve (Miller) and that Marc had worked extensively with him, mostly in studio situations and that he came recommended. It was our good fortune that he said yes when we asked him and he brought his patient, listening, groove-based approach to our project. We recorded some pieces and did a handful of gigs. And of course, we were able to renew that partnership on the tribute to Phil concerts at the Vortex in early 2019. Sending condolences to his friends and family in the knowledge that he will be much missed.
Marc Hadley posts this tribute:
I’m not sure how long I’d known Paul. I had been recruited to play sax on some relatively ‘composed’ Jazz-influenced music by a pianist called Anthony Donovan, I believe round 1993. The music needed a rhythm section and I roped in a friend and fellow Islingtonian, Julia Doyle to play double bass. Of course, we needed a decent drummer!
I was running a 16-track studio at the time and was in frequent contact with audio engineer and producer Gwynn Mathias. I believe I must have mentioned my search for a “drummer who wasn’t a breadhead and was into rehearsing”. Gwynn therefore introduced me to his long-time friend Paul. Or possibly, the connection might have been someone we all knew and visited frequently – ace car mechanic, vintage Mercedes fan and recording studio owner Eddy Manders.
Whatever, Paul turned out to be the perfect choice to make up the quartet, “Venus Edge”, and together we recorded two albums, of course engineered by Eddy Manders. There was a Canterbury connection there too, as I learned that Paul had, much earlier on in his percussive career played with Phil’s older brother Steve Miller.
Paul had a quiet, unshowy discreet approach to music-making. He’d attend rehearsals with a cahon and possibly hihat, and hand percussion – we worked in Julia Doyle’s relatively small living room. Then, at concerts, he’d turn up with a full kit, and turned the patterns he’d devised on cahon etc into full-blown drum parts. It was quite surprising- we’d be aware of some discreet propulsion going on during our arrangement process, but then suddenly it would be on stage as blam blam bibeddy boum de bomb. But it always worked fine.
A new Century arrived and then came 2014 -a new situation for me teaming up with Jack Monck and Phill Miller to try to create a small group playing a mixture of tunes by all three of us. Once more, there was a need to find a “drummer  who wasn’t a breadhead and was into rehearsing”. Paul was around and available, so there we were again.
Paul was a very generous, kind and relaxed person to be around, and I know he will be greatly missed.
Pete Lemer posts this tribute:

I am glad that Paul was in my life for many years, and though we managed to play together, it was not very often. We had dear friends in common, and it was always refreshing to chat with him, especially about Jazz movies. I was intending to pick his brains for some recommendations, but am gutted that this will not now take place.

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