Sting’s “right and left hand,” Dominic Miller, yet again proves that he is a top-notch guitarist. Produced by the legendary Hugh Padgham (The Police, Genesis, Phil Collins, Peter Gabriel). Dominic Miller has worked continuously with Sting since they recorded The Soul Cages over 20 years ago! Features Mark King & Mike Lindup (Level 42), Ian Thomas (Eric Clapton), and Jason Rebello (Sting). On tour with Sting in North America through Summer/Fall 2010.
Dominic Frasca is kind of like a cross between Andrés Segovia and Elliott Sharp. Although classically trained and still deeply influenced by classical guitar tradition, Frasca doesn't create music that sounds classical in any meaningful way, and his instrument (a customized ten-string guitar) is a bizarre Frankenstein's monster of acoustic and electronic parts that he uses simultaneously as a melodic and percussive instrument.
Born in Argentina to an American father and Irish mother, guitarist Dominic Miller was raised in the U.S. from age 10 and then educated there and in England. Now he lives in France, though he has toured the globe for the past three decades. Aptly, Silent Light Miller’s ECM debut, featuring him solo and with percussion accompaniment has a very international feel, with the Latin influence strong in such pieces as “Baden” (dedicated to Brazilian guitarist-composer Baden Powell). “Le Pont” has an early 20th-century Parisian air, while “Valium” evokes Celtic tunes in the vein of Bert Jansch and “Fields of Gold” is a hushed instrumental take on one of Sting’s best-known ballads.
In Memoriam. RIP Mr Duval. New Yorker Dominic Duval is one of the finest and most prolific bassists on the contemporary scene, having played and recorded with some of the greatest names in jazz and new music. Duval's continuing tenure with pianist Cecil Taylor's trio has cemented his reputation as one of contemporary music's more important figures. Duval is comfortable and can be seen performing in any number of genres, including modern classical, jazz or music which defies classification.
Novecento is an Italian music band founded by Pino Nicolosi, Lino Nicolosi, Rossana Nicolosi and Dora Carofiglio in 1984. Their music has gone through a variety of genres, such as Italo disco (early work), synthpop, soft rock, pop rock, jazz and funk. The band was mainly active in the 1980s and the 1990s, and became very popular with the song "Cry" in 2008.
Dominic Sandbrook explores British post-war culture, arguing that it is a crucial part of Britain's modern identity - yet one firmly indebted to our Victorian past. Like the industrial revolution before it, our postwar culture is a success story built on geographical opportunism and an indefatigable entrepreneurial spirit. Just as the industrial revolution transformed British society, creating new wealth and a thriving mill-owning middle class, so too have money, marketing flair and creative invention underpinned our cultural development. It is, after all, a development that has been driven by a handful of inventive, single-minded, and savvy entrepreneurs, from J Arthur Rank to Brian Epstein and Andrew Lloyd-Webber.
'Ad Hoc' is the new album by Sting s long time collaborator and guitarist Dominic Miller. A musician that Sting has long called his right and left hand. The album is recorded in Germany and featuring special guest the inspirational Eda Zari, is Dominic Miller s most impressive work to date. Zari's contribution to the anthemic Exiting Purgatory is a perfect compliment to the searing cello solos by Sweden's Lars Daniellson and forms the climax sound to an album whose textures and ambiences are as eclectic as Miller's life itself.
Better known as Sting's guitarist, Dominic Miller has put out a few solo efforts over the years, with this, his fourth, following suit. This one shows a sensitive side, with tender compositions for solo guitar throughout (with the exception of a vocal number midway through), sometimes backed up by various musician friends on drums or bass for a song or two. The sound is primarily soft rock and the like, but Miller effectively handles a dose of jazz in "Partido Alto" as well. Miller's playing is perhaps too light and cautious to really manage a solo effort. He plays as though he's still in the rhythm section rather than letting his abilities come through fully. At the same time, he has a very tender touch, welcome in its own right.