Miller. Anestesia

The two discs of Steve Miller Band: On Tour 1973-1976 feature two Steve Miller Band concerts recorded in 1973 and 1976, respectively, by (and for eventual broadcast on) the infamous King Biscuit Flower Hour. The soundboard recordings are pristine, with each bandmember occupying an equal part of the spectrum. The 1973 incarnation, captured at Shady Grove in Washington, D.C., still holds some connection to the earlier, more blues-based years of the band. As such, the disc contains a good deal of blues-rock jamming, much of which is admirably tight, though it falls prey to some of the era's excesses. Also contained is an early version of "Fly Like an Eagle," which Miller road-tested in several versions before setting it to wax. Following extensive touring around that period, Miller took an extended hiatus from the road, during which time he recorded both Fly Like an Eagle and Book of Dreams, what would prove to be his two most successful albums. Following the recording of those albums, Miller took to the road again, with a new band featuring Gary Mallaber, Lonnie Turner, Norton Buffalo, David Denny, and Byron Allred. The music is different, too. The blues influence is still there, but the band is sleeker and more modern.

The Steve Miller Band is an American rock band formed in 1966 in San Francisco, California. The band is managed by Steve Miller on guitar and lead vocals, and is best known today for a string of (mainly) mid-1970s hit singles that are staples of classic rock radio, as well as several earlier acid rock albums. Steve Miller left his first band to move to San Francisco and form the Steve Miller Blues Band. Shortly after Harvey Kornspan negotiated the band’s landmark contract with Capitol Records in 1967, the band shortened its name to 'Steve Miller Band'. In February 1968, the band recorded its debut album Children of the Future. They went on to produce albums Sailor, Brave New World, Your Saving Grace, Number 5, Rock Love and more. The Steve Miller Band’s Greatest Hits 1974-1978, released in 1978, sold over 13 million copies. They continued to produce more albums and in 2014, Steve Miller Band is touring with the rock band Journey.

Phil Miller is an English progressive rock/jazz guitarist who is part of the Canterbury scene. In addition to his solo work, he has played in Hatfield and the North, National Health, and Matching Mole. He has released a number of solo albums, some with his group In Cahoots.
After the demise of National Health, he began preparing for a solo career that began with "Cutting Both Ways" (1987) and continues to this day. This was the first album released under his own name, and the first album to feature his band In Cahoots, who are pretty much of a supergroup themselves: Hugh Hopper - bass (Soft Machine), Elton Dean - saxes (Soft Machine), Peter Lemer - keyboards (Gilgamesh, Mike Oldfield, Pierre Moerlen's Gong) & Pip Pyle - drums (Gong, Hatfield, National Health)…

Artists are liminal figures — they cross thresholds and collapse boundaries between past, present, and future. In THE NEW EPOCH, three musicians from the Boston Artists Ensemble interpret works by French composers Fauré, Debussy, Ravel, and Lili Boulanger, infusing these pieces with unprecedented freshness and clarity. Each celebrated in their own right, cellist Jonathan Miller, violinist Lucia Lin, and pianist Diane Walsh join forces in every duo setting possible from this assortment of instruments. Exploring works written at the threshold of the First World War — with the world crossing into the violent twentieth century and composers reacting with music that looked both nostalgically back and innovatively forward — they underline the commonalities between each composer’s unique voice and reinterpret this music for our turbulent present. Each celebrated in their own right, cellist Jonathan Miller, violinist Lucia Lin, and pianist Diane Walsh join forces in every duo setting possible from this assortment of instruments. Exploring works written at the threshold of the First World War –– with the world crossing into the violent twentieth century and composers reacting with music that looked both nostalgically back and innovatively forward –– they underline the commonalities between each composer’s unique voice and reinterpret this music for our turbulent present.