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Allison MillerSonic Boom
It might seem like a survival skill in retrospect,
but drummer Allison Miller’s sponge-like love
of all things musical could only mean she was
destined to play it all. For drummers, in particular,
liking “all kinds of music” can translate into
more gigs. In Miller’s case, that range has included
working behind such leaders as Ani DiFranco,
Natalie Merchant, The Indigo Girls and Brandi
Carlisle.
Miller’s work with those pop acts is ongoing,
but it’s her jazz output that offers the best view
of her passion. Miller has been active in a dizzying
array of bands, including the sextet Shakers
& Bakers and the quartet Hipmotism, both of
which provide interesting contrasts to her own
band, heard on her second album as leader, Boom
Tic Boom (Foxhaven). Essentially a trio outing
featuring pianist Myra Melford and bassist Todd
Sickafoose, with violinist Jenny Scheinman
showing up on one track, the album sports Miller’s
mix of originals with two covers by Hoagy
Carmichael and Mary Lou Williams.
“Basically, I lead one and only one band:
Boom Tic Boom,” Miller said. “Everything else
is either a collaborative project or a band that I am
hired to play in.”
One example is Honey Ear Trio, which she
calls “a collaborative project I have with Rene
Hart on bass and Erik Lawrence on various
reeds.” The band recently finished working on
its debut, Steampunk Serenade, due out in early
2011. Miller said, “It’s all original music, and a
lot of it has elements of free improvisation, expanding
time. Rene has this whole rig where his
acoustic bass sound goes through a laptop producing
electronically processed sound, like distortion
with street noise, while still preserving his
authentic upright bass tone on a separate track.”
Miller adds that she’s recording a new Boom
Tic Boom CD, and that in December the band
will be doing a West Coast tour to complement
their East Coast tour earlier in the year. Performing
with Boom Tic Boom, Miller said, “I often
like to start shows with a solo; part of it is to get
that out of the way. It’s also because if I’m feeling
jittery, I calm myself down and it gives everyone
else a chance to feel comfortable on stage.”
In addition to honing her formidable drum
skills, Miller spends a fair amount of time writing.
“When I write my music, the last thing I
think about is drums,” she said.
Miller’s been playing piano since she was 7
(three years before drumming) growing up in
suburban Washington D.C. She went on to study
with Walter Salb and graduated from the University
of West Virginia before gigging with Sheila
Jordan, Kenny Barron, Marty Ehrlich and Dr.
Lonnie Smith.
“When I compose for my band I go with a
strong melody,” Miller said. “It’s so important.
When I take drum solos, I need a melody to base
my solos on, even when I’m playing free. I’ve
always been attracted to melody; growing up, my
solos would be based on the melody of the song,
like with Thelonious Monk’s ‘Bemsha Swing.’
Eventually I’d break away but still be singing
the melody in my head. That’s because my mom
taught me piano first. She wanted me to have a
well-rounded education. If you can’t sing it you
can’t play it. From an early age, my favorite soloists
were so melodic.”
Along with the new Arched Ear Trio album
and winter tour of Boom Tic Boom, Miller
looks ahead to other ongoing work. “I’m finishing
up this year touring with Brandi, recording
on the road and getting ready to release her next
album.” For Miller, drumming remains a multidimensional
affair. —John Ephland
joanne WeisneR
NOVEMBER 2010 DOWNBEAT 23