Miles Okazaki speaks with Tim Munro about composer Miguel Zenón
Guitarist Miles Okazaki is a long-time collaborator of composer Miguel Zenón. As part of the all-star ensemble performing in the Composer Portrait of Miguel Zenón on November 14, Okazaki spoke with the acclaimed writer Tim Munro about his relationship with the composer and Zenón's evening-length work Golden City.
Tim: How did you come to know Miguel, and what were your first impressions?
Miles: I met Miguel at the Manhattan School of Music in 1997. Dan Weiss and Jacob Garchik were also there at that time.
It was clear to me (and everyone else) that Miguel was on a mission to master both his instrument and his compositional approach. His focus was unbelievable, and it's still the same, like he's been in the zone for three decades.
Tim: What about his work as a composer?
Miles: Although his playing was flawless, I really admired him as a composer. We had a band for a number of years where we both wrote the compositions. We would rehearse on Mondays in Williamsburg just to work on music. I learned so much from him at that time. I believe we have similar interests in rhythm and form, and the spirit of performance. The precision of his playing and clarity of his writing was what impressed me back then, and of course he's only gotten better over time.
“It was clear to me that Miguel was on a mission to master both his instrument and his compositional approach. His focus was unbelievable, and it's still the same, like he's been in the zone for three decades.”
Tim: What is Miguel like in the rehearsal room?
Miles: Miguel brings in pieces that are basically finished. There's not much workshopping to be done, because he's pretty clear about how things are put together. That's certainly the case with Golden City, which is an intricate piece with interlocking parts that have to be synchronized and played accurately.
Tim: What is your own relationship to San Francisco?
Miles: I’ve been to SF many times, and I’m from the West Coast (near Seattle). The city itself is just a beautiful place geographically and architecturally. I think of the great movies that have been filmed there, like Vertigo. To me it has a great resonance to where I grew up, near the water and the mountains in the Northwest, but is demographically and culturally more diverse, which is something that's important to me, having lived in New York City so many years now.
Tim: Are there any moments in Golden City that you’d like to highlight?
Miles: After the recording session, there were a lot melodies that stayed in my head for a while. There's a spot about halfway through the tune SRO where we move into high gear after a long section at a mellow tempo. Then Miguel comes in and just tears up a solo over this wild groove—the way he plays there, so relaxed, precise, and creative—it’s just something very special that very few people would be able to do.