
"I don’t like any type of art that has to be explained."
The profoundly prolific guitarist leads his band of tricksters through a surrealist sonic exploration of deep, esoteric rhythms and intricate interplay on Thisness.
On his new album Thisness, Miles Okazaki is credited as playing guitar, voice, and robots. If you imagine that the reference to robots is some sort of artsy kitsch—like trapping a Roomba Robot Vacuum into a tight space to sample its struggles as it percussively barrels into the four walls—you’re very far off the mark. Okazaki—who has an elite academic pedigree with degrees from Harvard, Manhattan School of Music, and Julliard, and currently holds a faculty position at Princeton University (after leaving a post at the University of Michigan, to which he commuted weekly from his home in Brooklyn for eight years)—wasn’t kidding.
“The robots are machines that I made in Max/MSP,” clarifies Okazaki. (Max/MSP is visual programming language for music and multimedia.) “It’s kind of a long story, but I’ve been doing this stuff on the side for 20 years or so. Some of the music theory, some of the conceptual stuff involved in the album, I programmed into these things that I built. These improvising machines can do things that humans can’t do. They’ll play faster than humans, but they’ll fit in because they’re playing the same type of material.”
I'll Build a World, by Miles Okazaki
Okazaki explains that he creates parameters for the robots to improvise within: “I’m just telling this robot, ‘Play at this tempo and play this many subdivisions per beat—eight subdivisions or something like that—so that it’s linked up with the drums.” For pitches, he assigns a scale and can control the phrasing. “I’m saying for the pitch choices, ‘You’re going to use a chromatic scale and you’re going to play each note of that scale until you exhaust the scale without repeating a note,’ which makes a 12-tone row. It could be any scale, but that’s one of the settings that I have made in there. [After each 12-tone row is done] I tell it, ‘You’re going to take a little break, but I don’t want it to be the same break every time,’ so that it’s a phrase.”
To get a sound that convincingly blended in with the rest of the tracks, Okazaki had keyboardist Matt Mitchell run the robots through his Prophet Six analog synth. “I wrote a file of them improvising and ran that file through the synth,” explains Okazaki. “Matt would do the sounds for it,” so both the robots and Mitchell used the same Prophet Six in their own way.
“I’ve never been that interested in imitating anybody’s style.”
Okazaki, a family man with three children, seems busy in all parts of his life, but he must have learned to maximize his time because he’s incredibly productive. In 2018, he recorded his magnum opus, the critically acclaimed Work—a five-hour, 70-song marathon of the complete works of Thelonious Monk, all performed on solo guitar. It’s a project he’s wanted to do since his teen years. But in the process, he labored so relentlessly that he ignored his body’s warning signs and suffered a repetitive stress injury. That didn’t stop him from intensely preparing for and entering the New York City Marathon just a few months later. When that chapter was over, Okazaki again focused on his musical pursuits and proceeded to record several more albums, both as a leader and side musician.
Thisness is Okazaki’s fifth album in a three-year period and reflects his collaborative approach. It features his Trickster band, which includes Mitchell on keyboards, Anthony Tidd on electric bass, and Sean Rickman on drums. Okazaki has worked with each of these musicians for years, both in his own group and in saxophonist Steve Coleman’s, and they’ve developed a creative relationship that made it possible to record complex music quickly. The entire album was recorded over a two-day span with the quartet recording live on day one and overdubs the following day.
The Trickster band (left to right): bassist Anthony Tidd, keyboardist Matt Mitchell, drummer Sean Rickman, and Miles Okazaki.
And the music on Thisness is incredibly complex. Though Okazaki has studied Indian music seriously, his compositions are also somewhat reminiscent of contemporary Western classical music. You’ll see no shortage of odd note groupings, polyrhythms, and mixed meters carving out space for intricate atonal melodies throughout. Plenty of advanced jazz musicians that proudly boast about their ability to play John Coltrane’s “Countdown” in all 12 keys would cower in fear if they were asked to perform some of Okazaki’s works.
Despite the puzzling, esoteric nature of his compositions, Okazaki’s roots draw from the jazz tradition. After initially starting on classical guitar at age 6, he developed an interest in jazz at 12 and was doing solo guitar gigs at a local Italian restaurant by age 13. His first guitar teachers were Michael Townsend and Chuck Easton (a bebop-influenced Berklee grad), and he took music theory group classes in a cabin in the woods with a teacher named Alex Fowler.
Miles Okazaki’s Gear
Miles Okazaki can be seen with a host of instruments, but his 1978 Gibson ES-175, which has a Charlie Christian pickup, is his most common 6-string companion.
Photo by John Rogers
Guitars
• 1937 Gibson L-50
• 1940 Gibson ES-150 Charlie Christian (bought with matching EH-150 amp)
• 1963 Gibson C-O Classical
• 1978 Gibson ES-175 with Charlie Christian pickup
• 2018 Slaman “Pauletta” with Charlie Christian pickup modified with adjustable pole pieces drilled into the blade. A hum-canceling coil was recently added by Ilitch Electronics.
• 2002 Yamaha SA2200
• 2016 Kiesel HH2
• 2008 Caius quarter-tone guitar
Amps
• Quilter Aviator Cub
• Quilter Tone Block 200
• Raezer’s Edge Twin 8 cabinet
Effects
• Boss OC-2 Octave
• Boomerang III Phrase Sampler with Side Car controller
• One Control Mosquito Blender Expressio
• Gamechanger Audio Plus Pedal
• Dunlop CBM95 Cry Baby Mini Wah
• Boss RV-5 Digital Reverb
• Analog Man Peppermint Fuzz
• MXR GT-OD
• Electro-Harmonix Micro POG
• Dunlop DVP4 Volume
• Sonic Research ST-300 tuner
Strings and Picks
• Thomastik-Infeld Flatwound .013s (Gibson ES-150 Charlie Christian and Slaman “Pauletta”)
• Thomastik-Infeld Flatwound .014s (Gibson ES-175 with Charlie Christian pickup and Caius)
• Thomastik-Infeld Flatwound .012s (Yamaha SA2200)
• Thomastik-Infeld Flatwound .011s (Kiesel HH2)
• D’Addario Roundwound .014s (Gibson L-50)
• D’Addario Pro-Arte high tension nylon (Gibson C-O)
• Fender .88 mm for .012 strings, 1.0 mm for .014 strings
• Homemade picks using Pick Punch (Preferred material is American Express Delta Sky Miles Credit Card)
• Ilitch Electronics Driftwood pick
• Knobby picks bought from an Instagram metal shredder
During his teens, Okazaki went through a jazz-snob phase, and although he hails from Port Townsend, Washington, he never got into the nearby Seattle scene. “The ’90s, Nirvana and Soundgarden.… No, I kind of missed all that,” he admits. “I was there, but I was into Wes Montgomery and Thelonious Monk. I was stuck in the ’60s and ’50s at that point.” He still cites those musicians, in addition to Grant Green, George Benson, and Charlie Christian (whom he hailed as “the greatest guitarist that ever lived” in a blog post) as influences.
After attending Harvard University, where he earned a bachelor’s degree in English Literature, Okazaki came to New York to pursue his master’s degree in guitar at Manhattan School of Music. There, he found a mentor in Rodney Jones, a jazz/R&B player with tremendous chops. “I studied with, and continue to study with, Rodney,” explains Okazaki. “He was my teacher from 1997. I worked pretty closely with him for about 10 years, rebuilding my technique. My technique wasn’t good. You know I didn’t really have a teacher before him that really talked about guitar so much. I had teachers, but it was more just sort of like other people from other instruments. His technique is based on a hybrid George Benson type of deal. It has to do with the picking, but also there are many, many things that have to do with micro movements of the right hand. So, I spent a long time studying that. I still don’t really play like that, but I play kind of like a hybrid version of his hybrid version. Now mine is mixed with some other stuff.”
TIDBIT: On his new album, Okazaki creatively repurposed an influence in his approach to “And Wait for You”: “I played a piece of a Charlie Christian solo that I’m kind of riffing on. That’s a phrase from ‘Stompin’ at the Savoy’ but obviously the context here is a little different.”
Jones referred Okazaki to legendary saxophonist Stanley Turrentine, and Okazaki did a few gigs with the soul-jazz master shortly before his passing in 2000. It was around this period that Okazaki made his mark on the NYC jazz scene. He worked with vocalist Jane Monheit and was initially cast as a straight-ahead guitarist. “For a long time, I was just a standards player. I was pigeonholed in that area,” he recalls. “I did this weird stuff on the side—well, I didn’t consider it to be weird—but it was hard for people in their mind to imagine that you do different things.”
The guitarist found he was able to fully explore other sides of his playing when he landed a gig with Steve Coleman, whose M-Base Collective created a new language of incredibly challenging, forward-thinking music. From 2008 until 2017, Okazaki’s artistry thrived as he played alongside Coleman.
”I don’t know how many people you know that can play in James Brown’s band. It’s harder than playing in my band, that’s for sure.“
Very few players can comfortably hang with both the down-to-earth, bluesy jazz sounds of George Benson and the futuristic, ultra-heady maze of Coleman’s music like Okazaki can. The guitarist sees the two approaches as sharing common heritage. “Benson’s language is blues and R&B, and Steve Coleman’s is, too. There’s different theories and stuff behind it, but it’s not technically different to me,” he explains.
“If it was language, I’m interested in the grammar, not so much what language I’m speaking about,” he explains. “Or if it was cooking, I might be interested in the principles of ‘how do you cook a piece of meat,’ as opposed to, ‘I’m doing French cooking.’ George Benson has a style for sure, and a lot of people, when they learn about George Benson, will also sort of imitate his style. I’ve never been that interested in imitating anybody’s style. I kind of want to have my own style.”
Trickster performs during their recent residency at SEEDS:: Brooklyn.
Photo by Alain Metrailler
Okazaki’s style is radically different from both the sounds of his main guitar influences and other offerings in today’s jazz landscape. His abstruse music has been called academic, but that’s a label the guitarist isn’t particularly fond of. “I would push back a little on ‘academic’ because, first of all, I don’t like academic music,” he says. “I don’t like any type of art that has to be explained. When I go to an art museum, I don’t want to have to read the little blurb. I don’t want anybody to have to know anything about music to appreciate it. There are things involved in how it’s made that are interesting to me, but I don’t care if they’re interesting to anybody else, or I don’t want that to be a feature of it that’s really that important, unless people want to look for that.”
For Okazaki, his music might be also called academic, or complex, or cerebral, but that doesn’t explain his purpose, or set him apart. “James Brown is complex, or Robert Johnson is complex,” he says. “All these things are complex, meaning that they’re not easily explained. I don’t know how many people you know that can play in James Brown’s band. It’s harder than playing in my band, that’s for sure.”
“The test is: Does it sound good, or does it not sound good? That’s the only question for me.”
Complexity comes in many forms. Just because a piece of music happens to be based on one chord “that doesn’t mean that it’s simple,” Okazaki observes. He believes the opposite is true as well. “There are things that take a lot of work, and there’s a lot of machinations involved, and a lot of manipulation of materials and thought, and construction, and it still sounds like shit,” he laughs. “And there are things that are just one chord and amazing.”
As much as Okazaki is known as a musical thinker who can throw down some heavy information in his compositions and playing, what matters most is how it sounds. “It might look good on paper, but if it doesn’t sound like anything, then it’s not good,” he says. “The test is: Does it sound good, or does it not sound good? That’s the only question for me.”Trickster's Dream - "The Lighthouse"
The Trickster band was scheduled to go on a six-week tour starting in May 2020 but got derailed by the Covid lockdowns. Instead, they created a video concert featuring music from Okazaki’s 2019 release, The Sky Below. This version of “The Lighthouse” is from those sessions and captures the band conjuring the energy and spirit of playing to a captive audience.
You watched John Bohlinger build his ultimate Strat, now you can win it! Enter below by March 18, 2025 for your chance to snag the Strat.
Watch the build!
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With 350W RMS, AMP TONE control, and custom Celestion speaker, the TONEX is designed to deliver "unmatched realism."
"The next step in its relentless pursuit of tonal perfection for studio and stage. Born from the same innovative drive that introduced the world's most advanced AI-based amp modeling, TONEX Cab ensures that every nuance of modern rigs shines onstage. It sets the new standard for FRFR powered cabinets for authentic amp tones, delivering unmatched realism to TONEX Tone Models or any other professional amp modeler or capture system."
Setting a New Standard
- Professional full-range flat-response (FRFR) powered cab for guitar
- True 350 W RMS / 700 W Peak with audiophile-grade power amps and advanced DSP control
- The most compact 12" power cab on the market, only 28 lbs. (12.7 kg)
- Exclusive AMP TONE control for amp-in-the-room feel and response
- Custom Celestion 12'' guitar speaker and 1'' high-performance compression driver
- 132 dB Max SPL for exceptional punch and clarity on any stage
- Programmable 3-band EQ, custom IR loader with 8 onboard presets and software editor
- Inputs: XLR/1/4" combo jack Main and AUX inputs, MIDI I/O and USB
- Output: XLR output (Pre/Post processing) for FOH or cab linking, GND lift
- Durable wood construction with elegant design and finish
- Swappable grill cloths (sold separately) and integrated tilt-back legs
Finally, Amp-in-the-room Tone and Feel
Thanks to its unique DSP algorithms, TONEX Cab's exclusive AMP TONE control stands apart from any other FRFR in the market today, allowing players to dial in the perfect amount of real amp feel and response to any room or venue.
It achieves this through advanced algorithmic control over the custom high-wattage Celestion 12'' guitar speaker and 1'' high-performance compression driver. Together, they deliver the optimal resonance and sound dispersion players expect from a real cab. Combined with a wood cabinet, this creates a playing experience that feels alive and responsive, where every note blooms and sustains just like a traditional amp.
Ultra-portable and Powerful
TONEX Cab is the most compact 12'' powered cab in its class, leaving extra room in the car to pack two for stereo or to travel lighter. Despite its minimal size, the TONEX Cab delivers true 350 W RMS / 700 W Peak Class-D power. Its unique DSP control provides true-amp sound at any volume, reaching an astonishing 132 dB Max SPL for low-end punch and clarity at any volume. With larger venues, the XLR output can link multiple cabs for even more volume and sound dispersion.
Amplify Any Rig Anywhere
TONEX Cab is the perfect companion for amplifying the tonal richness, dynamics and feel of TONEX Tone Models and other digital amp sims. It adds muscle, articulation, and a rich multi-dimensional sound to make playing live an electrifying and immersive experience.
Its onboard IR loader lets players connect analog preamps directly to the cab or save DSP power by removing the modeler's IR block. Precision drivers also work perfectly with acoustic guitars and other audio instruments, ensuring that time-based effects shine with studio-quality clarity and detail.
Pro-level Features
TONEX Cab offers plug-and-play simplicity with additional pro features for more complex rigs. Features include a 3-band EQ for quickly dialing in your tone to a specific room without editing each preset. You can program the eight memory slots to store both EQ and AMP TONE settings, plus your cabinet IR selection using the onboard controls or the included TONEX Cab Control software. Seamlessly select between memory slots with the onboard PRESET selector or via the built-in MIDI I/O.
On Stage to FOH
TONEX Cab's balanced audio output makes it easy to customize the stage or house sound. It features pre- or post-EQ/IR for cab linking or sending sound to the front-of-house (FOH). The AUX IN allows users to monitor a band mix or play backing tracks. These flexible routing options are ideal for fine-tuning the setup at each gig, big or small.
Stereo and Stacking
With two or more TONEX Cabs, any rig becomes even more versatile. A dual TONEX pedal rig creates a lush, immersive tone with spacious, time-based effects. Players can also build a wet/dry or wet/dry/wet rig to precisely control the direct/FX mix, keeping the core tone intact while letting the wet effects add depth and space. Stack multiple cabs for a massive wall of sound and increased headroom to ensure the tone stays punchy and powerful, no matter the venue size.
Designed to Inspire
The TONEX Cab's Italian design and finish give it a timeless yet modern look under any spotlight. The integrated tilt-back legs let users angle the cab and direct the sound, which is optimal for hearing better in small or dense sound stages. Swappable optional grills (Gold/Silver) make it easy to customize each rig's appearance or keep track of different TONEX Cabs between bandmates or when running stereo rigs.
Bundled Software
TONEX Cab includes a dedicated TONEX Cab Control software application for managing and loading presets and IRs. As part of the TONEX ecosystem, it also includes TONEX SE, the most popular capture software program, with 200 Premium Tone Models, unlimited user downloads via ToneNET and AmpliTube SE for a complete tone-shaping experience.
Pricing and Availability
TONEX Cab is now available for pre-order from the IK online store and IK dealers worldwide at a special pre-order price of $/€699.99 (reg. MSRP $/€799.99*) with a black grill as the default. The optional gold and silver grill cloths are available at a special pre-order price of $/€39.99 (reg. MSRP $/€49.99*). Introductory pricing will end on March 18, with TONEX Cab shipping in April.
*Pricing excluding tax.
For more information, please visit ikmultimedia.com
IK Multimedia TONEX Cab 700-watt 1 x 12-inch Power Guitar Cabinet
TONEX Powered FRFR CabWith over 350 effects models, 120 sampling slots, and a Groove Station with a 480-second looper, this pedal offers unparalleled versatility for guitarists worldwide.
In 2025, MOOER has announced that it will be set to release its latest multi-effects pedal, the GS1000 Intelligent Amp Profiling Processor, an augmented intelligent amp profiling processor. Built on MOOER’s advanced third-generation digital platform, the GS1000 introduces groundbreaking MNRS 2.0 technology, allowing guitarists around the world to emulate their favorite gear with immense precision–specifically, for distortion pedals, preamps, amplifier heads, and cabinets.
With this innovation, guitarists can fully capture the essence of their favorite guitar gear without owning the physical hardware, enabling them to carry their favorite tones wherever they go. Users are even able to use third-party IRs for cabinets of their choice, further enhancing the flexibility of this feature.
It’s unforgettable how much MOOER’s multi-effects pedals have impressed audiences so far, primarily thanks to their robust tone libraries. However, even still, the GS1000 continues to build upon this with storage for up to 120 sampling profiles, along with continued integration with the MOOER Cloud app. Essentially, this cloud integration facilitates infinite upload and download possibilities, giving users access to a global community of shared tones, widely expanding the number of accessible tones. More still, the GS1000’s previously mentioned third-party IR cabinet simulations support up to 2048 sample points, guaranteeing studio-grade tonal accuracy across the board.
Even more impressive for the price is how the GS1000 inherits the dual-chain effects architecture that made previous MOOER gear so versatile, making it suitable for highly complex usage scenarios. With over 350 factory effects models and a Sub-Patch preset grouping mode, the GS1000 makes it far simpler for users to make seamless transitions between tones, all while maintaining effect tails to guarantee seamless transitions. Additionally, the reintroduction of the innovative AI-driven EQ Master builds upon MOOER devices’ previous capabilities, using intelligent adjustments in real-time to match the musical style of players to tones, while still allowing manual tweaks for precise control.
Impressively, the GS1000 also comes packed with a Groove Station module, consisting of a combination of drum machine and looper features–including 56 high-quality drum kits! It offers a 480-second phrase looper with infinite overdubs, automated detection, and synchronization capabilities, resulting in an intuitive platform for solo jamming, composition, and live loop-based performance. Overall, the Groove Station acts as an all-in-one suite for creating full arrangements, without having to depend on additional backing tracks or bandmates.
Visually and functionally, the GS1000 really stands out thanks to its sleek visual design and enhanced user experience. For example, it features a convenient 5-inch high-resolution touchscreen, which is also paired with ambient lighting to add a visually stunning element to the pedal. As a result, the GS1000 is not only designed for convenient touch-based control but also as a standout centerpiece in any guitar rig.
In addition to this touchscreen control system, the GS1000 also provides expanded connectivity options, improving upon the already impressive flexibility of past pedals. Most notably, it supports connectivity with the MOOER F4 wireless footswitch, as well as the ability to control presets via external MIDI devices.
As is expected from MOOER these days, the GS1000 also excels when it comes to routing opportunities, going above and beyond the typical stereo ¼” inputs and outputs that would be expected from other brands. Yes, it still includes such staples, but it also includes an XLRmicrophone input, alongside balanced TRS outputs for long-distance signal clarity. The configurable serial/parallel stereo effects loop enables seamless integration of external effects, and the addition of Bluetooth audio input and MIDI compatibility broadens its wide range of use cases for live and practice-based applications.
Furthermore, the pedal also serves as a professional audio solution thanks to its low-latency 2-in/2-out ASIO USB sound card. Supporting up to 192kHz sampling rates, the GS1000 makes recording and live streaming effortless, as it can easily be used with software DAWs, MOOER’s editing software, as well as the USB-based MIDI control.
The GS1000 will be available in two versions–the standard white edition, which is powered by mains power, and the GS1000 Li version, which introduces a 7.4V 4750mAh lithium battery, chargeable through its power port. With this upgrade, users can enjoy up to six hours of continuous power-free playtime, making it ideal for practicing, busking, and generally performing on the go.
Overall, for fans of MOOER’s previous amp simulation offerings, the GS1000 represents a natural evolution, building on everything that made its predecessors great while introducing cutting-edge features and expanded capabilities. Most importantly, MOOER has promised to continuously update its MOOER 4.0 tonal algorithms on the MOOER Cloud in line with therelease, keeping things fresh for the company’s dedicated user base.
- MNRS 2.0 sampling technology for emulating distortion pedals, preamps, amplifier heads, and cabinets
- Over 350 original factory effects models
- 120 sampling slots with upload/download support via the MOOER Cloud app
- Supports third-party cabinet IR files up to 2048 sample points
- Integrated Groove Station with a drum machine and 480-second looper, featuring infinite overdubs and synchronization capabilities
- 54 high-quality drum kits
- 4 metronome tones
- Tap-tempo control for timing effects
- Advanced AI-driven EQ Master for intelligent tone adjustment based on music styles, with manual customization options
- Built-in high-precision digital tuner
- Quick-access dual-chain effects architecture for seamless creative workflows
- 5-inch high-resolution touchscreen with ambient lighting for enhanced usability
- Four multi-purpose footswitches
- Configurable serial/parallel TRS stereo effects loop for external effects integration
- 6.35mm instrument input and XLR microphone input for expanded connectivity
- Balanced TRS stereo outputs for long-distance signal transmission without quality loss
- Bluetooth audio input functionality for accompaniment playback
- Low-latency ASIO 2-in/2-out USB sound card supporting up to 192kHz sampling rate
- MIDI controller compatibility for managing presets and features
- USB-C port for preset management, USB audio, and USB MIDI functionality
- Supports MOOER F4 wireless footswitch for extended control
- Also available as the GS1000 Li, which features a built-in 7.4V 4750mAh lithium battery, offering up to 6 hours of continuous playtime, chargeable through the power port
The GS1000 will be available from the official distributors and retailers worldwide on January 16th, 2025.
For more information, please visit mooeraudio.com.
Hand-crafted in Petaluma, California, this amp features upgrades while maintaining the original's legendary tone.
The Mesa/Boogie Dual Rectifier Solo Head’s arrival in 1992 was a watershed moment for alternative rock and metal that changed everything; heavy music would never sound the same again, and the Dual Rectifier’s crushing, harmonically rich tone became the most sought-after guitar sound of the era. With a feel as empowering as its sound, the Rectifiers provided an ease of playing that supported and elevated proficiency and was inspirational, rewarding, and addictive.
Its sound and impact on the generation that used it to define what rock music would become were as sweeping as they have been lasting. And it remains arguably the most modeled in today’s digital amp landscape. Now, the 90s Dual Rectifier is back with a vengeance, built in Petaluma, California, by the same artisans who made the originals the most desirable high-gain guitar amplifier of all time.
For more information, please visit mesaboogie.com.