Newsletter

Existential Banjo

ENJOY EVERY EPISODE!

Episode 1
Little Pink America
with Corky Siegel &
Sons of the Never Wrong

Episode 2
People Get Ready
with Sue Demel, vocals

Episode 3
MTA (Poor Ol' Charlie)
with Tony Trischka


Episode 4
Suite for Americas:  Dorian
with Nora Barton, cello

Episode 5
Midnight Rider
with Darol Anger. violin

Episode 6
Vincent Black Lightning
@ Chicago City Winery

Episode 7
Hasna ya Layla
with Aziz Samaoui, ngoni

Episode 8
Opus 821
with Geraldo de Oliveira

Episode 9
Gaudete & Sleepers Awake
with David Jennings, vibes

Episode 10
Corrina, Corrina
with Aziz Samaoui, ngoni 

Episode 11
Dokunmak
with Erkan Ogur
(Concert in Istanbul)

Episode 12
Last Thing On My Mind
with Tom Paxton, songwriter

New Releases

A-sides CD

Fingerstyle guitar with Darol Anger on violin 

 

Two New Hal Leonard books

BOB DYLAN FOR BANJO

 

FIRST 50 SONGS
To Play on the Banjo 
(co-written with Greg Cahill)

 

About Michael J. Miles

 

 A TRUE STORY....

When Pete Seeger first heard Michael Miles, he sent a letter to Michael saying that "in all my 70 years this is among the most beautiful recordings I’ve ever heard...it is enough to make me want to learn the banjo all over again.”
 

Michael Miles is one of America’s most inventive clawhammer banjo players. Add guitar, vocals, jazz instruments, orchestras and complex historically-themed theatrical presentations to the mix and, two decades later, Michael has a critically acclaimed catalog of original compositions, stage performances, music CD’s and music instruction books.

Michael's performance credits include the Kennedy Center, Smithsonian Institution, Ravinia Festival, Harris Theatre in Chicago, American University in Beirut, Johnny Keenan Banjo Festival in Ireland, MIAM Graduate Conservatory of Music in Istanbul,  and the Royal Opera Theatre in Marrakesh.

 

 

 

 
Existential Banjo, Episode 11.   Dokunmak with Erkan Ogur in Istanbul.  This was a concert that we did in October 2015, just four days after the bombing in Ankara.  Erkan is a pioneer of the fretless guitar that he uses to play the microtonal pitches required for such grand melodies.  Western instruments can get close, but not quite right.  Listen to the same melody played by on Erkan's guitar and then on the banjo to hear the difference.