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"Some of
the most exciting and vital musical performance art
you're likely to hear."
JAZZIZ Magazine
"Lunacy
mixed with supreme musical mastery." BobWeinberg.com
"Kenny Millions destroyed all ”physics of
music” within noise sax skronk
and jazz punk improv. Looping disaster guitar riffage and then
blasting
sax on top with a gusto most people half his age can't
even seem to find for whatever reason. A one man tonal roller coaster
ending on dimensional train X while he cursed, threw kicks
and punched
into the air to “help release tension” he later said. This was the
soundtrack to the David Lynch remake of Repo Man for real or the
alternate universe where Hunter Thompson was a experimental musician.
Not of this world ever!" Owlbeemoth.wordpress.com
"a solo show
(clar/as/g/screams) in scuba goggles doesn't describe the unique
insanity." New York City Jazz
Record
"Burning
guitar
improvisations, loops
and
distortion, sax skronk, an ululating clarinet, general insanity
and a Las Vegas ending." fan
"Poker-faced and rocking on his heels, Millions laid down a wall of
electronic guitar distortion, which he looped on a sampler and over
which he
then blew sax and clarinet. The sound was simply HUGE, as Millions
reveled in the sonics he pulled from the guitar, activating various
distortion pedals and creating industrial-grade grunge with a whammy
bar. Always an intuitive and feel-motivated performer, Millions was
obviously feeling the guitar...Of course, the horns did come into play,
as Millions blew with tremendous force and utilized techniques he had
honed playing alongside heavy avant-garde jazz cats such as Rahsaan
Roland Kirk and Sam Rivers. But also ingrained in his sensibility are
the examples of the great blues and R&B honkers he had seen and
heard growing up in Detroit, the ones who put a premium on keeping
audiences entertained. And certainly, Millions did just that, as he
dropped to his knees, mumbled obscenities into his mouthpiece,
rhythmically beat the guitar slung at his side, spat water onto the
concrete floor in front of the stage and ultimately collapsed into a
catatonic heap on the lip of the stage, his eyes glassy, his guitar
buzzing....some of the most exciting and vital musical performance art
you're likely to hear." JAZZIZ
Magazine
"I'm torn between the mini-guitar and the sax. Both were obliteratingly
awesome." fan
"At
one point Millions played a tiny guitar, hooked up to sound like
crashing cymbals. After he put the instrument down, he continued
to torture it, even shooting rubber bands at the strings to produce
still more sounds. In the often deadly serious milieu of jazz,
it's refreshing to hear a player whose wit surpasses his ego...an
Absurdist, a Dadaist, a Beatnik, sure. But most of all a
Punk. And even though that voice can be somewhat schizophrenic,
lovely and passionate, then discordant and mocking, it's ultimately the
voice of a creative soul. And that creative soul is having a
helluva good time." New
Times Magazine
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