The benjamin millman Soundcheck
I sat down with pianist, producer, and all-around musical mind Benjamin Millman to talk about his journey, influences, and philosophy on creating music. Initially set up as an interview, our conversation quickly turned into a deep dive between two music nerds, unpacking everything from his jazz roots to the challenges of carving out an authentic voice in today’s musical landscape. What struck me most was how Benjamin navigates the fine line between technical mastery and raw emotional expression - always searching for that perfect balance between complexity and groove.
Growing Up in a House of Rhythm
For Benjamin, music wasn’t something to be learned; it was something to be lived. His home in Vancouver was more of a musical playground than a structured training ground. His mother, a professional drummer, immersed him in the rhythms of West African and Cuban percussion, while his father, a blues guitarist and singer-songwriter, introduced him to folk and groove-based music.
“I always grew up with the feeling that music is meant to be shared, not just listened to,” he explains. “In my house, there was no division between ‘musicians’ and ‘listeners’ - everyone had a shaker, everyone played, everyone danced.”
That organic approach shaped Benjamin’s relationship with music, but it also meant that discipline wasn’t always a priority. “I wish I had taken the work ethic more seriously earlier on,” he admits. “I grew up thinking music was just fun - and while that’s a beautiful thing, I later realized that real dedication was necessary to take it to the next level.”
Finding His Own Path in Jazz
By the time he entered Capilano University’s jazz program, Benjamin had talent, but not the structure to fully harness it. His first months were a brutal wake-up call.
“When I started, I was by far the worst piano player there,” he recalls. “I had a professor who literally stopped me mid-performance and said, ‘You are a disgrace to this music. Take it seriously for once.’ I almost cried.”
That moment stung, but it also lit a fire under him. “That night, I went into the practice room and, for the first time in my life, practiced seriously,” he says. “I had no idea what I was really doing when I got to jazz school. But that was when I started to understand the depth of this music.”
Over time, jazz opened new doors for him. We spent a long stretch of the interview just swapping names - talking about players like Wynton Kelly, Oscar Peterson, Fred Hersch, and Keith Jarrett. We even ended up jamming, transatlantic-style - two pianos, an ocean apart.
From Support to Signature: Evolving in Collaboration
While Benjamin has long found joy in supporting others - especially in his producer role - he’s grown into a new phase. Initially focused on adapting and not overpowering, he’s realized that collaboration doesn’t mean disappearing.
“I used to think my job was to blend in,” he said. “Just be a chameleon. But over time, I’ve realized I bring something unique to the table too. And the best collaborations are the ones where you bring your full self and meet someone else where they are.”
His projects with Mikey Jose, Katie Tupper, and Tiny Habits reflect that evolving philosophy. “When I really connect with someone, when we build trust, I feel comfortable bringing my full voice to the table,” he said. “That’s when the music becomes something special.”
The Benjamin Millman Sound: Honest and Human
Describing Benjamin’s sound means capturing something fluid. It’s jazz-informed, but not boxed in. It’s emotionally grounded, with just enough heady sophistication to keep you on your toes.
“I’m not trying to sound like anyone in particular,” he said. “I just want to express what’s true in the moment. Sometimes that’s a single-note line that sings, sometimes it’s dense harmony. But it always has to feel honest.”
His playing often centers on tone and space - he’s not filling every bar with flash. “I care way more about sound than speed,” he said. “How something feels when it comes out of the speakers matters more to me than how ‘impressive’ it is.”
The Keith Jarrett Obsession: Why Imperfection Feels Human
If there’s one artist Benjamin could talk about for hours, it’s Keith Jarrett.
“Sometimes I wish I played sax so I could really sing through my instrument - but then I hear Keith, and I realize, oh, you can do that on piano,” he says.
He recalls the first time he heard Time on My Hands from Live at Carnegie Hall. “It’s the most beautiful ballad playing I’ve ever heard,” he says. “It’s raw, it’s expressive, and it reminds me that perfection isn’t the goal - honesty is.”
This obsession with feel over flawlessness has influenced Benjamin’s approach to performance and production. “If something’s too clean, it loses its soul,” he says. “Keith showed me that vulnerability in music is what makes it real.”
AI in Music: A Call for Uniqueness
With AI-generated music becoming more advanced, Benjamin has strong thoughts on what it means for musicians today.
“AI can generate sounds, styles, even full songs. But it can’t generate experience,” he says. “It can’t live, and it can’t feel. And that’s what we do. That’s our edge.”
Rather than compete with AI on volume or versatility, Benjamin sees the answer in leaning harder into uniqueness. “It’s pushing us to be more ourselves,” he says. “To make things so personal, so specific, that no algorithm could fake it.”
Closing Thoughts
Benjamin Millman is an artist rooted in community, emotion, and constant growth. Whether he's dissecting a Fred Hersch voicing or building a track for a friend, he does it with intention.
“The more I learn, the more I realize how much there is to learn,” he says. “And that’s the best part.”
ARTIST’s TOOLKIT: C.E.S.H.
Benjamin shares one of his favorite harmonic techniques: Contrapuntal Elaboration of Static Harmony (C.E.S.H.), or as he puts it, “making one chord feel like it’s evolving.”
“Let’s say you’re playing an F major 7 chord. Instead of just holding it, move moving the C up to a C#, creating an A maj triad over F. That little movement creates tension and release without changing the harmony,” he explains
It’s a simple trick, but one that can add depth and motion to a song. “It’s all about inner movement - how can you make one thing feel like it’s going somewhere?”