In just a few short years, Miles Griffith's fearless approach to music has helped him to emerge as a serious contender on the modern jazz scene. Adept in any context, his organic style is adventurous, whimsical, fiery, heart-felt and always on the cutting edge. Griffith seamlessly weaves together a potpourri of styles illuminating the "down home" fun missing in much of jazz' current vocal genre. With an instrument which is poised and mature beyond his years, Griffith is also comfortable with some of the more traditional vocal repertoire. Noted jazz critic, Ira Gitler of Jazz Times states, "Griffith's balladry bows in the direction of the romantic baritones of the '40s and '50s," while Bob Young of the Boston Herald declares, "his oblique Betty Caterish approach shows off his dark phrasing and penchant for melody."
Miles Griffith's non-traditional use of the voice as a percussive instrument, combined with an uncanny harmonic sense has made him a prime choice for many musicians. He's been a member of T.S. Monk Septet, James Williams' ICU and Jack Walrath's Masters of Suspense. Griffith is at the forefront of some of the music's most inventive working bands. "I enjoy working with these guys because they love the music. It is a continual learning process because they all have such different concepts, and in each group I can strive to contribute something new," reflects the vocalist. In the past, Griffith has collaborated with such revered ensembles as the Jon Hendricks' Explosion, Jimmy Heath's Big Band, Roy Hargrove Big Band, Stanley Cowell Quintet and the Bill Saxton Quartet.