Fact-checked by Grok 2 weeks ago

Max Middleton

Max Middleton (born David Maxwell Middleton; 4 August 1946) is an English , , and renowned for his contributions to jazz-rock fusion, particularly as a key member of during the 1970s. Born in , , Middleton grew up in modest circumstances shortly after , without access to a record player in his early years. He began lessons at age 11, inspired by , and developed a passion for through influences like and . Initially working at London's docks in his mid-20s—first as a docker and later in an office role—he transitioned to music full-time around 1968 by transcribing jazz records for publishing companies. Middleton's breakthrough came in 1970 when, at age 24, he joined the second incarnation of , bringing his classical training and jazz sensibilities to the band's jazz-rock sound. He contributed keyboards and compositions to albums including Rough and Ready (1971)—featuring his track "Max's Tune"—, (1972), (1975), and Wired (1976), the latter two produced by and achieving platinum status. Middleton co-wrote several tracks, such as "Freeway Jam" and "Diamond Dust," helping define Beck's instrumental fusion era. Beyond , Middleton formed the band in 1974 with and others, releasing albums like (1975), We Can't Go On Meeting Like This (1976), and Diamond Nights (1977). As a prolific session player, he collaborated with artists including on (1980), on Glorious Fool (1981), across six albums from 1985 to 1998, the , , , , Roy Harper, , and Snowy White's . He also contributed to the Sgt. Pepper's Lonely Hearts Club Band film soundtrack under . In his solo career, Middleton has released Land of Secrets (2003), One Thousand Sails (2010), Two Cranes (2013), and New Notes (2024), blending , , and classical elements. He continues to perform occasional gigs, maintaining a low-profile presence in the music scene.

Early life and education

Childhood and family background

David Maxwell Middleton, known professionally as Max Middleton, was born on 4 August 1946 in , , . Growing up in the immediate post-World War II era, Middleton experienced significant family , with the household lacking basic amenities such as a record player, which meant he had no early exposure to recorded music. His upbringing was focused on survival amid the economic hardships of the time, reflecting the challenges faced by many working-class families in post-war . Before pursuing music professionally, in his early to mid-20s, Middleton worked for two to three years at in for a , handling the wine section in an office capacity. This labor-intensive job underscored his working-class roots and contributed to the resilience that later shaped his career path.

Musical training and early influences

Max Middleton began his musical journey at the age of 11, inspired by hearing a during his time at , which prompted his to encourage lessons. With limited resources in his working-class background, he learned on a second-hand under a local , establishing foundational without initial formal classical structure. He later progressed to a more competent instructor, developing an appreciation for that formed the bedrock of his technical proficiency. In his mid-teens, around age 16, Middleton's interests expanded beyond classical roots through self-directed exposure to jazz via radio and records, fostering a strong affinity for the genre. Seminal influences included Erroll Garner's rendition of "Summertime," which captivated him with its improvisational flair, and Dave Brubeck's quartet, whose rhythmic complexities sparked his imagination. He also cultivated an emerging interest in blues, though he later reflected that deeper engagement came after his initial jazz discoveries, contrasting sharply with his disciplined classical foundation. These limited but impactful encounters shaped his ear for expressive phrasing and harmonic depth. By the mid-1960s, while working an office job at London's docks to support himself, Middleton began informal musical experiments in local settings, playing solo piano and occasionally joining amateur groups. His affinity for R&B emerged through interactions with West Indian musicians Clive and Stan Chaman, whose rhythmic grooves introduced him to soulful, percussive elements that blended with his jazz leanings. A pivotal moment arrived in 1968 with a chance meeting with Cat Stevens, which ignited his professional aspirations and marked the transition from solitary practice to collaborative opportunities.

Career

Early professional work (1960s–early 1970s)

Max Middleton entered the professional scene in the late while working as an office clerk at London's docks, balancing day jobs with emerging opportunities in the city's vibrant club circuit. His debut came through local gigs, where he honed his skills on in informal R&B and jazz-infused settings, drawing from his classical training to adapt to the improvisational demands of live performance. By 1969, Middleton joined , a soul-funk combo with Latin American and jazz-rock elements, formed by drummer Ed Spevcock, bassist , and guitarist Stan Chaman. The band played extended residencies in venues, including a six-hour improvised set at the Café Royal in and spots at Ronnie Scott's club, blending grooves with influences from and to build Middleton's reputation in the underground scene. Flare marked Middleton's shift to more structured professional work, with the group adding vocalists Brian Short and later to expand their sound. In 1970, they provided session support for Jimmy Cliff's cover of ' "Wild World" at , establishing early ties to broader pop circles and showcasing Middleton's versatile contributions in a studio environment. That same year, recorded a full album at in —featuring instrumental tracks with soulful —but it was rejected by , though two cuts later surfaced under the name Elephant Band in 1972. These experiences in and related sessions solidified Middleton's keyboard prowess amid the late 1960s British music boom, transitioning him from amateur ensembles to sought-after fusion-oriented work by 1970. His live and studio roles emphasized rhythmic support and melodic fills, preparing the ground for higher-profile opportunities in jazz-rock.

era (1971–1976)

In 1971, Max Middleton was recruited to the second incarnation of the Jeff Beck Group through bassist Clive Chaman, with whom he had previously collaborated on session work. Chaman, having joined the group earlier, suggested Middleton for an audition while the keyboardist was working at London's docks; Middleton impressed Beck during a casual session, leading to his inclusion in the core lineup alongside Beck on guitar, Chaman on bass, and Cozy Powell on drums. This formation marked a shift from the band's earlier blues-rock roots toward a more sophisticated jazz-infused sound, with Middleton's classical training and jazz sensibilities providing harmonic depth and improvisational flair. Middleton's keyboard contributions were central to the group's landmark albums during this period. On Rough and Ready (1971), he composed and performed on tracks like "Max's Tune" and "Jody," introducing phrasings that highlighted Beck's growing interest in elements and helped redefine the band's direction with a blend of grooves and influences. The follow-up, Jeff Beck Group (1972, also known as The Orange Album), featured his "Definitely, Maybe," contributing to the album's gold certification under producer . By 1975, Middleton co-wrote four tracks on the instrumental masterpiece Blow by Blow, including "Scatterbrain" and "Freeway Jam," while arranging the Beatles' "She's a Woman" and suggesting "Diamond Dust"; produced by , the platinum-selling album solidified the group's style through Middleton's melodic and funky keyboard arrangements. He continued this role on Wired (1976), opening the album with his "Led Boots" and supporting its platinum success with sophisticated synth and piano work that emphasized studio innovations like live takes and . Middleton's influence extended to live performances, where he helped shape the band's dynamic jazz-rock direction during tours following Blow by Blow, including high-energy shows with drummers like Bernard Purdie and Wilbur Bascomb, such as a sold-out gig at Philadelphia's Spectrum arena for 12,000 fans. His ability to layer jazz harmonies over rock structures not only elevated Beck's guitar explorations but also fostered improvisational interplay that became a hallmark of the era's fusion sound. In 1976, after completing Wired, Middleton departed the group to focus more on other ventures, including his ongoing work with the band Hummingbird, which he had joined earlier with former members Chaman and vocalist Bobby Tench; this period with Beck proved pivotal, establishing Middleton as a key architect of jazz-rock fusion and launching his reputation for blending genres in high-impact recordings.

Mid-career collaborations (1970s–1990s)

Following his tenure with , Max Middleton expanded his collaborative scope in the mid-1970s, drawing on the sensibilities honed during that period to contribute to a diverse array of rock and projects. In 1975, he provided piano on Nazareth's album , specifically on the track "Guilty," adding subtle keyboard layers to the outfit's sound. This session work highlighted his versatility in supporting established bands without dominating the arrangements. Middleton then joined as a core member, a ensemble featuring former colleagues and , which had released its debut self-titled album earlier that year. The band released We Can't Go On Meeting Like This in 1976, where Middleton contributed keyboards and co-wrote tracks like "Gypsy Skys," blending rhythmic grooves with improvisational elements. Their follow-up, Diamond Nights (1977), continued this approach, with Middleton's Fender Rhodes and work driving the album's upbeat tracks, solidifying the group's playful yet sophisticated style before its disbandment. Into the late 1970s and 1980s, Middleton's session contributions grew more eclectic. He played on the 1978 soundtrack for Sgt. Pepper's Lonely Hearts Club Band, enhancing the orchestral reinterpretations of ' classics under producer . The following year, he appeared on keyboards for Morrissey-Mullen's album , delivering melodic solos and rhythmic support on tracks like the title song, which showcased the duo's blend of and guitar with Middleton's harmonic depth. In 1980, Middleton provided keyboards—including Fender Rhodes and —and string arrangements on Kate Bush's , contributing to hits like "" and "" with his atmospheric textures that complemented Bush's innovative art-pop. A significant portion of Middleton's mid-career output involved long-term partnerships, notably with Chris Rea across multiple albums from the 1980s to the 1990s. He played keyboards on Rea's The Shamrock Diaries (1985), which included early hits like "Stainsby Girls," and continued through The Road to Hell (1989)—a commercial breakthrough with its title track—and up to The Blue Cafe (1998), providing consistent piano and synthesizer foundations for Rea's blues-rock evolution. Additionally, Middleton co-wrote the instrumental "The Loner" in 1979, initially recorded by Cozy Powell on Over the Top as a nod to Jeff Beck; Gary Moore re-recorded and popularized it in 1987 on Wild Frontier, crediting Middleton as co-writer for its soaring guitar lines over his original keyboard motif. In the 1990s, Middleton toured and recorded with former Rolling Stones guitarist Mick Taylor, serving as the band's keyboardist alongside players like and Eric Parker. Their collaborations included live performances across and the U.S., as well as studio work on Taylor's 1990 album , where Middleton's keys added jazz-inflected support to tracks like "Red House," reflecting his enduring role in blues-rock circles.

Later career and ongoing projects (2000s–present)

In the mid-2000s, Max Middleton joined & The White Flames as a core , marking the beginning of a sustained collaboration that shaped the band's -rock sound. He contributed to key releases including (2005) and the live album Live Flames (2006), while supporting extensive tours through and that highlighted the group's moody, guitar-driven style. This partnership extended into the and beyond, with Middleton providing and keyboards on select tracks for albums such as Reunited (2017) and guest appearances on Something on Me (2020), maintaining the band's emphasis on heartfelt interpretations. From 2009 to 2013, Middleton rekindled his earlier work with through a series of international tours that revived their blues-rock chemistry, drawing on Taylor's legacy and Middleton's melodic keyboard arrangements. The outings included multi-week runs in , , and the in 2009 and 2010; a high-profile residency at New York's Iridium Jazz Club plus European dates in 2012; and closing shows in in 2013, often featuring a rotating lineup of veteran musicians like drummer Jeff Allen and Kuma Harada. Throughout the and , Middleton sustained his focus on jazz-blues composition and performance, releasing solo albums that showcased his signature improvisations, such as Land of Secrets (2003), Two Cranes (2013), and One Thousand Sails (2010), distributed via his official website and platform. These efforts culminated in the 2024 album New Notes, his first full recording in over a decade, featuring 14 jazz-rock tracks exploring themes of time and reflection with a small ensemble of collaborators. As of 2025, at age 79, Middleton continues to nurture a portfolio of live jazz-blues engagements and new recordings, showing no signs of major retirement.

Musical style and equipment

Influences and development

Max Middleton's musical journey began with an appreciation for , though he lacked formal conservatory training. Starting lessons at age 11 after initial self-taught efforts on a , he developed a foundational technique influenced by the structured elegance of classical , which provided a technical bedrock for his later improvisational work. This early exposure, acquired through school and a neighbor's , instilled a disciplined approach that contrasted with the freer styles he would later embrace. By his mid-teens, Middleton's interests shifted toward , drawn to the melodic and spontaneous phrasing of pianists like , whose style profoundly shaped his own expressive playing. He also absorbed influences from and , discovering jazz records around age 16 that expanded his harmonic and rhythmic vocabulary. These jazz icons blended seamlessly with his classical roots, fostering a hybrid sensibility. Concurrently, immersion in the 1960s British music scene introduced R&B and elements, including Motown's soulful grooves and , which added grit and rhythmic drive to his developing sound. While balancing a day job at London's docks, he honed these influences in early bands like the soul-funk group , where exposure to diverse rhythms further enriched his palette. During the early 1970s, Middleton's style evolved toward jazz-rock fusion, integrating rock's energy while preserving jazz's subtlety and improvisational nuance. This period marked a departure from classical rigidity, as he experimented with electric keyboards to adapt to band dynamics and studio demands, influenced by R&B innovators like . Over the decades, his approach matured into a signature jazz-blues idiom, emphasizing soulful, melodic that reflected a lifelong synthesis of genres. By the , this had culminated in smoother, more contemplative expressions, underscoring a career arc from structured beginnings to fluid, genre-blending maturity.

Signature instruments and techniques

Max Middleton is renowned for his distinctive use of the Fender Rhodes , which became his primary instrument for delivering soulful, jazz-blues tones in both collaborative and solo endeavors. Acquired in 1974, the Rhodes allowed him to transition from acoustic —his initial training focus—to a more versatile electric sound suited to and contexts, emphasizing warm, melodic expressions that defined his contributions. Complementing the Rhodes, Middleton incorporated the synthesizer to add rich, analog fusion textures, particularly through bass lines and atmospheric layers in 1970s studio work, such as on the track "," where it blended with orchestral elements for depth. He also employed the for its percussive, funky edge, creating dynamic rhythmic underpinnings that enhanced the jazz-rock blend in his era-defining recordings. His techniques on the centered on sophisticated chord voicings and spontaneous , drawing from influences to vary phrasings across takes, ensuring each performance retained a fresh, melodic quality even in structured sessions. In studio environments, Middleton excelled at layering sounds—overdubbing Rhodes with synths or percussion—to build intricate, textured arrangements without losing the instrument's inherent soulfulness. Over the decades, Middleton's gear adapted from early analog setups in the , including the transition to electric keyboards for portability and tonal flexibility, to sustained reliance on the in contemporary projects, where it anchors his enduring jazz-blues style.

Discography

Solo albums

Max Middleton's debut solo effort, Another Sleeper (), was a collaborative jazz-fusion co-led with Robert Ahwai and released on . Featuring eight original compositions—six penned by Middleton—the record showcased groovy, instrumental tracks blending funk and fusion elements, with highlights like "Plane Sailing" praised for their rhythmic drive and under-the-radar appeal. Produced amid Middleton's post-Jeff Beck Group transition, it received positive retrospective reviews for its excellent musicianship and remastered , though it remained a niche without significant commercial breakthrough. Following a long hiatus from leading projects, Middleton released his first true solo album, Land of Secrets (2003), on his own RL-2 label. Recorded with drummer Martin Ditcham, guitarist Robert Ahwai, and bassist Sylvin Marc, the album emphasized with an international flavor, incorporating introspective -jazz themes reflective of Middleton's career pause. Tracks like "Blues on a Summer's Day" highlighted his signature work, earning acclaim as an "ultra-fine piece of " that offered "plenty of ear candy" through its contemporary approach and melodic depth. Critically well-regarded for its enjoyable blend of styles, it solidified Middleton's return as a without achieving broad commercial success. One Thousand Sails (2010), also on RL-2, marked Middleton's exploration of Eastern influences, evident in titles such as "Sunrise in " and the album's overall thematic voyage. Produced with a focus on his inimitable style infused with classical nuances, it featured chill-out vibes and driving rhythms across instrumental tracks, showcasing mature keyboard improvisation. Reviews highlighted its intriguing musical journey and rhythmic energy, positioning it as a sophisticated evolution in Middleton's solo catalog, though it remained targeted at enthusiasts rather than audiences. Building on this momentum, Two Cranes (2013) adopted a more stripped-down aesthetic, with nine tracks—five featuring only drums and keyboards—emphasizing cinematic atmospheres and Middleton's Rhodes-centric compositions. Released on RL-2, the album combined driving rhythms with emotional depth, earning praise for satisfying "both an intellectual and emotional level" and adding dimension to his playing style. Its intimate, focused production received strong critical nods as a highlight of his later work, underscoring his ongoing refinement without notable commercial metrics. Middleton's most recent solo release, New Notes (2024), arrived over a later on Stupid Music, comprising 14 tracks that evoke the passage of time through evocative titles like "July Days" and "Dog Days Too." Produced as his first recording in more than ten years, it demonstrates a continued mastery of Rhodes-driven -blues, blending reflective themes with rhythmic vitality in a temporal . Early reception celebrated its demonstration of enduring creativity, maintaining Middleton's niche appeal in circles.

Selected session and collaboration credits

Max Middleton has amassed hundreds of session credits as a keyboardist across jazz-rock, blues, and rock genres, as documented in comprehensive discographies. His contributions often featured electric piano, organ, and synthesizer, enhancing the atmospheric and improvisational elements of recordings. During the Jeff Beck Group era from 1971 to 1976, Middleton provided keyboards on key albums including Rough and Ready (1971), Jeff Beck Group (1972), Blow by Blow (1975), and Wired (1976). Notably, his Fender Rhodes piano work on "Cause We've Ended as Lovers" from Blow by Blow added emotional depth to Jeff Beck's instrumental rendition of Stevie Wonder's ballad, contributing to the album's fusion landmark status. In 1975, Middleton played piano on Nazareth's breakthrough album Hair of the Dog, including the title track and a cover of Randy Newman's "Guilty," bolstering the hard rock outfit's blues-inflected sound. For Hummingbird's self-titled 1975 album, Middleton served as a core , delivering and parts that supported the band's soulful jazz-rock grooves led by and . Middleton's 1980 collaboration with on included Fender Rhodes piano on tracks like "The Wedding List," "," and the hit "Babooshka," as well as on "Egypt," aiding the album's eclectic art-pop experimentation. Throughout the and 1990s, he contributed keyboards to six albums, starting with Shamrock Diaries (1985) and including On the Beach (1986), The Road to Hell (1989), and (1998), where his piano and arrangements complemented Rea's blues-rock narratives. From 2005 onward, Middleton has been a longstanding member of Snowy White & The White Flames, playing keyboards on albums such as The Way It Is (2005), Realistic (2011), and later releases like Driving on the 44 (2022) and Unfinished Business (2024), emphasizing blues and jazz fusion in live and studio settings. Among his composition credits, Middleton wrote the instrumental "The Loner," originally for Cozy Powell's Over the Top (1979) and later popularized by Gary Moore on Wild Frontier (1987), showcasing his melodic prowess in rock contexts.

References

  1. [1]
    Max Middleton
    ### Summary for Max Middleton
  2. [2]
    Engine Room | Max Middleton - Record Collector Magazine
    Aug 11, 2022 · A classically trained pianist, he developed a sound knowledge of R&B and jazz. While earning his keep as an office wallah at London's docks.
  3. [3]
    Max Middleton: Jazz, Jeff and more
    Aug 24, 2023 · Keyboardist Max Middleton played a pivotal role in Jeff Beck's jazz-rock fusion period, including helping to put together the classic album Blow By Blow.Missing: biography | Show results with:biography
  4. [4]
    MAX MIDDLETON discography (top albums) and reviews
    David Maxwell "Max" Middleton (born 4 August 1946, Amersham, Buckinghamshire, England). He is an English composer and keyboardist and was originally a docker ...Missing: family background
  5. [5]
    About - Max Middleton
    It begins in 1968 after a chance meeting with Cat Stevens and since that day his unique style of playing has found him in the company of the late Jeff Beck.Missing: early life training
  6. [6]
    FLARE GROOVE - Record Collector Magazine
    Jul 20, 2017 · A lost gem recorded in 1970 or '71 that blends the jazz-rock of Chicago with a rhythmic pulse that taps into the funky mainline.
  7. [7]
    Max Middleton Songs, Albums, Reviews, Bio & Mo... - AllMusic
    Max Middleton is best known as the pianist in the second, most successful version of Jeff Beck Group. Middleton was trained as a classical pianist but also ...
  8. [8]
    https://www.discogs.com/release/1642349-Nazareth-Hair-Of-The-Dog
  9. [9]
    https://www.discogs.com/release/1359304-Hummingbird-We-Cant-Go-On-Meeting-Like-This
  10. [10]
    https://www.discogs.com/release/1704021-Hummingbird-Diamond-Nights
  11. [11]
    https://www.discogs.com/release/4441344-Various-Sgt-Peppers-Lonely-Hearts-Club-Band
  12. [12]
    https://www.discogs.com/release/1230286-Dick-Morrissey-Jim-Mullen-Cape-Wrath
  13. [13]
    https://www.discogs.com/release/29069482-Kate-Bush-Never-For-Ever
  14. [14]
    Mick Taylor database 1990
    Line-up all other songs: MT (gtr, voc)/Max Middleton (keyb)/Shane Fontayne ... Recorded at Lions Den, New York City on the 14th June 1990. MT plays guitar ...
  15. [15]
    https://www.discogs.com/release/4852195-Mick-Taylor-Stranger-In-This-Town
  16. [16]
    https://www.rollingstonesnet.com/MickTaylor1990.htm
  17. [17]
    Snowy White And The White Flames - Reunited - Blues Magazine
    Sep 17, 2017 · New album Snowy White The album recorded with his tried and trusted pals ... piano: Max Middleton. Headful Of Blues. Written by: Snowy ...
  18. [18]
    Released: WHITE,SNOWY - Amazon.ca
    Rating 4.6 (105) For 'Blues On A Borrowed Guitar', Snowy rang his old pals Kuma Harada (bass), Max Middleton (keys) and Jeff Allen (drums) and recorded the song in a spontaneous ...Missing: 2010s- 2020s
  19. [19]
    Mick Taylor Database 2009
    13th – 28th March: Tour of Switzerland and Germany. Line-up: MT (gtr, voc)/Max Middleton (keyb)/Jeff Allen (dr)/Michael Bailey (bass; voc on I Wonder Why)/ ...Missing: 2009-2013 | Show results with:2009-2013
  20. [20]
    Mick Taylor Database 2010
    29th April - 1st May: US tour. Line-up: MT (gtr, voc)/Max Middleton (keyb)/Jeff Allen (dr)/Kuma Harada (bass)/Denny Newman (gtr, voc) Note: Tour schedule cut ...Missing: 2010-2013 | Show results with:2010-2013
  21. [21]
    Mick Taylor Database 2012
    ### Summary of Max Middleton's Involvement in Mick Taylor's 2012 Tours
  22. [22]
    Mick Taylor Database 2013
    ### Summary of Max Middleton's Involvement in Mick Taylor's 2013 Tours
  23. [23]
    Land of Secrets - Max Middleton - Bandcamp
    Free deliveryLand of Secrets by Max Middleton, released 13 November 2003 1. Loco 2. Miles Away 3. Cherry Blossom Blue 4. Mr Godsky 5. Blues on a Summer's Day 6.Missing: website | Show results with:website
  24. [24]
    Two Cranes - Max Middleton - Bandcamp
    Free deliveryTwo Cranes by Max Middleton, released 07 April 2013 1. Two Cranes 2. Bamboo Forest 3. Mountain 4. Absent Friends 5. Water Garden 6. Down Home Girl 7.
  25. [25]
    One Thousand Sails - Max Middleton - Bandcamp
    Free deliveryOne Thousand Sails by Max Middleton, released 19 November 2022 1. Sunrise in Jaipur - Nightfall in Mumbai 2. Under Different Skies 3. Club Butel 4.Missing: website | Show results with:website
  26. [26]
    New Notes (Signed) - Burning Shed
    3–10 day delivery 30-day returnsNew Notes is the latest album from British keyboard legend, Max Middleton - and his first recording for over ten years. CD in digipack.
  27. [27]
    Max Middleton Delivers "New Notes" On The Passage Of Time
    Mar 14, 2025 · Called “New Notes” and consisting of 14 tracks, Middleton's new album clearly demonstrates a temporal theme – at least, a few numbers' titles suggest so.Missing: 2023-2025 | Show results with:2023-2025
  28. [28]
    Max Middleton - Artistagraph
    Max Middleton is best known as the pianist in the second, most successful version of Jeff Beck Group. Middleton was trained as a classical pianist but also ...
  29. [29]
    Jazz Blues | Max Middleton | England
    A respected English composer with an extensive musical portfolio. Max Middleton is reknowned for his Jazz Blues Rhodes keyboard style featuring soulful and ...
  30. [30]
    https://www.discogs.com/release/2667419-Max-Middleton-Robert-Ahwai-Another-Sleeper
  31. [31]
    Max Middleton/Morrissey–Mullen: Another Sleeper/Cape Wrath
    Coming to you all the way from funky Austria is this unpretentious doubledisc souvenir of the golden age of British jazz-funk circa 1979.
  32. [32]
    Another Sleeper by Max Middleton & Robert Ahwai - Rate Your Music
    Rating 3.2 (20) · 30-day returnsThe opening track , "Dance by the Light of the Moon" sounds classic but is much too similar to "Cafe Reggio" by Isaac Hayes. The rest is much too ordinary.
  33. [33]
    Reviews - Max Middleton
    'Land of Secrets' is Max's first solo album and features Martin Ditcham on drums and percussion, Robert Ahwai on guitar, Sylvin Marc on bass.Missing: discography | Show results with:discography
  34. [34]
    Land of Secrets - Max Middleton | Album - AllMusic
    Rating 10/10 (1) Land of Secrets by Max Middleton released in 2003. Find album reviews, track lists, credits, awards and more at AllMusic.
  35. [35]
    https://www.discogs.com/release/3254716-Max-Middleton-One-Thousand-Sails
  36. [36]
    Two Cranes by Max Middleton: Amazon.co.uk: CDs & Vinyl
    Two Cranes is an intriguing musical voyage combining classical nuances with Max Middleton's inimitable Rhodes keyboard style. Driving rhythms with cinematic ...
  37. [37]
    https://www.discogs.com/release/35521330-Max-Middleton-New-Notes
  38. [38]
    New Notes - Album by Max Middleton | Spotify
    Listen to New Notes on Spotify · album · Max Middleton · 2024 · 14 songs. ... New Notes. Max Middleton. 202414 songs, 1 hr 13 min. It's a Rum Day · Max Middleton.