One of the outstanding and important credits in my drumming career was to have had the opportunity to play with Phil Woods.

In 1976, my brother Barry Miles recorded his 'Sky Train' album for which I was the drummer.
Phil Woods conducted the horn ensemble. Phil was impressed with my performance on that album and agreed with Barry I'd be the best choice as drummer for Phil's next solo artist effort. I ended up playing drums on that recording and I'm grateful to both of them for believing in me. At the end of 1976, I was flown over to Barnes, England and played drums on that album at Olympic Sound Studios (The Beatles, Led Zeppelin, Jimi Hendrix, and The Rolling Stones used the studio for many of their recordings). During the planning stages, it was decided that other album projects would be added to maximize the availability of the musicians and studio. Consequently, I was invited to stay for another week to be the drummer on Barry's next solo artist album and recording sessions for Mel Torme (credits), Michel Legrand, and Larry Wilcox featuring Kenny Wheeler. At my request, Will Lee was flown over to the UK to accompany me as "the New York rhythm section" for these additional recordings. Vic Juris was in Barry's band at that time, so Vic was also flown over and played on the additional sessions.
Excerpts from some of the additional sessions

At the time of these recordings, I was 19 years old. Although I had already played on several of Barry's pioneering fusion recordings with sidemen including Pat Martino, John Abercrombie, Al DiMeola, Eric Kloss, this was my first venture into an unfamiliar musical environment sight-reading one chart after the next with no rehearsing, playing with a large ensemble of musicians I had never played with including members of the London Symphony Orchestra, a foreign country, some of the music stylistically different from my past experiences, etc.

Phil was the featured performer on most of the sessions. He came in totally confident, sight-reading perfectly and executing every written note with authority and conviction. His soloing was modern, creative and powerful demonstrating an outstanding ability to solo over any given structure of chord changes making beautiful, musical sense of it all. Of interest, is that Phil had recorded his iconic sax solo on Billy Joel's 'Just The Way You Are' shortly before these sessions.

After a couple of days, Phil walked over to my drum booth and I thought, "OK, he's going to send me back home". To my surprise, his words were, "I wouldn't want to be in your shoes with all this, man. You're doing a great job. Keep it up". I will forever thank Phil for saying that to me when I needed to hear it most. It was one of the defining moments in my life convincing me to continue pursuing music seriously as a career into my adulthood.

Barry's next album was 'Barry Miles/ Fusion Is' which he once again invited me to play drums on. Phil Woods wrote the liner notes and refers to the sessions in England I had just been a part of.
Phil Woods Liner Notes

Around this time, Phil's longtime drummer Bill Goodwin called me to sub for him on a live Phil Woods Quintet gig. I'm honored Phil put in a good word for me. It was in Paterson, NJ at the jazz room 'Gullivers'. I had played there several times prior to this occasion with great players. But the night I played there with Phil, the attendance level was different. I drove up to the venue and couldn't find any access to load my drums in. There was a line of people waiting to get in wrapped around the highway! I played with Phil's quintet a few more times after that and treasure each. (Harry Leahey- guitar, Steve Gilmore- bass, Mike Melillo- piano).

And...
When I collected testimonial quotes for my drum instruction book, 'The Featured Drummer', Phil wrote:
"I have worked with Terry Silverlight on several of my own recording projects and he demonstrates a fine musical imagination".

Years after I had played drums on Phil's 1976 solo artist recording project, a friend of his wrote to me saying,
"Phil wants to make sure this great music project finally is out for all to listen to. People should know about and hear this fantastic work".

A few months before Phil's passing, I wrote him a hello email and here's his reply:
Hello Terry,
Yes my man- we had some great times back in the day.
So nice to hear from you - you sound in fine fettle playing your butt off as usual. We were making music in halcyon days when life seemed clearer. These days I don't know.
But, I still enjoy waking up brushing my tooth saying thank you and going to work!
Stay well and stay in touch.
Phil