Still Dreaminâ€™: Joshua Redman, Ron Miles, Scott Colley, Brian Blade
Monday, March 27
Doors @ 6:00 PM MDT
Show @ 7:00 PM MDT
Price: $40.00 – $45.00
Ages: All Ages
Still Dreamingâ€”featuring the combined talents of saxophonist Joshua Redman, trumpeter Ron Miles, bassist Scott Colley and drummer Brian Bladeâ€”is a not so subtle reference to the renowned Old and New Dreams ensembleâ€”a â€œsupergroupâ€ composed of former Ornette Coleman sidemen Dewey Redman (Josh’s father), Charlie Haden and Ed Blackwell. The spirit of Ornette Coleman’s revolutionary harmolodic concepts are suffused throughout Still Dreaming’s original compositions and adapted as a springboard to open-ended musical conversations between these four master improvisers. The result is a reinvigorated form of jazz expression filtered through the perspective of a younger generation and yielding a sound relevant for today.
The son of the great tenor saxophonist Dewey Redman, Joshua graduated from Harvard and (after debating about whether to become a doctor) he seemed headed toward studying law at Yale. However, Redman came in first place at the 1991 Thelonious Monk competition, landed a recording contract with Warner Bros., and was soon on the cover of most jazz magazines. Pat Metheny was a guest on one of his albums (the Redman-Metheny interplay during their engagements was quite memorable), and although Redman has had success constantly touring with his own group, it is a pity that his apprenticeship period as a sideman was so brief.
Denver trumpeter Ron Miles’ resume includes time with Bill Frisell, Madeleine Peyroux, Don Byron, the Ellington Orchestra, and Fred Hess’ Boulder Creative Music Ensemble. Besides being solicited all over the world for his unique sound, Ron is a staple of the Denver jazz scene and his recent releases as band leader show off his skills as a composer and arranger as well as a “phenomenally gifted trumpeter” (Bill Milkowski). A resident of Denver since he was 11, he began playing the trumpet seriously in junior high school and studied music at the University of Denver (1981-1985) and the Manhattan School of Music (1986). Miles says that living in Denver has given him an appreciation for a broad array of musical styles that he might not have acquired elsewhere. “Country and Western music, Latin, jazz, and rock are all popular here, so you find yourself trying out a lot of ideas with other musicians and gaining a healthy respect for the music,” he explains. Ron Miles was widely recognized as a musical director and arranger with the release of Ginger Baker’s Coward of the County (Atlantic 1999). His compositions anchor that record and highlight the varied influences from which Ron draws inspiration. Hailed as an inventive composer and gifted trumpeter on his solo releases, Ron cruised through the 1990s with a series of well-received releases on Gramavision (My Cruel Heart, Woman’s Day) and Capri (Witness, Ron Miles Trio). In 2002 Ron slowed it down for a quiet, intimate recording with friend and master jazz guitarist Bill Frisell. Heaven again showcases Ron’s talent as an arranger, particularly on Hank Williams’ “Your Cheatin’ Heart” and Bob Dylan’s “A Hard Rain’s A-Gonna Fall” According to Bill Frisell, “What is so exciting about Ron is that he really has his own voice. It seems like everything that is going on right now is either very conservative or it rejects everything. Ron has found a way to include everything and not reject things, and still be his own person.” Miles said of his playing with Bill, “I think we share a fondness for striking melody, patience and the importance of individual timbre.”
“I remember when I first read the words hanging in a frame on my grandma Rosa’s wall. The serenity prayer was something I couldn’t understand until almost thirty years later, but now after experiencing some peaks and valleys of life, those words ring in my ears with clarity.” Brian Blade has set those words to music for his first recording as a singer, guitarist and songwriter: Mama Rosa is a revealing journey through thirteen songs about family, loved ones, travels and a sense that these things that shape and inspire us have to be shared with others to complete a circle. He has been writing and recording material with words for as long as he’s been making music. In fact, Mama Rosa grew naturally from the four-track home demos that he’s recorded over the years and several of the original performances from those tapes can be heard on this album. Initially, Blade felt that these songs would never be heard by anyone else, but after encouragement from longtime friend Daniel Lanois, these home recordings became the cornerstones for the album. There is an initial spark close to the moment of inspiration and that intimate vibe is felt throughout Mama Rosa. “For some time now, these songs have existed in the solitude of my room, and I got a lot of joy and satisfaction from just knowing that they existed,” Blade says. “But at a certain point I questioned whether it was fear or selfishness that kept me quiet. Facing the music and the mirror, I began to ask if this was the end of the process? What does God expect of me? Maybe someone else might find some inspiration in the songs.”