Feature photo: Elliot Ross
Like anybody else, Ron Miles tries to make sense of the world around him, only that with him, he channels his feelings on heavier topics through his composing pen and his trusty cornet. When we last cast our ears on a new release of his, he was sizing up the current civil rights movement as a continuum of the same movement from the 1960s. If anything, I Am A Man holds more resonance now than it did three years ago.
Here in the Year of Covid-19, Miles turns his attention to more personal matters. The nine songs he wrote for Rainbow Sign were inspired by his father, whom he cared for in 2018 in the final months of his life. Rainbow Sign is a fresh batch of nine Ron Miles songs that reflect on his father’s passage from our world to another one.
Miles moved on too, by following his longtime friend Bill Frisell over to Don Was’ Blue Note Records.
Of course, Bill is on hand to help out on Miles’ Blue Note debut, and the logic of that extends well beyond their friendship; Ron Miles’ judicious approach to the cornet that places soul-touching well above technical dramatics fundamentally mirrors Frisell’s approach to guitar. Another Frisell quality shared by Miles is making the blues at the center of nearly everything they play, even when it’s often not obvious because they like to present it with more introspection and less sadness.
Frisell’s latest favorite bassist Thomas Morgan is also on hand, as well as couple of other elite performers in pianist Jason Moran and drummer Brian Blade.
Both Miles and Frisell blow the blues on their solo turns (though nothing like Morgan did) well into “Like Those Who Dream,” but the song commences with Frisell’s volume pedal manipulations with Miles largely mimicking that effect on his horn. As the rest of the band eases in and the form of the strain takes shape, both take on the meandering lead line across what unfolds as a pretty intricately put-together composition that still allows for improvisation and some beautiful comping from everyone behind Ron Miles.
Compared to the unwinding “Like Those Who Dream,” “Queen of the South” feels like a sprint to the finish, but here again Miles comes up with complex chord patterns that come across as inviting instead of intimidating simply because Miles’ horn has a warm demeanor.
Blade is at his best when you would be least likely to notice the drummer, as on the gently rolling “Average,” where he uses his cymbals, toms and snare with quiet deftness to help sell Miles’ story. Morgan’s bass spotlight is Haden-level deep.
Miles applies his unusual melodic development style to a straight-up jazz swing for “Rainbow Sign” and in sharing the lead with Frisell, it’s easy to detect the special rapport between the two. Moran is loose and light for his asides in keeping with the easygoing, cheery mood of the performance. “Binder” is also more overtly ‘jazz’ that most of these songs, a twisting, bop number where we get to hear some snazzy chops from Miles.
“The Rumor” was written by Myles with the intent to bring out Frisell’s soul side and the guitarist comes through, using that signature, pulsing tone. Miles, Moran and Frisell unify for the wandering lead lines of “This Old Man,” and even Morgan plays some unconventional patterns. Even more unexpectedly, the sophisticated melody dissolves into a loose kind of freedom at the end.
“A Kind Word” is a folkish, amiable closer that gathers steam through its extended, ending motif.
Ron Miles’ music is always both relaxed and cerebral, a rare combination of qualities that few can pull off so convincingly. But once again, he does, and with the ample help of some very special friends.
Rainbow Sign is now on sale at all the usual outlets.
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