When saxophonist Joshua Redman is talked about, his father Deway Redman, a saxophonist in an earlier jazz era, ca not be ignored. However, none of the variants of the popular father-son stories is to be reported here. To be reported is first and foremost of Ornette Coleman, an undisputed, larger-than-life saxophone jazz legend, with whom Redman's father had performed, and whose musical spirit had the band Old and New Dreams firmly under control, which had been founded by Deway Redman. This band, composed of such prominent musicians as Don Cherrys, cornet, Charly Haden on bass and Ed Blackwell on drums, alongside Deway Redman, saxophone was active into the eighties and the band understood itself in a sense in direct succession of Coleman's band of the sixties and seventies, whose jazz sound world was also that one of Old and New Dreams.

How the story goes on? Well, the young Redman almost certainly sees his album Still Dreaming as a reminiscence of his father, who passed away three years ago. The album name and the band name of his father's New and Old Dreams are really too similar to not see it this way. However, when Joshua Redman "dreams", he dreams on Still Dreaming at least not directly from the jazz style of the father. Rather, he has long since transcended the musical ideas of his father and primarily those of his over-father Ornette Coleman into his personal style of jazz, so that only in some places the breath of the older ones is immediately perceived. So, he has his own dreams and in dreaming them he so is supported congenially by the three partners of his post-bop quartet, namely by Ron Miles, cornet, Scott Colley on bass and Brian Blade on drums. These three musicians also have a direct relationship with the band of Deway Redman and thus indirectly with Ornette Coleman: Before Don Cherry had found his individual way of playing, he sounded similar to Don Cherry. Scott Colley acquired his knowledge directly from Charlie Haden, and Ed Blackman, through his lineage from Louisiana, has an intersection with Ed Blackwell.

Sechs der acht Titel auf Still Dreaming stammen von den Bandmitgliedern, während zwei weitere auf Haden (Playing) und Coleman (Comme Il Faut) und zurückgehen. Während Playing nicht gar so wild auftrumpft wie die originale Studioversion, erfährt Come Il Faut eine völlig eigenständige, hoch konzentrierte Wiedergabe durch Joshua Redman und seine Mannen. Mit dem ersten Titel New Year aus der Feder von Scott Colley beschleunigt das Quartett den Zuhörer in bester Bop-Manier aus dem Stand heraus von null auf hundert und lässt bis zum Beginn des nachfolgenden im besten Folk-Stil von Redman dargebotenen Unanimity nicht locker. Auf der sanften Wellenbewegung des Basses surft das Saxophon in Haze and Aspirations sowohl walzerseelig als auch soulig entspannt dahin. It’s Not the Same wird vom Schlagzeug mächtig unter Druck gesetzt. Blues for Charly entpuppt sich als vom Saxophon angestimmter und über eine längere Zeitspanne mit verschliffenem Ton ausdrucksvoll gesungener langsamer Blues. Der letzte Titel auf Still Dreaming verklingt in der Tat wie ein Traum am frühen Morgen in eine Art eines lyrischen Abgesangs.

Six of the eight titles on Still Dreaming come from the band members, while two others going back to Haden (Playing) and Coleman (Comme Il Faut). While Playing does not boast as wildly as the original studio version, Come Il Faut experiences a completely independent, highly concentrated rendition by Joshua Redman and his men. With the first title, New Year, written by Scott Colley, the quartet accelerates the listener in the best bop fashion from zero to one hundred, and will not be let up until the beginning of the subsequent folk-style Unanimity presented in best folk style. On the gentle wave movement of the bass, the saxophone in Haze and Aspirations surfs relaxed in both a waltzing and a soulful way. It's Not the Same is mightily put under pressure by the drums. Blues for Charly turns out to be a slow blues tuned by the saxophone and expressively sung over by it a long period of time. The last title on Still Dreaming does indeed fade away like an early morning dream into a kind of lyrical chant.

Still Dreaming hinterlässt bereits nach dem ersten Hören den Eindruck eines schlüssigen Konzepts, heutigen Jazz in höchster Qualität neu zu denken. Das Album ist deshalb rundum empfehlenswert.

Already after the first listen, Still Dreaming leaves the impression of a coherent concept of rethinking today's jazz in the highest quality. The album therefore is highly recommended.

Joshua Redman, saxophone
Ron Miles, trumpet
Scott Colley, bass
Brian Blade, drums