Dave Miller. The name resonates within Chicago’s vibrant jazz scene, yet pigeonholing him as simply a “jazz guitarist” feels reductive. A glance at his discography reveals a musician who comfortably traverses a diverse landscape of musical styles, hinting at an artistic depth that begs exploration. This article delves into the career and musical philosophy of Dave Miller, a true Chicago original.
Dave Miller’s collaborations read like a who’s who of Chicago jazz. He’s shared stages and studios with luminaries such as Matt Ulery, Dan Chase, Ted Sirota, and Greg Ward, recently lending his distinctive guitar work to Ward’s critically acclaimed album, Stompin’ Off from Greenwood. Fresh from a ten-day retreat in the Catskill Mountains dedicated to songwriting, Miller is currently channeling his creative energy into a new project, the details of which remain tantalizingly under wraps.
My own connection to Dave Miller is laced with near misses and shared acquaintances. We orbited the same circles for years; I even stepped into his shoes as a teacher at a small school in Chicago’s Old Irving Park neighborhood after his departure. Finally, our paths converged at an Oak Park restaurant, where, under the watchful gaze of the curious owner, we engaged in a conversation spanning music, the Chicago jazz scene, and formative influences. Our meeting culminated in a fruitful crate-digging expedition at Oak Park Records next door, solidifying a shared passion for musical discovery.
It’s worth noting that shortly after this interview, Dave Miller received a Grammy nomination for “Best Improvised Jazz Guitar Solo” for his contribution to “Sundown” from Greg Ward’s album “Stompin’ Off from Greenwood.” A testament to his exceptional talent!
Image alt text: Dave Miller performing jazz guitar, highlighting his musical talent and stage presence.
Jonathan Ross: You have strong Chicago roots. Can you tell us about growing up in the area and the music scene you encountered? What were your early musical influences?
Dave Miller: I spent my formative years in Wheaton, just outside of Chicago, until I went to college. I picked up the guitar at 11, and within months I was already playing in a band. A lot of my friends were also starting their musical journeys around the same time, and there was a really inspiring lineage of musicians in the area. We had older musicians in the community and at our high school who were incredibly talented, and we really looked up to them. So, pretty quickly after I started learning guitar, I was immersed in a band, writing original songs, and playing gigs wherever we could find them. Being a kid in the 90s, grunge was huge for us, alongside classic rock icons like Hendrix and Zeppelin. Then discovering Frank Zappa was a pivotal moment. He opened up a whole world of not just jazz, but “left of center” and experimental music in general. His incredibly diverse career meant there was something for anyone seeking music that pushed boundaries.
JR: When did jazz enter the picture for you?
DM: Jazz started to grab my attention in high school. In my sophomore year, I joined the jazz band. I didn’t have a deep understanding of jazz at that point, and I quickly realized that high school jazz band wasn’t necessarily “real” jazz in the truest sense. There were also aspects of the curriculum that didn’t resonate with me, so I eventually stopped participating formally. However, I was writing a lot of music at the time, and it was becoming a melting pot of all the different styles I was absorbing.
JR: When did you first seek out formal jazz guitar instruction?
DM: Right after high school graduation, I took lessons during the summer with Steve Ramsdell at College of DuPage. Later, while pursuing an accounting degree at the University of Illinois, I stumbled upon a Jazz Composition class designed for non-music majors. It’s almost unbelievable that they offered such a course! It was taught by Thomas Wirtel, who also directed the university’s top Big Band. The class was incredibly small, only four of us, and remarkably, one of my classmates was Noam Pikelny, who went on to become the banjo player for the Punch Brothers and is widely considered one of the greatest banjo players globally, second only to Bela Fleck.
JR: What was your first impactful encounter with jazz guitar itself? For me, it was “The Incredible Jazz Guitar” by Wes Montgomery.
DM: That’s incredible because that very same record was my gateway into jazz guitar! Hearing “Airegin” for the first time was a revelation. It completely captivated me.
JR: You later transferred to Northern Illinois University. What was the learning environment like there?
DM: After my sophomore year, I applied to several music schools, and Fareed Haque was the first to respond. He personally called me and invited me to audition. I met him at the school, and we played “Just Friends” together. Then he asked me to play a C Major scale. Based on that, he offered me a place in the music program. Within a month, I had to completely restructure my life to make the move to NIU. Once I arrived, I was surrounded by a community of musicians who were, frankly, much more advanced than I was, which was incredibly beneficial. It constantly pushed me to improve. Fareed would assign a seemingly impossible amount of work each week, but it was his way of testing your limits, seeing how much you could handle and how dedicated you were.
Image alt text: Dave Miller contemplating music with his guitar, showcasing his dedication to his craft and the instrument.
JR: You spent several years in New York City. How would you describe the music scene there, and how does it compare to Chicago’s scene?
DM: The Chicago scene is characterized by an inherent honesty in the music and a healthy dose of humility; we don’t take ourselves too seriously in a good way. There’s also a very strong sense of community here. If you were to distill the key differences from New York, the biggest factor is the cost of living. Chicago is significantly more affordable. This financial breathing room allows artists to focus more on their craft and worry less about just making ends meet. Money is always a concern, but the pressure is nowhere near as intense as it is in NYC. This translates into more time for creative exploration. Additionally, you get more opportunities for stage time in Chicago because the ratio of musicians to available gigs is much more favorable than in New York. NYC is saturated with musicians, leading to the formation of small, insular micro-communities that can be challenging to penetrate. Trying to branch out and diversify within the NYC scene is almost futile because the time and energy required is immense.
However, my time in New York was invaluable. I had the opportunity to take lessons from some truly exceptional musicians. I studied with Connie Crothers, a pianist and a devoted disciple of Lennie Tristano, for about a year. Connie was like a musical guru, and she fundamentally reshaped my entire perspective on music. Furthermore, being in New York, removed from the familiar comfort of Chicago, allowed me to embrace my own artistic identity more fully. Those were probably the two most significant takeaways from my experiences in NYC.
JR: What do you believe is the most crucial lesson for an aspiring jazz musician to learn?
DM: Without a doubt, the most important thing is to witness masters of the craft in action, to see how it’s done firsthand. The other essential elements, like practice, learning scales and tunes, are fairly self-explanatory and part of the process. But the biggest differentiator I see between younger and more experienced musicians is whether they’ve had the opportunity to witness truly accomplished musicians perform live. I genuinely sympathize with musicians who grow up in areas where there’s no established precedent for high-level jazz performance. We are incredibly fortunate to have grown up in Chicago, a city with a rich and distinct tradition of jazz excellence. My advice is to go out and absorb as much live music as possible. Really listen to the music. What does it actually sound like? Listen deeply.
