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| Timeless Tales (For Changing Times) |
| Joshua Redman |
első megjelenés éve: 1998
129 perc |
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CD |
Kérjen
árajánlatot! |
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| 1. | Summertime
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| 2. | Interlude 1 :45
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| 3. | Visions
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| 4. | Yesterdays
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| 5. | Interlude 2 :35
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| 6. | I Had a King
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| 7. | The Times They Are A-Changin'
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| 8. | Interlude 3 :20
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| 9. | It Might as Well Be Spring
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| 10. | Interlude 4 :14
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| 11. | How Deep Is the Ocean?
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| 12. | Interlude 3 :25
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| 13. | Love for Sale
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| 14. | Interlude 6 :59
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| 15. | Eleanor Rigby
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| 16. | Interlude 7 :35
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| 17. | How Come U Don't Call Me Anymore?
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Jazz / Neo-Bop, Post-Bop
Joshua Redman - Arranger, Sax (Soprano), Producer, Liner Notes, Sax (Alto), Sax (Tenor)
Aya Takemura Assistant Engineer
Brad Mehldau Piano
Brian Blade Drums
Greg Calbi Mastering
James Farber Engineer, Producer
Jay A. Ryan Assistant Engineer
Larry Grenadier Bass
Robert Ascroft
Robin Lynch Design, Art Direction
Picking up on Herbie Hancock's "New Standards" idea, borrowing some old standards, and splitting the total down the middle, Joshua Redman lends his warm fatback tone, arching skyward passages and a post-bop quartet concept to ten popular songs of the 20th century. Richard Rodgers, Cole Porter, Jerome Kern, Irving Berlin, and the Gershwins share space with The Beatles, Joni Mitchell, Bob Dylan, Stevie Wonder and Prince -- distinguished songwriters all, yet the scorecard tells us that the oldsters' tunes consistently receive more interesting treatment than the rock/folk songs. "Yesterdays" is flexible enough to turn almost into an acoustic funk thing; "How Deep Is the Ocean" saunters along very soulfully; the near cha cha rhythm on "Love for Sale" pulls some inspired heat from Redman. On the other side of the divide, "The Times They Are A-Changin'" isn't very interesting, where even tricky rhythm changes and an Eddie Harris-like high note coda can't pump up an earthbound performance. "Eleanor Rigby" fragments under a jazz waltz treatment presumably planned with Coltrane's "My Favorite Things" in mind (Redman's soprano sounds desperately out of gas at the close). Oddly enough, a broadly funky Harris approach pays off on Prince's "How Come U Don't Call Me Anymore," the sole exception to the pattern. This is not to say that the rock/folk material is intrinsically inferior to the Tin Pan Alley standards -- no way. They simply do not translate very well into the language of the young neo-boppers, or at least, these neo-boppers on this given day. Brad Mehldau (piano), Larry Grenadier (bass) and Brian Blade (drums) make up the technically faultless, flexible piano trio, and most of the selections are separated by short, untitled interludes that usually grow more or less out of the preceding pieces. ~ Richard S. Ginell, All Music Guide
Joshua Redman
Active Decades: '90s and '00s
Born: Feb 01, 1969 in Berkeley, CA
Genre: Jazz
Styles: Fusion, Jazz-Funk, Mainstream Jazz, Neo-Bop, Post-Bop
Every few years it seems as if the jazz media go out of their way to hype one young artist, overpraising him to such an extent that it is easy to tear him down when the next season arrives. In the early '90s, Joshua Redman briefly became a media darling, but in his case he largely deserved the attention. A talented bop-based tenor man, Redman (who will probably never be an innovator) is a throwback to the styles of Red Holloway and Gene Ammons, but also has an inquisitive spirit and can play intriguing music when inspired.
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.
In 1996, Joshua Redman recorded and briefly toured with Chick Corea's "Tribute to Bud Powell" sextet; the solo Timeless Tales (For Changing Times) followed in 1998, and in 2000 he returned with Beyond. Passage of Time appeared in early 2001 and was followed by a lengthy tour of the U.S. The next year, Elastic appeared in stores with an uncharacteristically humorous sight gag adorning the cover. That also reflected on the music, which was more adventurous and playful than in the past, owing a debt to his electronica and experimental rock influences. In 2005, Redman made the move to Nonesuch and released Momentum. Back East followed in 2007, with Compass arriving early in 2009.
---Scott Yanow, All Music Guide |
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