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Joshua Redman - Beyond
Artist: Joshua Redman
Title: Beyond
Genre Jazz
Styles Post Bop, Hard Bop, contemporary/Jazz
Audio CD (April 4, 2000)
Original Release Date: April 4, 2000
Number of Discs: 1
Label: Warner Bros / Wea
Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue (Noncompliant)
Accurately ripped no (confidence 21)
Your CD disc is possibly a different
pressing to the one(s) stored in AccurateRip.
Source: Original CD
Size Torrent: 467 Mb
Artwork Incluse
Track Listing
1 Courage (Asymmetric Aria) Redman 7:34
2 Belonging (Lopsided Lullaby) Redman 5:50
3 Neverend Redman 4:27
4 Leap of Faith Redman 9:06
5 Balance Redman 9:05
6 Twilight... And Beyond Redman 11:00
7 Stoic Revolutions Redman 6:13
8 Suspended Emanations Redman 6:22
9 Last Rites of Rock 'N' Roll Redman 7:05
10 Life? Redman 6:51
Personnel
Joshua Redman (soprano, alto & tenor saxophones);
Mark Turner (tenor saxophone);
Aaron Goldberg (piano);
Reuben Rogers (bass);
Gregory Hutchinson (drums).
Preview all song
http://www.amazon.com/gp/recsradio/radio/B00002DEIX/ref=pd_krex_dp_a
video
http://www.youtube.com/watch?v=GkrcEkEKBHs&feature=PlayList&p=CF294EECD09E7B57&playnext=1&playnext_from=PL&index=14
http://www.youtube.com/watch?v=mlN01uCsWxE&feature=PlayList&p=CF294EECD09E7B57&index=15
review
Consider Redman a middle-aged lion, though he's only 31. No longer the prodigious youngster of 1991, when he won the
Thelonious Monk Institute competition, this talented, probing saxophonist has become as accomplished a composer as
player. His seventh Warner Brothers release is a provocative anomaly, equally supple and sturdy. If it rarely catches
fire, it just as rarely fails to nourish.
The tunes run the gamut from the emotive balladry of "Neverend," the shortest piece, to "Twilight ... and Beyond," an
ambitious 11-minute exploration of timbre and tempo. Sparked by the thoughtful piano of Aaron Goldberg, Reuben Rogers'
purposeful bass, and the impressionistic drums of Gregory Hutchinson, Redman always sounds assured, his confidence and
authority unmistakable. But the dryness of his tone keeps this music from connecting viscerally, instead sticking to a
cerebral plane above all.
One could say his titles tell the story: "Belonging (Lopsided Lullaby)," "A Life?" "Stoic Revolution." If they're witty
- like the music - the titles are also enigmatic, puns that don't always make their point as clearly as they might. The
tunes often are as tricky as the tempi, their drama more intellectual than physical.
Redman is in fine form - he's a trim, long man, like his sax lines - and the band is more than sympathetic. While you
can hear Rollins and Coltrane in some tunes ("Stoic Revolution" sounds like an outtake from an early-'60s Trane
recording on Atlantic.), Redman's voice is his own.
What's most heartening about Beyond is its complexity. Not only is it anything but easy-listening, but it's committed,
the product of four men who spark a dense, collective improvisation. Repeated listening shows these tunes wear well.
Whether they move you is another question. It's one worth asking of this record again and again.
__________________________________________________________________________________________________________________
With all the extracurricular glamour that surrounds Joshua Redman, sometimes it's hard to focus on Redman the jazz
musician, rather than Redman the ubiquitous, fashion-conscious celebrity. Redman's latest album, Beyond, doesn't depart
sonically from his previous works, its compositional zeal suggests he's indeed on his way to living up to all the hype.
While Redman's instrumental formidability has been long established, his compositional ingenuity has always seemed to
lag behind. He's a melodious player capable of filling the most vapid material with heartfelt emotion. Like the rest of
his post-Motown bop affiliates, he has an affinity for pop music and creates a synthesis best described as populist
bop.
Redman creates suspense similar to R&B sensualists Al Green and Marvin Gaye. He knows how to croon a melody through the
saxophone. Sometimes Redman extends a phrase slightly over the bar, like on the lulling ballad "Neverend," that brings
you to the edge of your seat in anticipation. Other times, he'll simply pace his solos in a conversational delivery
then punctuate them with rhapsodic exclamation points, question marks and ellipses as on "Belonging (Lopsided
Lullaby)." "Last Rites of Rock 'n' Roll," despite its avant-garde-ish beginning, with Redman droning in a
Middle-Eastern-inflected tone that could be mistaken for his more adventurous father, Dewey, is one of the more
straightahead bop tunes on Beyond. The sparkling "Courage (Asymmetric Aria)" begins with a melody so simplistic and
soothing that it could sell beauty products. But as soon as Redman departs from the billowy melody, he picks up
momentum and dives into a full-throttle improvisation that's enlivened by rapid melodic turnarounds and multiphonic
shrieks and wails.
So is Beyond beyond category? Hardly. Records like this have been made by a host of jazz luminaries, from Duke
Ellington to Pat Metheny. Will this album reach newer audiences? Not on its own, but with the publicity machine
choreographing this jazz poster boy's every move it's certainly Grammy-bound. Is that a bad thing? Not exactly, because
Beyond contains enough artistic integrity and pop sensibilities to prove that quality stuff can come sometimes in
shiny, marketable packages. |
