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Joshua Redman - Compass
Artist: Joshua Redman
Title: Compass
Recording: Avatar Studios, New York, NY (03/24/2008-03/26/2008).
Audio CD (January 13, 2009)
Original Release Date: January 13, 2009
Number of Discs: 1
Label: Nonesuch
Genre Jazz
Style: Modern Jazz, Post-Bop, Straight-Ahead
Source: Original CD
Extractor: EAC 0.99 prebeta 4
Used drive : HL-DT-STDVDRAM GSA-E10L
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 Multiple wav file with Gaps (Noncompliant)
Accurately ripped (confidence 44)
Size Torrent: 483 Mb
Cover Included
Personnel
Personnel: Joshua Redman: tenor saxophone (1-5, 7-9, 11, 13), soprano saxophone (6, 10, 12);
Larry Grenadier: bass (1-6, 8, 10, 12, 13);
Reuben Rogers: bass (1, 3, 4, 7-13);
Brian Blade: drums (2-4, 6, 8-13);
Gregory Hutchinson: drums (1, 2-5, 7, 8, 10, 12).
Tracks:
1. Uncharted
2. Faraway
3. Identity Thief
4. Just Like You
5. Hutchhiker’s Guide
6. Ghost
7. Insomnomaniac
8. Moonlight
9. Un Peu Fou
10. March
11. Round Reuben
12. Little Ditty
13. Through the Valley
Listen to sample
http://www.amazon.com/gp/recsradio/radio/B001L5J5CM/ref=pd_krex_dp_a
http://www.youtube.com/watch?v=lmyr6dOhzfo
Bio
JOSHUA REDMAN
Saxophonist, Recording Artist, Composer
Born: February 1, 1969 in Berkeley, CA
Mother: Renee Shedroff
Father: Dewey Redman
Raised by his mother in Berkeley, CA
Pre-College Education: Berkeley Public Schools
Began playing saxophone in the 5th grade at the age of 10
1982 - 1986: Played with the Berkeley High Jazz Ensemble
Undergraduate education: Harvard University (1987 - 1991), graduated summa cum laude, Phi Beta Kappa with a B.A. in Social Studies
1991: Accepted to Yale Law School for matriculation, but requested and was granted a year deferment
Summer 1991: Moved to New York City to "take a year off" - Chose to pursue a life in music and never attended law school
November 1991: Won first place in the Thelonious Monk International Jazz Competition
Summer 1991 - Spring 1993: Toured and recorded extensively as a sideman
1993: Released first two records on Warner Bros - The Grammy-nominated Joshua Redman released in the Spring; Wish, featuring Pat Metheny, Charlie Haden and Billie Higgins released in the Fall
1994 on: Toured extensively as a band leader
1994 - 2002: Released a total of seven records on Warner Bros. - Moodswing, Spirit of the Moment: Live at the Village Vanguard, Freedom in the Groove, Timeless Tales (for Changing Times), Beyond, Passage of Time and Elastic
2000: Became Artistic Director of the SFJAZZ Spring Season, a position held for seven years
2004: With SFJAZZ, conceived and organized the SFJAZZ Collective (a composer's "workshop" band dedicated to new music)
2004 - 2007: Served as Artistic Director of the SFJAZZ Collective
2005: Released first record on Nonesuch Records, the Grammy-nominated Momentum
2007 & 2009: Released Back East and Compass respectively, two albums in the trio format
1991 - present: Performed and recorded with artists such as: Brian Blade, Ray Brown, Dave Brubeck, Chick Corea, The Dave Matthews Band, Jack DeJohnette, Bill Frisell, Aaron Goldberg, Larry Goldings, Charlie Haden, Herbie Hancock, Roy Hargrove, Roy Haynes, Billie Higgins, Milt Jackson, Elvin Jones, Quincy Jones, Big Daddy Kane, Geoff Keezer, B.B. King, The Lincoln Center Jazz Orchestra, DJ Logic, Joe Lovano, Yo Yo Ma, Branford Marsalis, Christian McBride, John Medeski, Brad Mehldau, Pat Metheny, Marcus Miller, Paul Motian, MeShell Ndegeocello, Leon Parker, Nicholas Payton, John Psathas, Simon Rattle, Dewey Redman, Dianne Reeves, Melvin Rhyne, The Rolling Stones, The Roots, Kurt Rosenwinkel, John Scofield, Soulive, String Cheese Incident, Clark Terry, Toots Thielemans, The Trondheim Jazz Orchestra, Mark Turner, McCoy Tyner, Umphrey's McGee, US3, Cedar Walton, Bugge Wesseltoft, Stevie Wonder and Sam Yahel.
Appeared in the Robert Altman film Kansas City, wrote the original soundtrack to Louis Malle's last film, Vanya on 42nd Street, and played on the soundtrack to the Clint Eastwood films Midnight in the Garden of Good and Evil and Space Cowboys
review
Joshua Redman's 2007 album Back East rightfully drew critical comparisons to Sonny Rollins' legendary trio date Way Out West, given everything from the mirror image implication in the title to the manner in which Redman offered the material on the set. The presence of Rollins looms large over Compass as well. Once more, Redman explores a piano-less trio, though there are some quartet and quintet numbers here. Redman is accompanied by longtime friends and collaborators, including drummers Brian Blade and Gregory Hutchinson, and bassists Larry Grenadier and Reuben Rogers. The material is with one exception -- a compelling reworking of Beethoven's Moonlight Sonata (here known simply as "Moonlight") -- all composed by either Redman or the group. The tunes include some beautiful ballads, such as "Little Ditty," some smoking boppers like "Round Reuben" and "Hutchhiker's Guide," and a beautiful Indo-Asian-kissed number called "Ghost." There is some stellar communication in this band -- check "March" for a single but not isolated example of the intricacies of deep listening and a generous sense of flow. The doubling of rhythm players on the quintet sides doesn't bowl the listener over -- though it could and is hinted at in places -- but rather serves the melody and the arching sense of loose harmonics Redman places at their disposal, and uses time as a device to be toyed with rather than turned in on itself in the service of pure blowing. That said, this is one of the great ironies here, because Redman is looser and more relaxed on Compass than he has ever been on a studio recording. His usual overly studied and cautious approach is largely left at the threshold, even as his now trademark sense of melodic restraint is evident on "Faraway." This serves Redman well, and also offers another signpost to Rollins' influence, because it seems that on Compass, Redman has finally learned the greatest trick from his mentor -- to walk out on the wire with his horn more, trust the fluid abilities of his incredible rhythm section(s), and let his inner sense of song and freedom take precedence over his already well-established sense of discipline.
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Joshua Redman has made some fine albums in the past, including Timeless Tales (For Changing Times) (Warner Bros., 1998), Passage of Time (Warner Bros., 2001) and Spirit of the Moment Live (Warner Bros., 1995), but he's never recorded one with such clarity of purpose as the self-produced Compass. In keeping with the dual meaning of the title word (alternately a verb to accomplish as well as the noun as a tool of direction) the saxophonist leads two different trios into unfamiliar terrain with authority and aplomb.
The short, two-minute intro to the album is called "Uncharted," and its gentle crescendos sound like nothing so much as an invocation of the creative impulse. Not that Redman and his band mates hadn't already tendered a supplication to the Muse; aligning themselves in various combinations for the three sessions that produced the album stands as a collective act of courage and artistic self-confidence.
The music bristles with vigor throughout. Whether it's the leader plus drummer Brian Blade and bassist Larry Grenadier navigating the contours of "Faraway" or the three teaming with drummer Gregory Hutchinson and bassist Reuben Rogers on "Just Like You," with all involved instinctively dancing an instrumental ballet of sorts, these musicians pirouette around each other ever so gracefully, with nary a misstep on a melody line when not interlocking on a rhythmic phrase.
What's all the more remarkable about Compass is that, while it is Joshua Redman's twelfth recording as a leader (not counting his tenure at the forefront of SF Jazz Collective), it is just his second since returning from his foray into the land of electric groove with The Elastic Band. The preceding Back East (Nonesuch, 2007), showed more than a few signs of uncertainty, as Redman somewhat tentatively reacquainted himself with the textures of acoustic music and the dynamics of a three-piece lineup. This album, in contrast, betrays none of those qualities but rather a strength and certainty all around, centered in the gentle but forcefully wrought horn lines Redman proffers on "Moonlight," a variation of Beethoven's enduring Moonlight Sonata.
Even on lighter pieces such as the whimsically titled "Hutchhiker's Guide," or when he imbues his soprano horn lines with so much gusto on "Round Reuben," Redman sets the tone for the group. His staunch presence in the role of the bandleader is as crucial to the success of the individual tracks as to the end result of Compass in total.
What may be most impressive, however, is that by the time the original material has been traversed (mostly the saxophonist's, with one each from Grenadier and Blade), there's the palpable sense that the Redman has opened himself up to all manner of possibilities for future musical endeavors, proceeding directly from the cathartic self-renewal that is Compass.
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