Look For The Black Star - 15.13
For Eldon - 6.16
Spur Of The Monent - 1.56
Seven And One - 12.56
Of Love - 7.45
In spite of a long career in jazz that lasted four decades, Dewey Redman was somewhat overlooked for his contributions to jazz. Born in Ft. Worth, Texas in 1931, he was initially a clarinetist who played in his high school marching band with future jazz professionals like Ornette Coleman, Charles Moffett and Prince Lasha. He taught school for a few years but relocated to San Francisco after completing his master’s at North Texas State. He made his recording debut as a leader with “Look For the Black Star”, though it was seven year stint with Coleman’s Quartet beginning in 1967 that gave him wider exposure, providing a great foil for the alto saxophonist. He also appeared on numerous recordings by Keith Jarrett, along with sessions led by Charlie Haden, Pat Metheny, Randy Weston, Don Cherry, Paul Motian, Leroy Jenkins, along with the Coleman tribute band Old and New Dreams. Redman’s son Joshua won the Thelonious Monk Jazz Saxophone Competition and recorded on two occasions with his father. Dewey Redman continued to perform until a short time before he died of liver failure in 2006.
Although he is labeled an avant garde/free jazz stylist, Dewey Redman’s playing often incorporates accessible, melodic “Look For the Black Star” is a live date in San Francisco with pianist Jymn Young, bassist Donald Raphael Garrett and drummer Eddie Moore. The leader’s lively “Look For the Black Star” has lively African polyrhythms and a Caribbean air, with his brash, hard-blowing tenor sax occasionally backed by his musicians’ chants. The miniature “Spur of the Moment” features mournful cries, eerie arco bass and ghostly piano, sounding like a musical segue. The feeling continues into the beginning of “Seven and One,” though it soon takes on a free jazz flight, with Redman backed solely by Garrett and Moore, each of whom play independently as the leader digs into his searing solo. Redman’s “Of Love” is for the most part, a more conventional post-bop ballad that includes just a bit of dissonance on sax and Young’s dreamy piano.