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Dewey Redman - Look For the Other Black Star

Dewey Redman - Look For the Other Black Star

 

Dewey Redman - Unissued material from Look For the Black Star session

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.
These four tracks were recorded at the same 1966 session as the album Look For the Black Star. The tenor saxophonist is joined by pianist Jym Young, bassist Donald Raphael Garrett and drummer Eddie Moore. The opener, “Inner Sanctum,” is a terrific showcase for the infrequently recorded Young, featuring a blend of avant-garde, lush ballad wizardry and a solo on kalimba (African thumb piano) that gives way to wild strumming of the piano strings. Next up is Redman’s interpretation of Ornette Coleman’s raucous, angular “When Will the Blues Leave?,” with the leader engaging in a lively, hoarse scat vocal, then picking up his tenor for a furious solo, complimented by Young’s darting solo and a brief feature by Garrett. Both “Seven and One” and “For Eldon” are alternate takes of songs issued on Look For the Black Star. Young quickly ducks out of “Seven and One” as Redman emits a mix of squeals, searing flights and protests from his horn, backed by Garrett and Moore’s forceful accompaniment, followed by Garrett’s passionate arco solo. “For Eldon” is closer to post-bop with a driving Latin rhythm buoying Redman’s upbeat solo.

 

 

 
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