Dewey Redman

Dewey Redman (1931) was a San Francisco tenor saxophonist. He had recorded an original Look for the Black Star (january 1966), for piano-based quartet. In 1967, Redman moved to New York where he joined Ornette Coleman’s Quartet (1967-74). Redman’s powerful tenor counterpoint to Coleman was captivating the free-jazz audience. He also wrote more originals for a trio session that included Malachi Favors, Don Cherry’s drummer Ed Blackwell and Tarik (october 1969). Oui!, Lop O-Lop, and Related and Unrelated Vibrations. It featured three of the most innovative minds in free-jazz, and was also moody and emotionally connected to traditional jazz fans. The Ear of the Behearer (june 1973), which contained the twelve-minute bluesy Boody, for a sextet of trumpet, cello and bass (Sirone), and drums and rhythm, featured him as alto. He then tried his hand at clarinet and zither with the Coincide trumpet-sax quartet (september 1974), and the ten-minute Qow. These albums explored a wide range of moods, styles and music. Musics (october 1978), a piano-based quartet with Mark Helias on bass, featured the ten-minute Need to Be, and the nine minute Unknown Tongue. However, it leaned more towards the lighter end of the spectrum. Soundsigns, released in October 1978, was the highbrow version of the album. It featured a Piece for Tenor, Two Basses (Charlie Haden and Mark Helias on the basses), and the ten minute Come Earth for harmonica and two basses, as well as a Piece for Tenor, Two Basses (Mark Helias, Charlie Haden, and Ed Blackwell). Redman formed a group with Charles Eubanks and Mark Helias as bassists and drummers. They recorded The Struggle Continues (january 1982), his most balanced album. Living on the Edge (september 1989), a similar quartet featuring Geri Allen on piano, recorded The Struggle Continues (january 1982), which featured Boo Boodoop, and the feverish Mirror Windows. This album still crosses the line between avantgarde and tradition. Redman presented Joshua to Choices (july 1992), whose highlights were precisely their interactions: the father and son on tenor, in the 14-minute O’Besso; the father and son on alto in the nine-minute Le Clait; and both the father and son on tenor, in the 13-minute For Mo. Redman died in 2006. Redman died in 2006.

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