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Joshua Redman Makes His Move on "Compass," Says Open Letters

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  • January. 01, 2010
    Joshua Redman Makes His Move on "Compass," Says Open Letters

    Joshua Redman performed songs from his latest album, Compass, at Dimitriou's Jazz Alley in Seattle. In an extensive article on the performance and the new album, Open Letters writer John G. Rodwan, Jr. also delves deeper into Redman's past and the musicians who came before him.

     

    "Guts, inventiveness, intensity and an eager engagement with tradition brought Redman the notice he sought," Rodwan writes. "He aimed for a spot on jazz’s Mount Rushmore alongside Rollins and Coltrane, and his clean-shaven head just might make it there, if critical accolades offer any indication."

     

    Rodwan later concludes: "Although he encourages (and deserves) comparisions with Rollins and Coltrane, Redman has refrained from the sort of self-aggrandizing evident in album titles like Saxophone Colossus, and his firmly grounded album names, even with their suggestion of ceaseless motion, do not suggest the sort of cosmic questing intimated by Coltrane’s Ascension or Interstellar Space. A title like Compass was clearly intended to indicate deliberate, informed movement. Near the end of his boisterous, funky set at Dimitriou’s Jazz Alley in Seattle, during a pause in one of Redman’s solos, I heard someone sitting behind me whisper, 'Wow' – testimony, if any were needed, that he is traveling in the right direction."

     

    Read the complete article at openlettersmonthly.com.

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on January 01, 2010

Joshua Redman performed songs from his latest album, Compass, at Dimitriou's Jazz Alley in Seattle. In an extensive article on the performance and the new album, Open Letters writer John G. Rodwan, Jr. also delves deeper into Redman's past and the musicians who came before him.

 

"Guts, inventiveness, intensity and an eager engagement with tradition brought Redman the notice he sought," Rodwan writes. "He aimed for a spot on jazz’s Mount Rushmore alongside Rollins and Coltrane, and his clean-shaven head just might make it there, if critical accolades offer any indication."

 

Rodwan later concludes: "Although he encourages (and deserves) comparisions with Rollins and Coltrane, Redman has refrained from the sort of self-aggrandizing evident in album titles like Saxophone Colossus, and his firmly grounded album names, even with their suggestion of ceaseless motion, do not suggest the sort of cosmic questing intimated by Coltrane’s Ascension or Interstellar Space. A title like Compass was clearly intended to indicate deliberate, informed movement. Near the end of his boisterous, funky set at Dimitriou’s Jazz Alley in Seattle, during a pause in one of Redman’s solos, I heard someone sitting behind me whisper, 'Wow' – testimony, if any were needed, that he is traveling in the right direction."

 

Read the complete article at openlettersmonthly.com.

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