Dewey Redman

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In 1967 San Francisco’s tenor saxophonist Dewey Redman (1931), who had already recorded an original Look for the Black Star (january 1966) for piano-based quartet, moved to New York and joined Ornette Coleman’s quartet (1967-74). While his huge tenor counterpoint to Coleman’s alto was mesmerizing the audience of free-jazz, Redman penned more originals for a trio session with the Art Ensemble of Chicago’s bassist Malachi Favors and Don Cherry’s drummer Ed Blackwell, Tarik (october 1969), particularly Paris? Oui!, Lop-O-Lop and Related and Unrelated Vibrations. Besides featuring three of the most creative minds of the free-jazz movement, it was moody and emotional music that related even to the audience of traditional jazz. He played alto on The Ear of the Behearer (june 1973), containing the twelve-minute bluesy Boody for a sextet with trumpet, cello, bass (Sirone), drums and percussion, and then also tried his hand on clarinet and zither in the trumpet-sax quartet of Coincide (september 1974), with the ten-minute Qow. Each of these albums was exploring a broad range of moods and styles, but Musics (october 1978), for a piano-based quartet (Mark Helias on bass), with the ten-minute Need to Be and the nine-minute Unknown Tongue, leaned towards the lighter of the spectrum. Soundsigns (october 1978) was its highbrow alter ego, containing a Piece for Tenor and Two Basses (Mark Helias and Charlie Haden on the basses) and the ten-minute Come Earth for harmonica, two basses and a saw. Redman formed a quartet with pianist Charles Eubanks, bassist Mark Helias, and drummer Ed Blackwell and recorded The Struggle Continues (january 1982), perhaps his most balanced album.
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  • DaoudPacha

    My favorite tenor sax player ! his musical ideas are so great and his sound is awesome. Listen to "Red & Black in WIllisau" with Ed Blackwell and you will hear how deep his creative inspiration is

    20 Dec 2012 Reply

  • brianallensimon

    Thank you Dewey.

    12 Sep 2010 Reply

  • BlindWilliam

    DR sez, “My ambition is not to be recognizable and this is not easy. I would like to play music in whatever style I choose and play it well. Each time that I play, I want to do it differently but well. It’s easy to play favorably when one plays in a certain style, in a single way, but it is not so simple to play 50 different styles and be good in each of those styles.”

    17 Sep 2006 Reply

  • harmolodicnet

    rest in peace..

    5 Sep 2006 Reply

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