JOSHUA REDMANAs a member of the "young lions" movement in modern jazz, saxophonist Joshua Redman brings a brash, extroverted style to a familiar, classic form. Redman is an exceptionally gifted player with a large range. His command of dynamic is impressive, and hi s lengthy, developed solos are often compelling. However, as his new live double-CD Spirit of the Moment shows, he is not a jazz innovator. Redman is old-fashioned. His cocky, bebop-like style and dry tone recall the hard-bop musicians of the 1950s. The t unes he pens are often derivative and occasionally seem to be quoted directly from other, older songs. It is his solo work and the excellent backup of his quartet that make Spirit of the Moment, recorded live at the Village Vanguard, worth checking out.
At their worst, Redman's compositions seem blatantly derivative of John Coltrane. The 14-minute "Second Snow," a midtempo waltz with Redman on soprano sax, echoes Coltrane's version of "My Favorite Things" a little too faithfully; the improvisation doe sn't offer us anything we haven't heard before. Tunes like "Jig-A-Jug," "Count Me Out," and "Slapstick," though good ideas, seem to echo each other. In each of these three tunes, the band makes a quick transition from an off-kilter melody into swinging be bop blues. They end up sounding alike, and Redman leaps between honking low notes and high squeaks too often in his solos. "Dialogue" attempts to wed free-form, late-period Coltranesque exploration with an almost gospel-sounding chord progression - a mix which just doesn't quite work.
But there is much more exciting material to be found on Spirit of the Moment. At its best, the disc is full of unexpected improvisational twists and turns. Redman's exciting version of Sonny Rollins' classic "St. Thomas," the last song on the first dis c, begins with a four-and-a-half-minute saxophone soliloquy. Towards the end of the solo, Redman dips in and out of the melody, only to fly off on tangents before the band finally enters and the melody begins. Pianist Peter Martin's thoughtful and often d elicate solo offers an unusual interpretation of this tune, which is backed up by bassist Christopher Thomas and drummer Brian Blade's gentle Caribbean groove.
In Redman's composition "Herbs and Roots," just when we think we've heard enough of the percussive, almost-funky melody, Redman unleashes an altissimo "squeak," and the band takes off into fast, minor, modal blues. In this piece, Redman offers some of the smoothest saxophone work on the disc, building his solo around long yet relaxed flurries of notes. When he hits the high notes later in his solo, they don't sound forced, instead becoming emotionally affecting. Martin starts with delicate, gentle runs and small voicings and builds to a crashing climax before suddenly changing gears and returning to the melody. Finally, the beautiful ballad "Mt. Zion," - arguably the disc's best composition - showcases some of Redman's best soprano playing. He resists the temptation to stay in the highest register of the horn and plays sensitively and soulfully. Running at 148 minutes, this double disc provides a solid introduction to the world of live, classic, bebop-based jazz. For mainstream jazz listeners, I would describe it as a safe buy. It is a generous platter of tasty jazz melodies and, on the wh ole, offers solid improvisation and excellent musicianship. However, it offers little in the way of revelation.
-- Noah Enelow
Copyright 1995, The Yale Herald, Inc. All rights reserved.
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