Customer Reviews

Compass

5 star:		(5)
4 star:		(3)
3 star:		(0)
2 star:		(1)
1 star:		(1)

 

 

Inspired by Sonny Rollins's "Way Out West", he first explored the saxophone-bass-drums trio format on "Back East" in 2007, but goes a step further here on a set that features bassists Larry Grenadier and Reuben Rogers, and drummers Gregory Hutchinson and Brian Blade, in combinations that include regular trio (six tracks), a quartet with two basses (two tracks), and all five players (five tracks).
As Redman himself says, "Common sense was telling me to stay away, that it had the makings of a big mess. All that bass and drums could end up sounding muddy, clumsy, directionless, unfocused.
But my imagination kept leading me back to this idea, and, at a certain point, I decided it was worth a try".
According to Joshua Eedman, his new album is "a further exploration of the trio format... an expansion on, and an extension of Back East".
And he's not wrong. At times, it is a dazzling album of considerable artistry. With an experienced supporting team, he stretches the players ever further, fronting both rhythm sections and, on five of the tracks here, performing with the entire line-up in a double-trio configuration.
The resulting album is possibly Redman's best to date.
It is the most spontaneous of Redman's recordings, with a disciplined but freewheeling sense of adventurous interaction that is sometimes missing on his more carefully structured earlier projects.
It's certainly his most natural and relaxed-sounding, an outcome explained by his determination, pre-recording, to "embrace ... the unfamiliar" by eschewing careful preparation and rigid planning and telling himself just to "get in the studio and see how it goes".
Here he sets his sights on all points of the titular compass, exploring a dazzling range of registers, idioms and moods in the course of an exciting and inventive disc.
The music is all original, other than a delicate exploration of Beethoven's Moonlight theme from the piano sonata of that name.
The album's immediate attraction is its loose, fresh informality, a spontaneous and sparky liveliness that is in some measure attributable to the sheer skill of the participants, but also to said approach.
Redman has never sounded better, his tone sure but intensely personal, and in Blade and Hutchinson he has two of the most sensitive drummers in contemporary jazz, plus two eloquently propulsive bassists in Grenadier and Rogers.
The likes of "Identity Thief" and "Just Like You" are pumped up, while his reading on on Beethoven's Moonlight is sweetly subtle and "Little Ditty" downright exquisite.
Freer than much of Redman's previous work, "Compass" is none the less tight and vigorous for that, and comes highly recommended.
"Bleak, emotional and full of gravity, Compass is the sort of serious-minded album that gives jazz in 2009 a very good name". - BBC
Way Out West
Back East

I just heard these 5 men play most of this album live, and let me tell you, it was absolutely fabulous. To say that these guys are virtuosos, masters at the craft would not tell you enough about how deep these tunes go. They've enveloped generations of tradition and made something wholly unique. This is the kind of meta-syncopated expression that a die-hard fan lives for. Granted, it's not for everybody -- most Jazz isn't -- but that's really not the point. It's for me, and for many others. The ovation at the show was astounding. This is what they played.

The formal reviews of this album generally don't fail to mention a comparison to Sonny Rollins' leaner recordings of the 50's. Maybe so, but what first struck me were the subtle composition, careful interplay and, especially, the haunting sonics that for the world give the impression of the classic early ECM catalogue. This is moody rather than rapturous stuff, even for all it's show of virtuoso blowing, but mainly truly excellent. Quietly adventurous, and not the least derivitive, Joshua seems to be looking forward, not back.

Joshua Redman's earlier CD's, as in 1993's "Joshua Redman" through 2007's "Back East" all have him following his muse, but trying to entertain at the same time. The big difference with "Compass" is that he seems to be following his muse more strongly, and not trying to overtly please. As a result, this CD didn't thrill the first time through, like Donny McCaslin's "Recommended Tools" did at first. Repeated listenings show the melodies are very durable, and each note is nearly perfect. Similar to some of the deeper Miles Davis stuff from 1967-8, the music takes a little more time to reveal itself. This disc isn't literally a saxophone trio disc -- some songs have two drummers and/or two bassists. The varying configurations are used to a subtle effect, much of it is still over my head. This disc is recommended for people willing to put a little time into it.

Where's the swing?? This is nothing new. Tony Williams did this on Blue Note when he recorded Lifetime and Spring 45 years ago.
He used two bass players and tenor. This actually sounds kind of dated. Put a little groove to it at least. My right foot is falling asleep listening to this. No toe tappin' happenin' here.
Rack'em

I posted this mainly to offset the goofball who posted a 1-star review. This is a great album - I would give it at least a 4 and probably a 5 normally.

This trio does'nt look like another one using the same instruments ( Sax - Bass - Drums ), their music is like a conversation with intensity, silence, space ... No one is the leader, creativity is the main idea, the music breathes, total respect each other ; To get absolutely at home, a beautiful CD ! Emilio L. ( Périgueux, France ).

With the purchase of his 1996 release, "Freedom in the groove", I came across Joshua Redman. Having been impressed by his virtuosity and the groovy, swinging style of the Saxophone he plays I kept on purchasing his works - meanwhile I own 5 CD's. So far my favourite has been "Passage of Time" for it carries a youthful "why bother" kind of attitude that appeals in an optimistic and positive way. Maybe I should also mention that I had a chance to see him perform some of the songs from this album live during a saxophone night at the Zeltfestival in Freiburg - which was just a great experience.

With "Compass" there is a real challenge for the number 1 position. Maybe because of Redmans co - musicians Hutchison and Rogers, who also play on "Passage of time". The harmonies here are just overwhelming. For one Redmans playing seems to have somewhat immensely matured. His virtuousity shines bright as ever, the optimistic undertone is still there but emotionally there is a new quality. The harmonies are awesome in places and in pieces like "Ghost" they appear philosophical, if not melancholical. Melodies on this CD range from almost majestic / archaic in "Insomnomaniac" crossing serene / thoughtful in "Unchartered" to swinging playfulness in "Faraway".

Although with the first listen, I tended to miss the piano / keyboards, the concept of having two bass lines and two drum sets playing enriches some of the pieces of music immensely, especially noticeable with "Identity thief" and "March".

All in all the album is a true Joshua Redman set of works. Yet it carries a variability that to me seems to be a new quality in his musical works. Not just at the level of musicianship but at the emotional level, that drives his playing. To me this is not just as good as "Passage of time" - it is the graduation ceremony after a long journey through various musical landscapes.

I'm not sure what album the previous reviewer heard, but I assure you, that if you enjoyed Back East, get this album as soon as possible. It's that good.

While you're at it, check Joshua Redman's MySpace page, see when he's going to be in your town, and go see him. You will not be disappointed.

This album is so terrible it's just beyond sad. Again, this brings me back to my defense that young jazz people today have lost their ability to be lyrical and melodic. Redman demonstrates a lack of tone, no melodic invention, and no good ideas. Redman should use his compass to find the nearest mental institution.