Subject: I have found a CD that I think you would enjoy
Ear of the Behearer
Genres: Jazz, Pop
By the time Dewey Redman was recording Ear of the Behearer in 1974, his association with Ornette Coleman's band was just about over. Redman's desire to play long, loud, and (quasi) free, however, was still exploding in eve... more »
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By the time Dewey Redman was recording Ear of the Behearer in 1974, his association with Ornette Coleman's band was just about over. Redman's desire to play long, loud, and (quasi) free, however, was still exploding in every direction. This reissue set, which includes four bonus tracks, absolutely bustles with energy and movement. Redman, here blowing alto, tenor, and musette (a bellows-blown bagpipe) to within an inch of their lives, is joined by Ted Daniel on trumpet, Jane Robertson on cello, Sirone on bass, Eddie Moore on drums, and an astonishingly effective Leroy Jenkins on violin. This is a large band bristling with energy, but Redman has them all thinking the same thoughts and aiming for the same prize. For all its girth, Ear of the Behearer is agile, lightning quick, and sharp as a tack--and presents Redman at the top of his game. --S. Duda
Beautiful and Challenging
nadav haber | jerusalem Israel | 03/21/2002
(5 out of 5 stars)
"This CD is a testimony of the greatness of its leader - Dewey Redman. Rarely have I encountered such variety of imagination, such control of the tradition combined with all out explorations. Redman explores sounds, rhythms, structures - and gets perfect backing from the other musicians.
"Boody" is a 12 minute blues, played mostly "straight" - Redman has a huge soul. The tune reminds me of "Turn over Baby" which he recorded some years later (The Struggle Continues) - but "Boody" is much deeper.
"Imani" is a slow piece, played in melodic unison, and producing some far out sound textures.
"Image" is played on the Asiatic-North African musette, but the rhythms here are African. It is great !
There is a beatiful ballad "joie de vivre" and collective improvisation tracks (Sunlanding, Seeds and Deeds...) - all are bold innovations.
This CD is a gem - it is essential to anyone interested in the creative music of the 20th century."
Behearing some great music
G B | Connecticut | 12/31/2001
(4 out of 5 stars)
"Dewey Redman spent the early 70s working with both Ornette Coleman and Keith Jarrett, so it's interesting to hear him leading a date. The music on this CD (expanded to over one hour from the original seven tracks) has the same lively, slightly unhinged feel that I associate with Ornette's music, no doubt abetted by the fact that Dewey plays alto sax on five of the tracks. I personally prefer his playing on tenor, where he has the thick Texas sound and doesn't sound at all like the other avant-garde tenor titans.
"Interconnection", "Walls-Bridges", and "Sunlanding" scampering, knotty free-bop tunes with some of the recording's more energetic playing. "Sunlanding" is the most challenging of the three and packs a lot of frantic playing into 2 1/2 minutes. "Imani" is a ballad, sort-of, with Dewey doing some of his trademark singing-into-the-saxophone; pretty sinister sounds on this one courtesy of the bowed bass, assorted percussion and Jane Robertson's cello. And "Boody" is a deep, deep blues with an occasional rock backbeat; it features the best tenor playing of the album. My personal highlight is "Image (In Disguise)", where Dewey plays the musette and takes an insane unaccompanied cadenza. Bassist Sirone and drummer Eddie Moore due a great job at keeping the exploratory music from flying apart. The bonus tracks (8-11) include "QOW", a funky groove number, and the pretty ballad "Joie de Vivre". If you like this, be sure to pick up Keith Jarrett's Fort Yawuh, where Dewey is absolutely mindblowing (and plays some more musette). Anyway, Ear of the Behearer is a great slab of 70s avant-garde from a somewhat underrated saxophone giant."
A Unique Recording
Boris Godunov | Melbourne, Australia | 06/15/2000
(5 out of 5 stars)
""Ear of the Behearer" is a classic and magnificant recording. Much of Redman's output - particularly that produced in the late 1960s and 1970s - has remained shamefully obscure, making the re-release of "Ear" especially welcome. "Ear" is the most artistically varied, uniformly powerful and mature recording in Redman's body of work. Tracks such as 'interconnection' are as free as any fan of the genre could desire, while QOW and the almost-unbelievably brilliant 'Boody' are phenomenal, gut-bucket blues workouts. The record betrays the obvious benefits of long association with a working band. The rhythm section of Sirone (bass) and Eddie Moore (drums) is solid, flexible, nuanced and capable of surging swing. The addition of Jane Robertson and Leroy Jenkins on cello and violin provides welcome textural depth and variety, and Ted Daniel is more than equal to the task of standing in the front line with Redman, who is in very, very fine voice. Throughout Redman soars on tenor, but also takes a tune on both his familiar musette and his less familiar alto horn. Without a doubt, the highlight of the recording is the stupendous 'Boody.' It is no exaggeration to say that there is no other recording quite like this song in jazz. It takes the listener on a fabulous journey through rising and descending tempos, anchored throughout by a magnificent performance by Sirone, whose power on this track simply has to be heard to be believed. And Redman contributes one of his finest ever solos, using his famous technique of 'singing' through his horn and using strategic use of space to make his lines swing and sing with incredible power. Make no mistake, this is a special, special album, that should be listened straight through without interruption. Hopefully the release of 'Ear' will stimulate greater interest in this tremendous, unjustly neglected artist. Many other fine albums, notably 'Tarik' - a tremendous trio recording featuring Malachi Favors (best known for his bass work with the Art Ensemble of Chicago) and master drummer Ed Blackwell await release on CD. Unfortunately, they may never see the light of day again."