Label: Nonesuch Records, 2020
Personnel - Joshua Redman: tenor and soprano saxophones; Brad Mehldau: piano; Christian McBride: bass; Brian Blade: drums.
The super-quartet put together by saxophonist Joshua Redman 26 years ago is back, not as the latter’s quartet, but as a collective effort to which every member contributes compositions. Moodswing (Warner Bros., 1994) had been the sole Redman release featuring this lineup with Brad Mehldau on piano, Christian McBride on bass and Brian Blade on drums, but now, on the brand new RoundAgain, the musicians relate to one another more than ever, and the ideas blossom comfortably with expected maturity and wider vision.
Compositionally, these artists display distinct characteristics, which become noticeable as we hear the seven tracks on the record - three by Redman, two by Mehldau and one each by McBride and Blade.
The saxophonist, tremendously melodic and often eclectic in the way he composes, contributes “Undertow” - the album’s opener is delivered in six - whose relaxed theme statement is slightly shaken by a B section demanding intervallic agility; “Right Back Round Again”, a central groovy piece with an R&B inclination and whose round melody immediately sticks in the ear; and “Silly Little Song”, an amiable pop-ish tune whose thrills come exclusively from the solos. If the former two pieces feature Redman stirring up excitement with improvisations where it’s almost impossible not to get swept by his impetuous eloquence, the latter is buoyed by a tenacious, strongly articulated statement by McBride, followed by the soulful, bluesy sensitivity of Mehldau, who has demonstrated an excellent handle in the crossover genre throughout his career. Redman gets the final vamp to speak out.
Penned by the pianist, the polyrhythmic “Moe Honk” indubitably requires teamwork. Leaping confidently during the theme, Mehldau occasionally reproduces Redman’s motif, and then swings hard during the improvisations. Everybody is given an opportunity to stretch out, and we can detect subtle influences of Monk, Brubeck, classical music, and even stride.
McBride’s “Floppy Diss” is a post-bop haven that finds a winning compromise between cool and snappy vibes. It features Redman on the soprano, and his clear-cut moves draw precious reactions from Mehldau. The latter also infuses his own statement with both rhythmic and harmonic sophistication.
The record closes out with Blade’s “Your Part To Play”, a suave and comforting slow-burner whose energy comes from within. Here, one can indulge in the scintillating cymbal work and distinctive snare drum sensibility of the drummer. The tune climaxes as the intensity reaches a peak.
When technically adroit players like these explore possibilities and push boundaries, they usually get interesting outcomes. Even if that’s the case here, the latest recordings from each member of this quartet, as solo leaders, are a notch above this collective outing.
Grade B+
Favorite Tacks:
01 - Undertow ► 02 - Moe Honk ► 07 - Your Part to Play