Label: Nonesuch Records, 2022

Personnel - Joshua Redman: tenor and soprano saxophone; Brad Mehldau: piano; Christian McBride: bass; Brian Blade: drums.

The album RoundAgain (Nonesuch, 2020) marked the first release from the quartet led by saxophonist Joshua Redman in 26 years. The heavyweights in question - pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade - loved the experience and were reconvened by Redman for a new outing, LongGone, which features six of his originals: five new compositions and a revisitation of a classic included in his acclaimed album MoodSwing (Warner, 1994).

The album opens with the title track, which, developing in a more traditional vein, doesn’t take the listeners long to realize that these joining forces really sound splendidly. With a nature that nods to the Great American Songbook, the piece showcases full-bodied tenor playing, the force of the bass drive, coruscating drumming, and elegant piano comping. Mehldau’s super-groovy solo ride is particularly ravishing.

The ensemble maintains the high levels on “Disco Ears”, with Redman blowing the main melody on soprano in parallel with Mehldau. The piece moves forward with an invigorating friction that results from their meaningful communion. Yes, you can feel the excitement of disco, but also the mightiness of groovy jazz. Yet, the band never loses its cool. Another song that ingrains deeply in our minds is “Rejoice”, an old spectacle professed live with exultation and joy. It sounds better than ever, combining blues-intoned pride and Americana-inspired groove. The opulent bass figure that marks the pace is immediately supported by Mehldau’s left hand, and the improvs - constructed on top of both hard swinging and funkified motions - are simply hair-raising. Redman excels, cleverly strolling outside and often playing with rhythmic figures.

The rhythm section is also superlative on “Kite Song”, a 7/8 effort introduced by sax alone before the lead lines catch up with pulsating chords and a searching melody. The music takes a turn for the pensive with the sculptural “Statuesque”, whose strong hints of classical are bookended by deep chordal amazement and a tad of arco bass; and it also touches the blues with the waltzing “Ship to Shore”, featuring a top-notch solo by McBride that is as much stimulating as it is logical.

The passionate Redman and his brilliant cohorts continue to seek out creative paths within the limitless possibilities of the jazz universe.