Mark Masters has arranged many projects in conceptual jazz clothes, inspired by various themes such as the music of Porgy and Bess,
Gil Evans,
Clifford Brown,
Gary McFarland, and
Jimmy Knepper. For this recording,
Masters is not so much concentrating on charts as organizing and blending a band and using its individual voices to bolster selected soloists in tribute to the late progressive tenor saxophonist
Dewey Redman. Where the focus is meted out in
Redman's compositions, this is not a band that wants to sound like he did, but instead pays tribute with loving displays of his work expanded from small ensemble to orchestra, but not necessarily orchestrated. Alto saxophonist
Oliver Lake and trumpeter
Tim Hagans are the principal soloists, with
Lake's on-the-edge sharp-toned horn and the witty, versatile, and deep-toned brass of
Hagans emulating
Redman's unique voicings. Many lesser-known performers are included, as well as famed ensemble and big-band accompanists -- in particular drummer
Peter Erskine, pianist
Cecilia Coleman, saxophonist
Gary Foster, and bassist
Dave Carpenter -- but all take a back seat to richly praise
Redman musically. Of the best pieces
Masters has chosen, "Dewey's Tune" (from the first Old and New Dreams recording for the Black Saint label) originally featured drummer
Ed Blackwell filling in the cracks of an
Ornette Coleman-inspired sparse, bright melody, and is expanded here in a counterpointed, faithful swing groove with
Erskine acting as the flexible caulk. "Thren" is viable and memorable, alternating choppy and swinging, unusual note progressions. "Joie de Vivre" was done by
Redman in midtempo, but here it is slowed in ballad form, with parallel melody figures from "Prelude to a Kiss." Always showing his Texas blues roots,
Redman wrote the very slow "Boody," loaded up with piano from guest
Milcho Leviev over the sweet 'n' sour horns. "Transits" has
Lake and
Hagans stretching out in a free and organic funk-calypso via the best arrangement from
Masters, "Sitatunga" echoes a film noir theme of intrigue and discerning swing, while a three-three-two bar rhythm change on "Love Is" in a free ballad base shows how unpredictable sustained romance can be. The most developed piece is "I-Pimp," utilizing shout choruses in the main line as
Lake and
Erskine sever the band in duo, then trio form with a
Hagans solo cuing a decomposed, broken-down idea. There are other improvised pieces, atypical for
Masters, that indicate he is more than happy to let loose of the reins, allowing these players to actually play and provide their own individually fused elegies for
Redman. Drummer
Matt Wilson, who performed with
Redman for 12 years, does not appear on the recording, but wrote heartfelt and insightful liner notes that tell a tale all their own. It seems all of the recordings led by
Mark Masters hold a compelling, intelligent design and originality beyond most contemporary arrangers, just shy of Maria Schneider. This salute to
Dewey Redman ranks highly and should be a favorite for many progressive jazz heads. ~ Michael G. Nastos