When Jazz Is at The Four-Front

★★★★

Joshua Redman’s red-hot new album, LongGone, is the sort of record that will delight jazz connoisseurs and enthusiasts alike.

Here we have arguably the finest jazz quartet assembled in the past few decades. Redman leads a band of superstars, each a band leader and individually perhaps the best exponent of his instrument in contemporary jazz.

It should thus be no surprise that this has been a much-awaited jazz album release.

The quartet of Redman on saxophone, Brad Meldhau on piano, Christian McBride on bass and Brian Blade on drums was Redman’s band about 28 years ago. In 2020, they reunited for the album Round Again. Now, in 2022, they have produced LongGone, which comprises six of Redman’s original compositions.

It is unnecessary to describe the status of any of these four contemporary jazz luminaries on the album except to say that they are each at the top of their game and at the peak of their careers.

Each composition and performance needs a little description and we are here to give you just that.

“Ship to the Shore” is a swinging, yet introspective tune. The interaction between Meldhau and McBride is fascinating. Throughout, Redman is driving the theme, this time on tenor.

“Statuesque” starts off introspectively with Redman seeming to share a secret, and builds up forcefully, telling a tale quite eloquently. Redman is outstanding here and the solo from Meldhau, though short, is delicious.

“Disco Ears” has Redman playing soprano saxophone where he seems to be embroidering interesting patterns of sound.

“Rejoice,” as Joshua says on the album, is a tune they played when the band was first formed. This is the only live track of the six on the album. “Rejoice” is introduced with the bass and piano with Redman tiptoeing into the mix on tenor and building up to a lively tempo. The interplay between the four instruments is fabulous. Redman is in his element and regales the attentive listener. Meldhau, McBride and Blade end the piece with a sophisticated trio performance before Redman comes in to bring “Rejoice” to its conclusion.

“Long Gone” is the title track. It flows well and the players excel on a tune that takes one into the realm of “Star Eyes.”

“Kite Song” is a complex composition and is notable for Meldhau’s pretty solo.

This album is remarkable for the dexterity and energy the four great players bring into it. Jazz musicians tell a lot of interesting stories with their playing. We loved the tales we heard on this album. The best ones were told on “Rejoice” and “Statuesque.”

LongGone is an album that deserves to be heard multiple times to unravel all its complexities and nuances. It also deserves to be played on good audio equipment or at least heard on superior headsets. This album is one where the total is greater than the sum of its brilliant parts.

The only criticism one has for LongGone is the absence of a familiar composition or a standard. It might have offset the total newness of the material chosen. It sometimes brings some aural relief to a listener.

Stream ‘LongGone’ on Spotify below:

Sunil Sampat is a jazz critic and Contributing Editor of Rolling Stone India. Write to Sunil at jazzwala@gmail.com