Dewey Redman & Andrew Hill

Dewey Redman, Look for the Black Star, Arista AL 1011

Andrew Hill, Spiral, Arista AL 1007

Dewey Redman has made a name for himself as saxophone sideman for the likes of Keith Jarrett and Ornette Coleman. Playing in the shadows of such giants, his solo LP career has not really been that extensive. Previous to this release, cut almost ten years ago in San Francisco and finally out on the Arista Freedom label, Redman's published catalogue of records numbered only three, all of them very open-ended, experimental works.

Here we get a look at Dewey Redman in 1966, at his first recording session. It's easy to hear the difference ten years can make, but this is a remarkably mature, cohesive album for an initial solo recording date. It's a fine fïfty minutes of jazz, full of experimentation and stylistic influence that has since solidified into a concept that is Redman's own. The ideas range from calypso to Coltrane, as he stretches his granite-like tone from complex bursts of notes to screeching slurs ot gutteral animal sounds. The opening number even features Redman alternating his own vocal screams with honking on his sax, sometimes even combining the two.

This cut, entitled "Look for the Black Star."'strikes me as the LP's most original composition. Built over a calypso thm, it features an extremely dexterous solo by bassist Donald Garrett, who shifts effortlessly from bowing to plucking and back again, stirring up images from New York City Latino happenings to South Sea Rhumba gatherings. It's a real adventure in sound. This album is a historical must for anyone that is a Dewey Redman fan.

Andrew Hills new album, "Spiral," is his first release in over four years. Long a workhorse for Blue Note Records in the sixties, HilI's solid compositional style and keyboard work became less noticed as the sizzling, electric seventies began to take over the jazz scene. Hopefully this tasty new album will remedy that situation.

Hill is known as a beautifully melodic, precise pranist . His work has always been very tightly constructed, requiring thoughtful, efficient soloists who can get over to the listener in just a few bars. True to his form, Hill's new album contains seven fairly short, well-honed compositions that are models of economy and taste. While his style has certainly kept in tempo with the times, the accent is still on melody and conscious harmonic effect rather than flat-out, free blowing sessions.

Besides Hill's extensive solo work on this album, sax man Lee Konitz and tiumpeter Ted Curson add real spark to the session. They complement Hill's style perfectly, giving the quintet a real sense of unity. Nobody tries to bc top dog here...this album has the feeling of shared creativity that is missing from many of today's flashier releases.

Hill's recording career was on the downswing until the release of this new album. Now he's back in the limelight where all masters belong, and let it be known that he is better than ever, improving with age like a fine old wine. Rich, mellow, tasty, and even in the quiet moments, full of energy. Treat yourself to some Andrew Hill and company while it may be considered merely mainstream in the soaring seventies, I think it is as vital and pleasing to the palette as any of the new electric styles happening today.