Naurora is undoubtedly Dewa Budjana's most ambitious work yet. Progressive, fresh, engaging, technically brilliant. Budjana’s tunes consistently clasp his listeners in a drape of gorgeous melodies, showpiece guitar parts and astounding ensemble passages that have a spacious air. Naurora, has is an exhilarating mix of styles, it delivers a succession of memorable motifs. It melds East Asian music with progressive jazz fusion and some occasional elements of rock, but most of all it delivers an idiosyncratic sound that is instantaneously identifiable as Dewa Budjana’s own.
1. Naurora 11:03
2. Swarna Jingga 06:51
3. Kmalasana 07:05
4. Sabana Shanti 07:50
5. Blue Mansion 07:48
DEWA BUDJANA - guitars, soundscapes
with
BEN WILLIAMS - upright bass (Sabana Shanti)
CARLITOS DEL PUERTO - bass guitar & upright bass (Naurora, Kmalasana, Blue Mansion)
DAVE WECKL - drums (Swarna Jingga, Sabana Shanti)
GARY HUSBAND - piano, synth (Blue Mansion)
IMEE OOI - vocals (Naurora)
JIMMY JOHNSON - bass guitar (Swarna Jingga)
JOEY ALEXANDER - acoustic piano (Naurora, Sabana Shanti)
MATEUS ASATO - guitar intro & guitar solo (Swarna Jingga)
PAUL MCCANDLESS - soprano sax (Sabana Shanti)
SIMON PHILLIPS - drums (Naurora, Kmalasana, Blue Mansion)
Naurora was recorded remotely during the pandemic in 2020 and 2021.
All recordings were done by featured musicians, except:
Simon Phillips' tracks were recorded by Jason Mariani at Carbonite Sound, Ojai, CA, USA.
Paul McCandless' track was recorded by Dan Feiszli at What’s For Lunch Studio, San Fransisco, CA, USA.
Joey Alexander's tracks were recorded by Raymundus Dimas Daniswara at iCanStudioLive Jakarta, Indonesia.
All songs are composed, arranged, produced and edited by Dewa Budjana at Temple Island Studio, Jakarta.
Executive Producers: Dani Rahadian & Willawati for Mehsada.
Mixed & Mastered by Rich Breen at Dogmatic Sound, Burbank, CA, USA.
Photo Cover by Tompi. N Studio & Carly Bloom Team (Nesha Aurea Hanzdima Chritine Yuniarti)
The first thing I wanted to do was just to improvise... [Princes] was so composed and there was a lot of formal processes going on, a lot of really intense intellectual thought going into it... so I just needed a relief from that, and trying to get back to direct creativity, sort of unmediated. ...There’s no edits in any of the tracks, so it’s just like, as I played, and the improvs were completely unplanned.
When I started to get into doing the playing, I started to think about, what is this form of solo piano that I’m doing? There must be some precedent for this... what’s in my subconscious that’s affecting how this is going down? So I started to think about people who influenced me, specifically who did solo piano records. ...I was sort of confronting all those influences and getting into what makes them work. ... and then just thinking about how you spontaneously make a composition... because like it or not... you’re gonna have a beginning and an end.
When you’re doing it, sometimes you think, oh, this idea is lame, why am I sticking on this? And then you listen back, and you’re like oh, I really could have gone farther with that, that was really suggesting something. So it opened my eyes a lot to being open to just letting ideas develop.”
-Tom Aldrich, "The Peter Paluska Show"(WBOR), February 25, 2017
Engineer at Bohus Sound Recording: Dragan Tanaskovic
Recorded September 9, 2006 at Bohus Sound Recording, Sweden.
Originally released 2008 by Atavistic, USA as the 2CD-album Born Broke 2008 and the longest track "Dead and Useless" was released on 12" vinyl by Omlott, Sweden 2014.
+ The first tour ever with this Brötzmann/Uuskyla sax and drum duo was happening the week prior the studio recording date. An audience DAT-walkman recorder captured the concert at the Nefertiti jazzclub in Gothenburg on September 2, 2006. On track 5-9 you hear the first sketches of what was to become the musical statement titled Born Broke a week later.
PETER BRÖTZMANN asked me to write some notes about me walking the quite hard and dirty road of musicmaking. The liferoad of the one life you have. Been fighting all the time for playing untouchable sounds of simple music, my definition of beauty. Untouchable, therefore powerful. Simple, therefore universal, for everyone. Music that belongs to everybody. Take it or leave it, but you are not able to keep it only for yourself. That´s the strength. Sometimes the struggle is too hard and you just have enough of the terrible conditions around the playing. The lowbudget touring, the stupidity, the curators, the organizers, the ones with power to decide who plays where and what.
Geniusgrants killing natural musicmaking because of simple music being just to simple, not being complex and confusing enough. To illustrate bigheaded nonsense with living music makes you fall into a trap where pure joyful musicmaking is forbidden although sold as free jazz, freely improvised, spontaneous, creative music! This is the situation you have to deal with. Days of solidarity and bands kept together are long gone. Replaced by common egopower and loneliness among millions of lonely people in the big cities. You are also alone when making your musical statement. Alone together but still basically alone. Got to be strong to face that kind of reality. My eternal Sisyphusical circle is playing music for the strength to keep going.
Nobody tells me anymore what and whom to play with. Not even Peter Brötzmann. He anyway never has. I have always liked his way of making music with his beautiful, deep, total sounding horn. No rehearsals, instead you have to bring yourself together, prepare, get ready, concentrate, pay attention and when time comes take off. That´s the way this music is made. Dragan Tanaskovic recorded the small drumkit and the saxophone with his old tube microphones in his large studioroom.
Quite a comfortable recording situation. No amplification, not even monitorspeakers or headphones needed for this duo. The punch and the scream, the foundation of natural musicmaking! Living in this complicated, complex and confused society it is most important to make clear and honest statements. PEETER UUSKYLA
London-based composer and pianist Raffy Bushman explains his new found relationship with mindfulness and meditation and how it has influenced his EP 'Beginner's Mind'.
Laptop wizard Ikue Mori, master keyboardist Brian Marsella and classical percussion virtuoso Sae Hashimoto are Archipelago X, a dynamic new trio born during the 2020 pandemic. Recording at their home studios and exchanging tracks back and forth for months, the music is detailed, evocative and dramatically mysterious, blending electronica, classical, ambient, film soundtrack, pop and jazz into a remarkably original aggregate. Inspiring and engaging music by this fabulous trio of Downtown musical masters spanning three generations!
1. Turning Back
2. Warped Passage
3. Satellites are Spinning
4. Challenger Deep
5. Wicked
6. Lapis Lazuli
7. Pale Blue Dot
8. Through the Mist
Brian Marsella: Steinway B Piano, Fender Rhodes, Mellotron M4000d, Sequential Circuits Ob-6, Korg Bx-3, Zither, Hohner E7 Clavinet, Hohner String Ensemble, Arturia Analog Lab
Chaos Magick is a contemporary magical practice based on the ideas of Austin Osman Spare. Remarkably inclusive, it embraces and has influenced the work of William Burroughs, Robert Anton Wilson, Aleister Crowley and many others. Inspired by these magical practices, Zorn enlists the three members of his most powerful 21st century ensemble Simulacrum with special guest Brian Marsella on electric piano into this eclectic new quartet Chaos Magick. A fast moving, improvi-sational and intensely focused ensemble that draws upon classical, jazz, funk, improvisation, metal and more. This music is even crazier than Electric Masada—a must for all fans of the outer realms!
Preceded by "Nove Cantici per Francesco d’Assis"” and "Virtue (for Julian of Norwich)", "Teresa de Avila" is the third and final CD in Zorn’s trilogy inspired by towering figures of Christian mysticism. Written for the all-star acoustic guitar trio of Bill Frisell, Julian Lage and Gyan Riley whose performances are steeped in a feeling of love and mutual respect, the music is both beautifully simple and strangely complex, drawing equally on classical modernism, bluegrass, jazz, Jewish and renaissance music. Filled with compositional surprises, mysterious moods, beautiful harmonies and a stunning lyricism, Teresa de Ávila is a must-have for all fans of acoustic guitar music. This is one of the most personal and varied books of music Zorn has yet written—a lovely tribute to the enduring legacy of one of the world’s most beloved spiritual figures. Includes an extended appreciation by renown philosopher Arnold Davidson.
Heaven and Earth Magick showcases Zorn’s fabulous and compelling blending of classical virtuosic instrumental writing with the improvisational world of Jazz. Completely notated works for piano and vibraphone brilliantly performed by Steve Gosling and Sae Hashimoto are set against a dynamic improvisational rhythm section of Jorge Roeder and Ches Smith. An exciting new musical world filled with an exhilarating sense of drama and a mischievous wit. Zorn’s unique mastery of instrumental writing and wild improvisational conducting skills are here in all their thorny complexity. Essential!
1. Auto-Da-Fé 7:59
2. Acéphale 10:36
3. Asclemandres 8:14
4. Descent Into The Maelstrom 8:26
5. Konx Om Pax 10:05
6. Casting The Runes 9:07
Jorge Roeder - Bass
Ches Smith - Drums
Stephen Gosling - Piano
Sae Hashimoto - Vibraphone
All music composed, arranged and conducted by John Zorn
Produced by John Zorn
Associate Producer - Kazunori Sugiyama
Recorded and mixed September to October, 2020 by Ryan Streber at Oktaven Audio, Mount Vernon, NY
Mike LeDonne belongs to an elite group of musicians — those who have mastered the piano AND the organ while creating original voices for each. However, here on It's All Your Fault, LeDonne sits down at the organ, puts his foot on the pedals and lays down some of the hippest organ licks you're likely to hear. Two groups are featured on this recording. Mike LeDonne's Groover Quartet has had the rare opportunity to play and record together for twenty years and counting. They had no difficulty integrating their sound into this all-star big band put together by Mike and his preferred arranger and conductor, Dennis Mackrel. Recorded in the famed Van Gelder Studio and actually using the original Hammond C-3 organ that Jimmy Smith et al. used for their recordings, the music within this recording is adventurous. It's a continuation of the groove that was established years ago by organists interacting with big bands and it reveals to us the Blues, the Rhythm & Blues and the Jazz that Mike heard coming up through the jazz ranks.
1. It's All Your Fault (M. LeDonne) 6:35
2. Matador (G. Green) 6:46
3. Rock With You (R. Temperton / D. Myers) 6:11
4. Still (L. Richie) 6:55
5. Party Time (L. Morgan) 5:34
6. Bags and Brown (M. LeDonne) 5:17
7. Biggest Part of Me (D. Pack) 6:20
8. Blues for Jed (M. LeDonne) 7:53
Mike LeDonne’s Big Band (Tracks: 1, 2, 3, 5 & 6):
Organ: Mike LeDonne (org)
Steve Wilson, Jim Snidero (as)
Eric Alexander, Scott Robinson (ts)
Jason Marshall (bs)
Jon Faddis, Frank Greene, Joe Magnarelli, Joshua Bruneau (tp)
Mark Patterson, Steve Davis, Dion Tucker, Doug Purviance (tb)
John Webber (b)
Peter Bernstein (g)
Joe Farnsworth (ds)
Mike LeDonne’s Groover Quartet (Tracks: 4, 7 & 8):
George Cables should be declared a National Treasure. As a pianist he is surely second-to-none on today's jazz scene. Listen only to “A Valentine for You” on Cables' current offering to hear what a jaw-dropping beauty of tone he can produce from the pile of wood and metal we call a piano, and how much critical mass is behind every sonorous voicing of his chords. As a musician he possesses endless imagination and creativity, shown by his strikingly new takes on tunes we thought we knew, particularly the title track, “Too Close for Comfort,” which retains little trace of its pop song origin. As a composer he has quietly amassed a catalog of works of extremely wide range and extraordinary quality, such as his compositions on this new release, “Circle of Love,” “This is My Song,” “Klimo” and the aforementioned “A Valentine for You.” And finally, the album’s cover photo perfectly captures George Cables the man – full of boundless energy, a love of his instrument and the music he makes on it and an impish sense of humor, evidenced by his titling the record Too Close for Comfort during a pandemic where social distancing has become the order of the day. The artist Edward Hopper said, “Great art is the outward expression of an inner life of the artist, and this inner life will result in his personal vision of the world.” That would explain why the world according to George Cables is such a wonderful place to be.
1. Too Close For Comfort
2. Circle of Love
3. This Is My Song
4. Klimo
5. For All We Know
6. Crazy Love
7. Roses Poses
8. I’ve Never Been In Love Before
9. Teddy
10. A Valentine For You
George Cables – piano
Essiet Essiet – bass (except tracks 6 & 10)
Victor Lewis – drums (except tracks 5 & 10)
Produced by George Cables
Associate Producer: Joanne Klein
Engineered, mixed and mastered by Katherine Miller
Recorded at Sear Sound, New York, NY on September 9, 2020
Embracing The Future was supposed to be a different album. After three days in the studio with a beautiful Steinway & Sons, and after recording around two hours of solo music, Simone Graziano had a bizarre idea when going back home – he opened the piano cover, threw his mobile phone in, pressed Rec, and closed everything. It was the first day of the second Italian lockdown. The recorded sound reminded me of something like a piano with a gothic church echo, which intensified the final part of the sound, almost cutting off the attack. He immediately fell in love with it. There was no other sound he wanted to listen to.
This is why Embracing the future has a special sound – an emotional one. All tracks are originals – except for Billie Eilish “When The Party’s Over” – and refer to different genres: electronic, classical, and improvised music.
Simone Graziano recalls: “I’ve spent around 36 years with an instrument that always had the same sound. I could try a different model or size, or be in a different room, but the sound was always the same, more or less. Knowing exactly what was under my fingers and what reaction my playing could generate allowed me to feel calm, it was like an unchanging sense of safety – pianos, no matter the type, will always sound like that.
That uncanny sound, so different from everything I’ve ever heard before, pushed me to delve deeper, and go beyond the black and white fence of my keyboard. I started to put almost everything on the piano strings – cigarette filters, erasers, toilet paper rolls entirely decorated by my daughter. What still drives me crazy is that sense of uncertainty you feel when a sound that you considered unalterable actually changes completely by simply adding an object on it.
This sense of uncertainty reflects what I feel today about our new normal – we are forced to rethink everything we took for granted. By reflecting on our conditions, we discover new ways of connecting with the world, just like by putting a cigarette filter inside my piano I discover a new way of thinking that big black piece of furniture. I’ve posted most of my experiments to my Instagram account (hashtag #fragmentadallockdown) on a daily basis for almost two months”.
Embracing the future has been entirely home-recorded by Simone Graziano on his Yamaha C3 piano, which has been 100% modified to enhance its darkest timber. Another remarkable decision is related to the recording tools: two “omni” mics placed inside the keyboard, almost touching the hammers. As an effect, the listeners feel like their head is inside the instrument, perceiving every detail, from releasing the key, to the phalanx touching the keyboard, to the creak of the piano bench, to the sound of the pedal being pressed.
The entire work has been skillfully mixed by Francesco Ponticelli at Cicaleto Recording Studio and mastered by Stefano Bechini. Embracing The Future is Simone Graziano first piano solo album, as well as his seventh as a leader, after the Frontal quintet trilogy (Frontal, Trentacinque, Sexuality), two trio albums (Lightwalls, Snailspace), and one sextet album with Purple Whales.
1. When The Party's Over 04:31
2. Damn Spring 02:47
3. Dora Et Les Adieux 02:54
4. Embracing The Future 01:59
5. Tancredi 02:17
6. Nihilo 03:10
7. We Will Hug Again 04:19
8. Always Whispering 03:49
9. Brahms Tears 06:15
10. Stars Behind Me 02:33
Simone Graziano - piano
All songs by Simone Graziano (published by Jazz Engine ed. mus.) except #1 by Finneas O'Connell
Recorded at Casa Graziano on October 2020 – February 2021 by Simone Graziano
Mixed at Cicaleto Recording Studio, Arezzo, Italy on March 2021 by Francesco Ponticelli
Mastered at Green Brain, Piancastagnaio (SI), Italy on April 2021 by Stefano Bechini
Tim Kobza is a Los Angeles based guitarist, multi-instrumentalist and producer, who writes and records music with attitude, movement, and authenticity inspired by an extensive career playing jazz, funk, latin, soul, R&B and improvised music.
Born in Omaha he made his way to Denton Texas to study Jazz Guitar Performance at the acclaimed North Texas State University. Living in Dallas after college he embarked on an international touring and recording career that began while playing with Carlos Guedes and Desvio. This was followed by working for several years as a sideman with Jazz artist Joe McBride.
The West Coast beckoned, Tim was offered a full scholarship and relocated to the west coast to pursue a Masters Degree in Studio-Guitar Performance at USC’s Thornton School Of Music.
His touring and recording continued with R&B artist Jon B., Jack Herrera, Debbie Gibson, James Torme, Francis Yip (China) Lee Seung Hwan (South Korea) to name a few.
Tim formed Modereko, a band he co-founded with drummer John Molo The band was signed to Verve records Blue Thumb imprint under the tutelage of Tommy LiPuma, ultimately recording 2 albums (a self-titled album and the 2nd release Solar Igniter) the group toured for several years.
“Much of this project came together during covid, the pause from live music allowed for creativity and collaboration on a different level, constructed from virtually assembled performances from some of my most formidable and admired musicians/friends, I am so grateful for their contributions”.
Though mostly instrumental, this project has one Bossa Nova inspired vocal track, ‘The Song That Is In Your Heart ‘ is a collaboration with singer extraordinaire Amanda Achen.
Other featured players on this project include Wayne Bergeron and John Dearth (Trumpet), Arlan Schierbaum (Keys), Matt Wallace (Sax and EWI), Wes Smith (Saxes), Jake Reed and Herman Matthews (Drums).
Tim’s passion for all things music, flows into his teaching at USC’s Thornton school of music where his professorship in the Guitar and Popular Music departments has been practiced for over 2 decades.
1) Tranquilo
Drums - Herman Matthews
Keys- Brian Hargrove
Mix -Joey Messina- Doerning
2) Jungly Vibes
Drums -Jake Reed
Matt Wallace- Flute, EWI, Tenor Saxophone, Shaker, Tambourine.
Jim Schweigert- Trumpet Solo
Mix-Jon Hegg
additional Engineering Omaha location- Greg Ahl
3) Cafe Cantante
Drums- Jake Reed
Saxophones and Flutes -Wes Smith
Keys, Rhodes, Mellotron- Kait Dutton
Mix -Joey Messina Doerning
4) The Song That Is In Your Heart
Lyrics and Vocals -Amanda Achen
Trumpet-Wayne Bergeron
Drums- Aaron Serfaty
Keys-Barb Catlin
Mix-Martin Walters
5) Oh Well Funk it
Drums -Jake Reed
Bass- Andrew Hill
Saxophones and Flutes -Wes Smith
Mix- Tim Kobza
6) La Vida Mysteriosa
Drums- Jake Reed
Keyboards- Arlan Oscar
Mix- Tim Kobza
7) Note Poetry
Drums -Jake Reed
Keys- Kait Dutton
Mix -Joey Messina Doerning
8) Lockdown Fatigue
Drums -Jake Reed
Keys- Kait Dutton
9) Fluffy
Drums -Jake Reed
Guitar Synth -Tim Kobza
Mix -Joey Messina Doerning
10) Retro Fusionista
Drums -Jake Reed
Keys- Kait Dutton
Mix -Martin walters
11) Identity Meditation
Drums -Jake Reed
Mix- Tim Kobza
12) Beats 93
Drums-Herman Matthews
Keys- Brian Hargrove
Mix -Joey Messina Doerning
13) Slow Your Roll
Tenor saxophone, EWI, Shaker, Tambourine, Flute, Claves, First Tenor solo- Matt Wallace
2nd Tenor solo -Cole Palensky
Trumpet textures -Michael Campanelli
Harmon mute Trumpet- John D’earth
Additional keyboards, mixing engineer- Jon Hegg
Additional Omaha location Engineer -Greg Ahl
Written and produced by Tim Kobza
Tim Kobza: All guitars, Bass , programming
Mastered by Larry Goetz, The Lair Recording Studio
Recorded at Intermix Studio in Los Angeles, January 8, 1980 Special thanks to Michael Preussner for the wonderful gong Recording equipment supplied by Recording Services Co., Studio City
Recording Engineer: Bruce Bidlack Mastered by Bob Ludwig, Masterdisk Album Cover Design by Kikuchi-Oji Design, Inc., New York Front Cover Photography: Alan Kikuchi
Executive Producers: Gary Halvorson and Big Al Produced by Brian Horner, Alex and Nels Cline and Tim Berne
From Gregg Belisle-chi: "KOI is very near and dear to me. Tim Berne has long been a hero of mine and, upon moving to New York, was one of my bucket list collaborators. I'm elated to be releasing this record of his music, produced by him and David Torn (who also mixed and mastered it beautifully.)
This record is a brand new endeavor for me: a collection of solo acoustic guitar renditions of his masterful compositions. I remember hearing "forage," Matt Mitchell's breathtaking solo piano record of Tim's music, in 2017 and thinking to myself "Goddam, wouldn't it be amazing if a guitar player did this too?" I didn't expect that guitarist to be me, but with Tim's blessing and guidance, we were able to make it happen...and I think it turned out extremely well.
All in all, this record is a dream come true: collaborating with Tim, having a recording enhanced by David Torn, album art designed by the one and only Steve Byram."
What more could I ask for?
Your support! Buy a CD or two! Share the Bandcamp page with your friends. I'd love for as many people to hear this record as possible. I'm so proud.
I hope you enjoy the journey of listening as much as I enjoyed the journey of playing.
Yours,
Gregg Belisle-Chi
New York, 2021
1. Chance 05:51
2. Three Whisky Exception 03:58
3. Trauma One 04:56
4. Giant Squids 03:42
5. Huh:Brokelyn 06:35
6. Middle Seat Blues 03:16
7. Huevos 04:01
8. Reception 05:31
9. Starfish Blues 03:50
10. Sequins 02:32
Gregg Belisle-Chi Acoustic Guitar
Recorded at Westwing Studios, Kingston NY, December 2020
Mixed and mastered by David Torn
Produced by Tim Berne and David Torn
Art & designs / Steve Byram, Photography by Tim Berne
In March 2019 I did a small tour in some cities of Siberia with the Priot Duo, with whom I had a stable trio at that time, plus the bassist Wadim Dikke as a guest. This is the last concert we did as a quartet, in the city of Tomsk on March 31st 2019, and not only the best of the tour but one of the best I remember with Piotr and Natasha.
The repertoire is mostly made up of re-interpretations of pieces from some of my solo albums, although in those days we used to play Ornette Coleman's Lonely Woman as well. The style is hard to typecast: cinematic ballads, sometimes bathed in a soft latin-jazz flavor, telepathic improvised collective explorations and explosions of furious dialogue between Natasha's pyrotechnic piano and a guitar somehow halfway between Fripp and Santana, in contrast to lyrical melodies underlined by the innocence of the melodica, all supported by Piotr's always creative and uncompromising drums and a great performance by Wadim, who, being a formidable electric bassist, had nevertheless only been playing the upright-bass for around six months at that time.
The sound is not spectacular, being an audience recording, but everything is heard clearly, even too much when you hear the stomping of the guitar pedals or the noises of the chairs almost louder than the instruments. However, everything contributes to creating an immersive experience in what was one of our best concerts with this formation.
Ángel Ontalva
1. Time of innocence 05:26
2. Never again 05:45
3. Lonely woman 07:45
4. Satellites 04:34
5. Blue stone waves 06:23
6. Summer rain 02:32
7. Maybe 03:03
8. That's how it goes 02:06
9. Amnesia 03:13
10. Lena Pillars 05:03
11. Broken trust, broken promises 03:13
12. Definitely 07:30
13. Eyes in the mirror 05:08
Music by Ángel Ontalva except 1 and 5 Ontalva-Blinova-Dikke-Talalay
***The release of this archival recording has been approved by Lidija Redman***
I made this recording while I was playing with the great Dewey Redman's Quartet in Chicago with Matt Wilson on drums and John Menegon on bass in March 2002. I never listened to it - I thought it was unsalvageable as I had recorded it at a very low volume. However, I dug it up recently, pumped up the volume and then realised that it was a great archival document and that Dewey is playing incredibly well, as are Matt and John. I am a little green to be honest. So...I asked Dewey's wife Lidija if I could put it up here so that anyone who wants to check it out can.
<<<Playing in Dewey Redman's Quartet - My recollections >>>
Dewey used to say, "we're gonna dig a little deeper next time" and digging deep is the way to the best of what music is inside you. Listening back, I know I was a little green and I am grateful Dewey gave me the chance because i was not able to be in the music and in the present and relating to what was going on as well as i could have been. One time while I was soloing Dewey came up to me and whispered "stretch out Barney, you're not here for the money". Dewey brought things out in me that I didn't know were there. I felt blessed to be able to commune with him in his amazing band and I felt it was changing my makeup and musical conception.
Dewey was a special person, a descendant from the Griots, or... that's what he told me he felt was true. He was like a missing piece to the jazz puzzle for me. He certainly changed the face of improvised music alongside Ornette, Charlie Haden, and Don Cherry and the Art Ensemble Of Chicago, etc.
He was pivotal but was never recognised in the way he should have been. He was a giant and he created movements alongside those that received the credit.
Keith Jarrett knew he was connecting with a pure flame of the new when he hired Dewey. Keith knew what Dewey had, and gleaned a great deal from it - it connected him with the new landscape in music and the new black music revolution.
Dewey told me when he recorded Jarrett's "Survivors Suite" ( my fave Keith Jarrett album)...that he was ..strung out...and that between each song he would have to go to the bathroom...Manfred Eicher (the Producer) didn't know Dewey was so sick... He thought Dewey had a stomach ache...but Keith knew...and he wasn't happy...
Keith's American Quartet ended after that..but man does that record sound incredible... was it some transmutation of terror? , a catharsis? some distillation on Dewey's part? On that album, to my ears, you can hear Dewey really playing changes. Complex ones. Some people have said Dewey wasn't really a changes player ...but that is just not true.
Keith's American Quartet ended after that..but man does that record sound incredible... was it some transmutation of terror? , a catharsis? some distillation on Dewey's part? On that album, to my ears, you can hear Dewey really playing changes. Complex ones. Some people have said Dewey wasn't really a changes player ...but that is just not true.
Once at the Deerhead inn, Keith Jarrett told me he didn't consider Dewey a changes player but that one night Dewey actually literally channeled Coleman Hawkins through his horn and played the living daylights out of some serious changes...and everyone was jaw to the floor... then other nights he would play more freely and impressionistically.
When Dewey was playing with Ornette he once asked him if he could get the chord changes to a tune because it seemed like there were specific changes to it. He handed the chart Ornette the chart and then Ornette took forever to stop scribbling... When Ornette handed the chart back to Dewey ... it had a different chord on every note of the melody!
Dewey said that it's all about the MUSIC. It's not about the money….he said you must be dedicated to the music. That when your playing bop-play bop. When your playing free, play it free. When your playing bluesy...play really bluesy. "Music is the biggest mystery," he said.
One time he said " Barney, when you work out what music's all about, CALL ME COLLECT"!...
He said Music is unlike the other arts because you can't see it but you feel it as deeply as if you saw it......
He said that when he would play the Musette in the early days. he would get lots of woman falling all over him...because he would point the bell of the musette right between the ladies' legs and play a note that would just resonate there... "and then that was it"!
Lol! He was so funny, he'd say “I might be old but I ain't cold”!
Dewey said.."people always ask me what I think about when I play..and my first answer is
"I react”...that's what he said..." music is never free..because you are reacting, following things, sounds " ..
"Music will heal you," he told me.............
---he would make certain sounds and utterances from the side of the stage..sounds of recognition..of joy at things people played..affirmation or wonderment ...it felt ritualistic and communal.
Matt Wilson and John Menagon are both really great people and players...Matt Wilson was so positive, Matt is a super creative person...always enjoying himself..never putting anyone down..all mistakes were like little childlike joys to him.. he looks up into the sky at times to think, to contemplate....that is when you see his unsanity- the unsanity of his pure creativity. Matt would crack jokes and really laugh after each set. He has always smiled alot..his playing was just finding new ideas constantly. Melodic and musical... I saw him at an airport one time and the first thing I said to him "OK...lemme see your socks".. Coz Matt Wilson is the sock pimp! He was wearing some splendid specimens of just outrageous sock-dom of course.
Dewey was so wise and he never trusted business people, possibly in some ways to his detriment. He wasn't always that forthcoming with crowd members or fans either..but with the band ..he was very friendly and kind. When we were on tour in Chicago, I got sick with the flu. Dewey called me up to see how I was when he knew I was sick the night before. He checked in throughout the day. What a gem.
Dewey would start the set by saying stuff like "ok everyone. you don't have to worry about Osama..or whether the spice Girls are coming back... you can just relax..send us some good vibes and well send 'em right back at ya"...
And always, when Dewey said goodbye to musicians he would always say "thank you for your music".
First time I heard Dewey live was with Gerry Allen, Eddie Moore, and Lloyd Swanton at the Tankerville arms in Melbourne. It was a tense feeling in the air, exciting and like something heavy was about to go down. Just before they were about to start, Lloyd bent down to pick up his bass and, as he says: ” a stage light dazzled me and blinded me to the fact that the corner of the piano lid was sticking out. To anyone watching it must have looked like I was quietly setting up my gear, and then decided without warning to smash my head down onto the corner of the piano lid as hard as I could. I’d pay to see that. Anyway, it certainly cured my stage fright, and yes, I think it helped a lot in coping with the heavy company”.
Lloyd proceeded to play the set with blood dripping from his head and i always saw that as Lloyd’s initiation into some other portal or musical level. It was a stunning gig and was one of those transformational musical moments for me and I dare say battle victorious Lloyd!
Dewey had a magical air about him. He had a strong aura of intensity and love. He had this gruff voice and he mumbled a lot so you had to listen. He was brilliant at pretending he wasn't paying attention and then when you least expected it, he would say something or re-iterate something that proved he was quick as a whip and right there all along. He was switched on like a bright light but wore his shade of ambiguity to ward off evil. He just understood stuff.
That was his way, he acted like he was vague but he was severely clear. He had a wonderful spirit..like a wise man...or a sage..so hard to pin down .. but not aloof, just not always...available..He was very loving..very genuine and kind in spirit. Hilarious too. He had this croaky a rascal laugh as he purchased a cognac at 9am at the airport bar.
I remember going over to his apartment on Marcey ave and Nostrand Ave in Brooklyn for a rehearsal...He was living in the same place he had lived since the 70's. His lovely wife Lidija answered the door...and Dewey appeared in full African regalia, bright colours, the smell of incense and there were posters from his past glued all over the walls like wallpaper.... He went and got this tiny Casio keyboard and some charts and he and I ran his music down.
The keyboard was atrocious but it didn't matter.. I had just learned this Bud Powell lick and was fond of it... So I strategically played it in one of my solos while we were rehearsing and Dewey let out a sound that was like he knew I had just learned it and that I dug it. It felt kind of psychic in a way.
Dewey told great stories. Stories about meeting John Coltrane and how told Coltrane he had beautiful fingers...? and then felt suddenly embarrassed. He told a funny story about when he first came to NYC. He was all nervous and was playing his first gig...He finished playing and came off the bandstand and a man approached him with a sort of enthusiasm, The guy says
"Where you from Man"? Dewey says, "Houston Texas"..
The Guy says “well , you sound like SHIT, go back to Houston!”
He told me that one time in Europe some schmuck came up to him with a Joshua Redman CD and asked Dewey to sign it! Dewey felt conflicted over his somewhat estranged son’s great success as a Tenor sax player. But i have to say, Dewey wasn't helpful to his own career, he would sabotage his success regularly and was pretty flakey. But I know he loved Joshua and at Dewey’s funeral, Joshua played some solo saxophone music that was the greatest I have ever heard him play. That was a deep moment:
I remember Dewey told a story about touring with Ornette and Keith at the same time. He would alternate tours with them both. On this one gig, he was with Ornette and it was a big saxophone summit or something. Anyway, Ornette's band room was next to Dexter Gordon’s room...But neither Dexter nor Sonny would even talk to Ornette. They felt he couldn't play changes and Ornette at that time was changing the landscape of improvised music really.
Dewey noticed that Sonny Stitt had gone in Dexter’s room and that Dexter was showing Sonny something so, Dewey decided to go check it out. While he is in Dexter's room , Dexter, Sonny, and Dewey hear this amazing alto playing that IS Charlie Parker??... They go next door and it’s Ornette! So from that day on, they ALWAYS had respect for Ornette, because Dewey said, on two or three occasions he heard Ornette play exactly like bird but Ornette had chosen to go deeper into his own thing via the springboard of Bird.
One Christmas I went over to visit Dewey in the morning around 10 am and when I got to the door Dewey handed me a Cognac! "Happy Christmas Barney", he said! His wife also got me some cake and we just hung. I remember I asked him about Paul Bley and he told me "well, Paul Bley is very into Paul Bley!". I had also just met Keith Jarrett at the Deerhead Inn and I was telling Dewey all about it. Dewey said to Lidija , “give him some CDs of me with Keith” and Lidija gave me both box sets of the Keith Jarrett American quartet. So sweet man! He told me one time he was playing with Kenny Kirkland?! and that he yelled out to Kenny Kirkland to "Stroll'...but Kenny thought he had yelled "STRIDE, so Kenny started playing stride piano … but man, how fascinating isit that Dewey and Kenny played!
To me, Dewey had connections to other worlds and was able to play little familiar folk melodies that you had heard before, but not here on earth. Infinite and anciently familiar melodies. He really loved Dexter Gordon too and he had so much soul it was terrifying.
The second last time I saw him was at Nice Jazz festival in France. I was leaving the hotel with The Groove Collective and was in the van and here comes Dewey Redman, running up to the van yelling “Barney, Barney”.. He had heard I was there and he wanted to say hi.?! I couldn't believe it! He stopped the van and said hi through the window. That was Dewey Redman. He was just a good human without airs and man I felt proud that day.
The very last time I saw him was in Switzerland in a hotel room foyer. Ill never ever forget his white hair and shining skin that day and I intuitively felt like it would be the last time I saw him, but I didn't admit it to myself. There was some air around him, very dark and very light. He had particular a magic about him which i can't explain. I was playing with Josh Roseman and Joshua Redman was also on the bill . Dewey seemed like a mystic in that foyer. He was glowing with life and I was always so intimidated by his history and his music but I felt like he just also was a down-home friend. I told him i was getting married and he said ", man! you better send me an invitation, coz if you don't, I will never speak to you again"!
I said I would and I did. The reason I had hesitated was because he is Dewey Redman and I just didn't expect he would come. But, he was deadly serious and I really felt that love from him.
After he died, Lidija told me that he never received the invitation? and was really sad. He really wanted to come.
