Mostrando postagens com marcador Joshua Redman. Mostrar todas as postagens
Mostrando postagens com marcador Joshua Redman. Mostrar todas as postagens

20.6.24

ELVIN JONES — Youngblood (1992-2000) FLAC (tracks+.cue), lossless

Although this superior set features three of the top Young Lions (tenors Joshua Redman and Javon Jackson and trumpeter Nicholas Payton), along with the fine bassist George Mraz, drummer Elvin Jones, 64 at the time, sounds like the youngest member of the group. The well-rounded CD has individual features for Redman ("Angel Eyes"), Payton ("Body and Soul") and Mraz ("My Romance"), along with the leader (the unaccompanied drum solo "Ding-A-Ling-A-Ling"), and has consistently inspired playing from all of the musicians. An excellent effort. Scott Yanow
Tracklist :
1    Not Yet    3:52
 Javon Jackson
2    Have You Seen Elveen?    7:40
 Nicholas Payton
3    Angel Eyes    8:45
 Earl Brent / Matt Dennis
4    Ding-A-Ling-A-Ling    7:18
 Elvin Jones
5    Lady Luck    9:27
 Thad Jones / Frank Wess
6    The Biscuit Man    3:57
 Donald Brown
7    Body And Soul    6:12
 Frank Eyton / Johnny Green / Edward Heyman / Robert Sour
8    Strange    4:12
 George Mraz
9    My Romance    6:13
 Lorenz Hart / Richard Rodgers
10    Youngblood    5:52
 Elvin Jones
Credits :
Bass – George Mraz (tracks: 1 to 3,5 to 10)
Drums – Elvin Jones
Recorded By – Rudy Van Gelder
Tenor Saxophone – Javon Jackson (tracks: 1,2,5,6,8,10), Joshua Redman (tracks: 1 to 3,5,6,8,10)
Trumpet – Nicholas Payton (tracks: 1,2,5 to 8,10)

19.6.24

ELVIN JONES — Jazz Machine (1997) FLAC (tracks+.cue), lossless

Tracklist :
1    April 8th 7:03
Composed By – Elvin Jones
2    East Of The Sun 4:06
Composed By – Brooks Bowman
3    Zenzo's Spirit 6:57
Composed By – Keiko Jones
4    A Change Is Gonna Come 5:25
Composed By – Sam Cooke
5    It Don't Mean A Thing If It Ain't Got That Swing 5:38
Composed By – Duke Ellington
6    Angel Eyes 8:50
Composed By – Matt Dennis
7    Have You Seen Elveen 7:54
Composed By – Nicholas Payton
8    My Romance 6:25
Composed By – Rodgers & Hart
9    A Flower Is A Lovesome Thing/Ask Me Now 9:13
Composed By – Billy Strayhorn, Thelonious Monk
10    Island Birdie 13:02
Composed By – McCoy Tyner
Credits :
Bass – Brad Jones (tracks: 1,2), Cecil McBee (tracks: 3-5,9), Chip Jackson (tracks: 10), George Mraz (tracks: 6,7,8)
Flute, Piccolo Flute – Kent Jordan (tracks: 1,2)
Piano – Willie Pickens (tracks: 1-5,9,10)
Soprano Saxophone, Tenor Saxophone – Ravi Coltrane (tracks: 1,2,10)
Tenor Saxophone – Javon Jackson (tracks: 1,2,7), Joshua Redman (tracks: 6,7)
Tenor Saxophone, Flute – Sonny Fortune (tracks: 3-5,9,10)
Trombone – Delfeayo Marsalis (tracks: 3-5,9)
Trumpet – Nicholas Payton (tracks: 1-5,7,9)

31.12.23

RAY BROWN TRIO — Some of My Best Friends Are ... The Sax Players (1996) FLAC (tracks+.cue), lossless

As a follow-up to bassist Ray Brown's previous record in which he collaborated with several of his favorite pianists, Some of My Best Friends Are...The Sax Players features six major saxophonists (tenors Joe Lovano, Ralph Moore, Joshua Redman and Stanley Turrentine plus altoists Benny Carter and Jesse Davis) on two songs apiece with his regular trio. Although more than 60 years separate the ageless Carter from Redman, each of the saxes originally developed their own voice in the straight-ahead jazz tradition. Highlights of the colorful set include Benny Carter's playful rendition of "Love Walked In," Moore's cooking solo on "Crazeology" (a Benny Harris bop classic which the record mistakenly lists as written by Bud Freeman), Davis ripping through "Moose the Mooche" and Turrentine's romp on the blues "Port of Rico." Pianist Benny Green and drummer Gregory Hutchinson provide suitable accompaniment (Green's solos are consistently excellent) and all dozen of the songs are successful and swinging. As an extra bonus, on the latter part of the CD each of the saxophonists has a brief chat (between 26 seconds and a minute apiece) with Brown about their early influences. There is so much good feeling and obvious mutual respect shown that one wishes these talks were at least twice as long; the Benny Carter segment is most memorable. This well-conceived project is easily recommended. Scott Yanow   Tracklist & Credits :

13.11.22

DEWEY REDMAN - Soundsigns (1981) lp | FLAC (tracks), lossless

Recorded at the same sessions that resulted in Musics, this LP (which has not yet been reissued on CD) is actually more exploratory. Tenor saxophonist Dewey Redman interacts with both Mark Helias and Charlie Haden on "Piece for Tenor and Two Basses," swings semi-conventionally on "Half Nelson" (which adds pianist Fred Simmons and drummer Eddie Moore), and engages in some sonic explorations on "Adesso Lo Sai." Strangest of all is "Come Earth," which finds Redman switching to harmonica, the two bassists bowing wildly and Moore playing a musical saw. That number rambles on colorfully but without much direction for ten minutes. Scott Yanow
SIDE A
1    Piece For Tenor And Two Basses 8:23
Bass – Charlie Haden, Mark Helias
Tenor Saxophone – Dewey Redman

2    Half Nelson 10:07
Bass – Mark Helias
Drums – Eddie Moore
Piano – Fred Simmons
Tenor Saxophone – Dewey Redman

SIDE B
1    Adesso Lo Sai 13:59
Bass – Mark Helias
Drums – Eddie Moore
Piano – Fred Simmons
Tenor Saxophone – Dewey Redman

2    Come Earth 8:00
Bass – Charlie Haden, Mark Helias
Cymbal, Saw – Eddie Moore
Harp – Dewey Redman

DEWEY REDMAN ft. JOSHUA REDMAN - African Venus (1994) FLAC (tracks+.cue), lossless

By the time African Venus was recorded in 1992, Dewey Redman was combining the fire of his earlier playing with a gentler, melodic approach. On "Satin Doll," "Mr. Sandman," and "Take the 'A' Train," Redman glides along in a more traditional bop vein, while the title track and Ornette Coleman's "Turnaround" sound more like the fiery Redman of Look for the Black Star or Tarik. Joining Redman on this date are Charles Eubanks (piano), Anthony Cox (bass), Carl Allen (drums), Danny Sadownick (percussion), and Joshua Redman (tenor saxophone), on three tracks. Not an essential disc, but far from a throwaway. Al Campbell
Tracklist :
1    African Venus 9:27
Composed By – Dewey Redman
2    Venus And Mars 7:48
Composed By – Dewey Redman
3    Mr. Sandman 6:54
Composed By – Francis Drake Ballard
4    Echo Prayers 5:53
Composed By – Dewey Redman
5    Satin Doll 8:23
Composed By – Billy Strayhorn, Duke Ellington
6    Take The "A" Train 7:41
Composed By – Billy Strayhorn
7    Turnaround 6:25
Composed By – Ornette Coleman
Credits :
Bass – Anthony Cox
Drums – Carl Allen
Percussion – Danny Sadownick
Piano – Charles Eubanks
Tenor Saxophone [Tenor Sax] – Joshua Redman (pistas: 2, 3, 5)
Tenor Saxophone [Tenor Sax], Alto Saxophone [Alto Sax], Suona [Musette] – Dewey Redman

12.11.22

DEWEY REDMAN | JOSHUA REDMAN - Choices (1992) FLAC (tracks+.cue), lossless

This is a curious set for saxophonist Dewey Redman, featuring a killer band that includes bassist Cameron Brown, drummer Leon Parker, and the first appearance of his son, Joshua, on tenor in duet on a couple of tracks. Redman himself is in fine form, playing with all of the deep, steamy lyricism he showcased so brilliantly with Ornette Coleman and in Old and New Dreams, but there is something else too, as evidenced by the track selection, and that is a new reverence for the tradition. Redman was always a melodic player, even in his most fiery avant encounters, but his love for jazz tradition, particularly its formalist considerations, was never really apparent until now. Here Redman selects the nugget "Everything Happens to Me" as the place to showcase his reverential balladic style. Over the course of ten minutes, he allows the hidden blues in the tune to come out and haunt him as he explores each nuance with minimal accompaniment. Also, the Van Heusen nugget "Imagination" is read here with such eloquence, grace, and heartbreaking sensitivity that it's almost a blues. The melodic invention Redman displays here makes this version a contender for being the definitive one. The Eastern edge is here in "O'Besso," with Joshua playing tenor and Dewey playing musette. It begins as a modal Eastern theme onto which the changes are gradually built. The melody seeps out, almost unexpectedly, and becomes a flower of interwoven harmonic figures traded between father and son. There's also plenty of the traditional Redman fire in place too, such as on "Le Clit," the original that was supposed to be recorded for the 1980/1981 sessions he did with Pat Metheny. Whether it was or not is anybody's guess, but it has never surfaced if it was. Here Dewey and Joshua, on alto and tenor, respectively, trade eights in the bridge between their solos and come to grips with a monster of their own creation -- deeply lyric, yes, but also fathomlessly dark and brooding. Finally, Redman's "For Mo" features both men on tenor and it's more of a dovetailing ride than a battle, which is as it should be. The singing goes deep here and Parker and Brown push the pair into corners of rhythmic invention that demand resolution. This is a wonderful and unexpected surprise from Dewey and a welcome entrance onto the scene from Joshua.
-> This comment is posted on Allmusic by Thom Jurek, follower of our blog 'O Púbis da Rosa' <-
Tracklist :
1     Le Clit 9:09
Dewey Redman    
2     Everything Happens to Me 10:27
Tom Adair / Dennis / Matt Dennis    
3     O'Besso 14:09
Dewey Redman    
4     Imagination 8:15
Burke / Johnny Burke / James Van Heusen    
5     For Mo 13:25
Dewey Redman    
Credits :
Alto Saxophone – Dewey Redman (1, 5)
Bass – Cameron Brown
Drums – Leon Parker
Musette – Dewey Redman (3)
Tenor Saxophone – Dewey Redman (2), Joshua Redman (1, 4, 5)

5.9.21

ROY HAYNES - Love Letters (2002) APE (image+.cue), lossless

Originally released in Japan on producer Yasohachi Itoh's 88 label, Columbia has licensed several titles from the audiophile label, including this one from veteran hard bop/new thing drummer Roy Haynes. Love Letters gathers an all-star roster, including pianists Kenny Barron and David Kikoski, bassists Dave Holland and Christian McBride, tenor player Joshua Redman, and guitarist John Scofield for a thoroughly solid set of standards. Even as he approaches his eighth decade, Haynes continues to display the drive that has made him an in-demand timekeeper since his tenure with Charlie Parker and Bud Powell. It's evident throughout the entire album, from the rock-ist suggestions of Mongo Santamaria's "Afro Blue" to the poignant take on Horace Silver's "Que Pasa." All of the groupings have their shining moments, but Haynes with Holland and Scofield is a combination that demands to be documented further. Recommended. by Wade Kergan
Tracklist :
1     The Best Thing for You 3:47
Irving Berlin
2     That Old Feeling 6:28
Lew Brown / Sammy Fain
3     Afro Blue 7:15
Mongo Santamaria
4     Qué Pasa 7:31
Horace Silver
5     How Deep Is the Ocean? 6:33
Irving Berlin
6     Love Letters 7:42
Edward Heyman / Victor Young
7     My Shining Hour 5:46
Harold Arlen / Johnny Mercer
8     Stompin' at the Savoy 7:13
Benny Goodman & His Orchestra / Edgar Sampson / Chick Webb

9     Shades of Senegal 2 4:18
Roy Haynes
Credits :
Bass – Dave Holland
Drums – Roy Haynes
Guitar – John Scofield
Piano – David Kikoski, Kenny Barron
Tenor Saxophone – Joshua Redman

5.8.20

JOSHUA REDMAN - Wish (1993) FLAC (tracks+.cue), lossless

Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and Higgins had played an important role in jazz's avant-garde because of their association with Coleman, and Metheny had himself joined forces with Coleman on their thrilling Song X session of 1985. But Wish isn't avant-garde; instead, it's a mostly inside post-bop date that emphasizes the lyrical and the introspective. The musicians swing hard and fast on Charlie Parker's "Moose the Mooche," but things become very reflective on pieces like Redman's "The Undeserving Many" and Metheny's "We Had a Sister." One of the nice things about Redman is his ability to provide jazz interpretations of rock and R&B songs. While neo-conservatives ignore them and many NAC artists simply provide boring, predictable, note-for-note covers, Redman isn't afraid to dig into them and show their jazz potential. In Redman's hands, Stevie Wonder's "Make Sure You're Sure" becomes a haunting jazz-noir statement, while Eric Clapton's ballad "Tears in Heaven" is changed from moving pop/rock to moving pop-jazz. The latter, in fact, could be called "smooth jazz with substance." Some of bop's neo-conservatives disliked the fact that Redman was playing with two of Coleman's former sidemen and a fusion icon like Metheny, but then, Redman never claimed to be a purist. Although Wish isn't innovative, it's an appealing CD from an improviser who is willing to enter a variety of musical situations. by Alex Henderson 
Tracklist: :
1. Turnaround 6:24
(Ornette Coleman)
2. Soul Dance 6:34
(Joshua Redman)
3. Make Sure You’re Sure 5:24
(Stevie Wonder)
4. The Deserving Many 5:39
(Joshua Redman)
5. We Had a Sister 5:46
(Pat Metheny)
6. Moose the Mooche 3:32
(Charlie Parker)
7. Tears in Heaven 3:21
(Eric Clapton)
8. Whittlin’ 5:21
(Pat Metheny)
9. Wish (live) 7:26
(Joshua Redman)
10. Blues for Pat (live) 12:08
(Charlie Haden)
Credits :
Joshua Redman – Sax 
Pat Metheny – Guitar 
Charlie Haden – Bass
Bill Higgins – Drums.

JOSHUA REDMAN - Joshua Redman (1993) FLAC (tracks+.cue), lossless

In the early to mid-'90s, no "Young Lion" was hyped to death by jazz critics more than Joshua Redman; to hear some critics tell it, he was as important a saxophonist as John Coltrane, Dexter Gordon, or Sonny Rollins. The problem with such excessive hype is that it gives a young talent like Redman way too much to live up to at an early age; the tenor man was only 22 when this self-titled debut album was recorded, and he needed time to grow and develop. Nonetheless, Redman did show a lot of promise on this CD, which isn't in a class with Coltrane's A Love Supreme or Rollins' Saxophone Colossus (some critics really did have the audacity to make such claims) but showed Redman to be a swinging, expressive improviser who had impressive technique as well as versatility. Redman's playing is greatly influenced by funky, big-toned soul-jazz tenors like Eddie Harris, Gene Ammons, and Red Holloway, but his probing, searching qualities bring to mind Coltrane. Redman's gritty soul-jazz workout on James Brown's "I Got You (I Feel Good)" demonstrates that he isn't a stuffy neo-conservative, while his enjoyable interpretations of "Body and Soul" and Thelonious Monk's "Trinkle Tinkle" illustrate his ability to play "in the tradition," as hard boppers are fond of saying. Dizzy Gillespie's "Salt Peanuts" is pure bop, and Redman (whose acoustic support on this album includes pianist Kevin Hays, bassist Christian McBride, and drummer Gregory Hutchinson) gets into a Coltrane-influenced post-bop groove on his own "Sublimation." Joshua Redman isn't a masterpiece, but it let us know that he was certainly someone to keep an eye on. by Alex Henderson  
Tracklist:
1. Blues on Sunday 4:59
(Joshua Redman)
2.Wish 7:30
(Joshua Redman)
3.Trinkle Tinkle 7:02
(Thelonious Monk)
4.Echoes
5. I Got You (I Feel Good) 4:36
(James Brown)
6. Body & Soul 4:47
(Heyman-Green-Sour)
7. Tribalism 5:58
8. Groove X (By Any Means Necessary) 5:49
9.Salt Peanuts 3:14
(Dizzy Gillespie)
10. On the Sunny Side of the Street 5:31
(McHugh-Fields)
11. Sublimation 8:52
Credits:
Joshua Redman – Tenor saxophone
Kevin Hays – Piano
Christian McBride – Bass
Gregory Hutchinson – Drums
Mike LeDonne – Piano
Paul LaDuca – Bass
Kenny Washington – Drums
Clarence Penn – Drums

JOSHUA REDMAN - Back East (2007) FLAC (tracks+.cue), lossless

Back East showcases saxophonist Joshua Redman as he leads a few different trios through a cerebral and muscular set of originals and standards. Redman has long evinced the influences of such similarly inclined legends as Sonny Rollins, Dexter Gordon, and John Coltrane, and Back East is no exception -- which isn't to say it's business as usual. Admittedly, while this is a straight-ahead acoustic jazz date, it is one ripe with creative energy that finds Redman's knack for deeply thoughtful improvisation and unexpected rhythmic interplay in full flower. Recorded prior to the passing of Redman's father, saxophonist Dewey Redman, in 2006, the album is dedicated in his father's memory and not only features the elder Redman alongside his son, but Redman even gives him a solo turn on the last cut. Interestingly, Back East finds Redman ruminating on alternate meanings of the title: as in the "Back East" of cities like New York and Boston or as in Eastern philosophies and religious beliefs. This leads Redman to myriad musical settings, including the funky swing of "The Surrey with the Fringe on Top" and the more raga-influenced and expansive post-bop of the original "Zarafah." Joining Redman here is a cadre of top-notch rhythm players, including bassists Larry Grenadier, Reuben Rogers, and Christian McBride; drummers Ali Jackson, Brian Blade, and Eric Harland; and saxophonists Chris Cheek and Joe Lovano. This CD was nominated in 2007 for a Grammy award as Best Jazz Instrumental Album (Individual or Group). by Matt Collar 
Tracklist:
1 The Surrey with the Fringe on Top 5:13
Oscar Hammerstein II / Richard Rodgers
2 East of the Sun (And West of the Moon) 5:36
Brooks Bowman
3 Zarafah 7:58
Joshua Redman
4 Indian Song 6:12
Wayne Shorter
5 I'm an Old Cowhand 6:06
Joshua Redman
6 Wagon Wheels 5:58
Peter DeRose / William J. Hill
7 Back East 6:43
Joshua Redman
8 Mantra #5 6:12
Joshua Redman
9 Indonesia 4:43
Joshua Redman
10 India 4:57
John Coltrane
11 GJ 3:40
Dewey Redman
Credits:
Bass – Christian McBride (tracks: 3 to 4), Larry Grenadier (tracks: 1 to 2, 8 to 11), Reuben Rogers (tracks: 5 to 7)
Drums – Ali Jackson (tracks: 1 to 2, 8 to 11), Brian Blade (tracks: 3 to 4), Eric Harland (tracks: 5 to 7)
Saxophone, Producer – Joshua Redman

JOSHUA REDMAN - Trios Live (2014) FLAC (tracks+.cue), lossless

 Trios Live features saxophonist Joshua Redman performing live in concert with his trio on two separate dates. The first concert was recorded in 2009 at New York's Jazz Standard and the second was recorded in 2013 at Washington's Blues Alley. Backing Redman on both of these dates is drummer Gregory Hutchinson; who is then joined by bassist Matt Penman on the Jazz Standard recording, and bassist Reuben Rogers for the Blues Alley performance. As there are no chordal instruments such as piano or guitar in Redman's trio, he is free to explore a wide harmonic color palette and does so here with plenty of exuberance. This is Redman the bluesy, muscular, yet mathematically concise improviser, digging deep into such influences as Sonny Rollins, Dexter Gordon, and Ornette Coleman. Although Redman has never shied away from progressive, extroverted improvisation, as Trios Live comes on the heels of his reflective, lushly produced 2013 orchestral ballads album, Walking Shadows, it has more in common with his adventurous 2007 studio trio album, Back East, as well as his fearless 2009 double-trios experiment, Compass. Along with three originals, on Trios Live we also get Redman's take on such standards as Kurt Weill and Bertolt Brecht's "Moritat (Mack the Knife)," Jay Livingston and Ray Evans' "Never Let Me Go," and Thelonious Monk's "Trinkle, Tinkle." Also included is Redman's frenetic reworking of Led Zeppelin's "The Ocean." Always an engaging improviser, Redman is perhaps at his best in a club setting and Trios Live does nothing to dissuade one of that notion. by Matt Collar 
Tracklist:
1. Moritat (Mack The Knife) 12:02
Bertolt Brecht / Kurt Weill
2. Never Let Me Go 6:38
Ray Evans / Jay Livingston
3 Soul Dance 6:43
Joshua Redman
4 Act Natural 12:25
Joshua Redman
5 Mantra #5 7:37
Joshua Redman
6 Trinkle, Tinkle 5:57
Thelonious Monk
7 The Ocean 6:38
John Bonham / John Paul Jones / Jimmy Page / Robert Plant
Credits:
Bass – Matt Penman (tracks: 1, 5 to 7), 
Reuben Rogers (tracks: 2 to 4)
Drums – Gregory Hutchinson
Tenor-Saxophone – (tracks: 1, 2, 4, 6, 7)
Soprano Saxophone – Joshua Redman (tracks: 3, 5)

31.7.20

BRAD MEHLDAU - Highway Rider (2010) 2CD / FLAC (tracks+.cue), lossless

The Highway Rider is pianist and composer Brad Mehldau's second collaboration with enigmatic pop producer Jon Brion. The first was 2002's ambitious but tentative Largo. As a collaboration, The Highway Rider is much more confident by contrast. Mehldau’s most ambitious work to date, its 15 compositions are spread over two discs and 100 minutes. His trio --bassist Larry Grenadier and drummer Jeff Ballard -- is augmented by saxophonist Joshua Redman, drummer Matt Chamberlain, and a chamber orchestra conducted by Dan Coleman. The album is a narrative jazz suite, orchestrated and arranged by Mehldau, though it has much in common with classical and pop music, as well. 
The group settings range from solo to quintet, with and without strings, all of it recorded live in studio. Redman's addition is welcome. “Don’t Be Sad” features his consoling tenor, Mehldau (on pump organ and piano), Grenadier, and both drummers with orchestra. It begins as a piano solo, languidly establishing a pace that begins to swing with gospel overtones. Later, Redman's lower-register blowing, strings, and winds carry it out joyfully. Brion adds drum‘n’bass overtones to the trio on the title track. The electronics are a narrative device designating motion; they accompany the gradually assertive knottiness in the post-bop lyric. Mehldau begins “The Falcon Will Fly Again” with a complex solo that touches on Latin grooves, even as Chamberlain and Ballard create an organic loop effect with hand percussion. Redman's soprano creates a contrapuntal melody extending the harmonic dialogue. Disc two’s lengthy “We’ll Cross the River Together” has quintet and orchestra engaging in a beautiful study of texture, color, and expansive harmonics with wildly divergent dynamics. It showcases Mehldau’s trademark pianistic elegance in counterpoint. Redman's deep blues tenor nearly weeps on “Sky Turning Grey (For Elliot Smith).” “Capriccio’'s Latin rhythms contrast ideally: Mehldau’s classical, gently dissonant motifs create an exploratory harmonic palette as Redman’s magnetic soprano playing joins Mehldau's in the last third, anchoring the complex melody. The closer, “Always Returning,” builds to a climax that incorporates themes from the cycle. Redman and Mehldau soar with the orchestra before they all close it in a whispering tone poem. By combining sophisticated -- yet accessible -- forms with jazz improvisation, The Highway Rider exceeds all expectations, giving jazz-classical crossover a good name for a change. It is Mehldau’s most ambitious, creatively unfettered, and deeply emotional work to date, and will stand as a high watermark in his catalog.
(This comment is posted on allmusic by Thom Jurek, follower our blog O Púbis da Rosa)
Tracklist 1 :
1  John Boy 3:15
Brad Mehldau 
2  Don't Be Sad 8:40
Brad Mehldau 
3  At the Tollbooth 1:07 
Brad Mehldau 
4  Highway Rider 7:45 
Brad Mehldau 
5  The Falcon Will Fly Again 8:21 
Brad Mehldau 
6  Now You Must Climb Alone 4:05 
Brad Mehldau 
7  Walking the Peak 8:00 
Brad Mehldau 
Tracklist 2 :
1  We'll Cross the River Together 12:28
Brad Mehldau 
2  Capriccio 5:20 
Brad Mehldau 
3  Sky Turning Grey [For Elliot Smith] 6:24 
Brad Mehldau 
4  Into the City 7:36 
Brad Mehldau 
5  Old West 8:28 
Brad Mehldau 
6  Come with Me 6:19 
Brad Mehldau 
7  Always Departing 6:20 
Brad Mehldau 
8  Always Returning 9:52 
Brad Mehldau 
Credits:
Bassoon [Orchestra] – Andrew Radford (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8) 
Cello [Orchestra, Principal] – Timothy Landauer (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8) 
Cello [Orchestra] – Armen Ksajikian (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Cecilia Tsan (tracks: 1-2, 1-6, 1-7), Martha Lippi (tracks: 2-1, 2-7, 2-8), Rudolph Stein (tracks: 2-1, 2-7, 2-8), Stefanie Fife (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Trevor Handy (tracks: 1-2, 1-6, 1-7) 
Composed By, Arranged By, Orchestrated By – Brad Mehldau
Conductor [Orchestra] – Dan Coleman (tracks: 1-1, 1-2, 1-6 to 2-1, 2-7, 2-8) 
Contrabassoon [Orchestra] – Allen Savedoff (tracks: 1-6 to 2-1, 2-7, 2-8) 
Contractor [Orchestra] – Suzie Katayama
Double Bass [Bass, Orchestra, Principal] – Michael Valerio (tracks: 1-6, 1-7), Sue Ranney (tracks: 2-1, 2-7, 2-8) 
Double Bass [Bass, Orchestra] – David Stone (tracks: 1-6, 1-7), Ed Meares (tracks: 1-6, 1-7), Oscar Hidalgo (tracks: 2-1, 2-7, 2-8), Timothy Eckert (tracks: 2-1, 2-7, 2-8) 
Double Bass [Bass] – Larry Grenadier (tracks: 1-2, 1-4, 1-7, 2-1, 2-3, 2-4, 2-6, 2-8) 
Drums – Jeff Ballard (tracks: 1-7, 2-1, 2-4, 2-6, 2-8), Matt Chamberlain (tracks: 1-2, 1-4, 1-7, 2-3, 2-8) 
Horn [Orchestra, Principal] – Brian O'Connor (tracks: 1-2, 1-6, 1-7), Steven Becknell (tracks: 1-1, 2-1, 2-7, 2-8) 
Horn [Orchestra] – Dan Kelley (tracks: 1-1, 2-1, 2-7, 2-8), John Reynolds (tracks: 1-6, 1-7), Mark Adams (tracks: 1-1, 1-6, 1-7), Phillip Yao (tracks: 1-1, 2-1, 2-7, 2-8) 
Leader [Orchestra] – Dan Coleman
Percussion – Jeff Ballard (tracks: 1-1, 1-5, 2-1, 2-2), Matt Chamberlain (tracks: 1-5, 2-1, 2-2) 
Piano – Brad Mehldau (tracks: 1-1 to 1-5, 1-7 to 2-6, 2-8) 
Soprano Saxophone – Joshua Redman (tracks: 1-1, 1-5, 2-2, 2-5, 2-6, 2-8) 
Tenor Saxophone – Joshua Redman (tracks: 1-2, 1-7, 2-1, 2-3) 
Viola [Orchestra, Principal] – Bob Becker (tracks: 2-1, 2-7, 2-8), Roland Kato (tracks: 1-2, 1-6, 1-7) 
Viola [Orchestra] – Andrew Duckles (tracks: 1-2, 1-6, 1-7), Andrew Picken (tracks: 2-1, 2-7, 2-8), Carole Kleister-Castillo (tracks: 2-1, 2-7, 2-8), Denyse Buffum (tracks: 1-2, 1-6, 1-7), Qiang (John) Wang (tracks: 2-1, 2-7, 2-8), Matt Funes (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Victoria Miskolczy (tracks: 1-2, 1-6, 1-7) 
Violin [Orchestra] – Alyssa Park (tracks: 1-2, 1-6, 1-7), Robert Peterson (tracks: 2-1, 2-7, 2-8), Caroline Campbell (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Dorian Cheah (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Gerardo Hilera (tracks: 2-1, 2-7, 2-8), Jacqueline Brand (tracks: 1-2, 1-6, 1-7), Josefina Vergara (tracks: 1-2, 1-6, 1-7), Julian Hallmark (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Michele Richards (tracks: 2-1, 2-7, 2-8), Natalie Leggett (tracks: 1-2, 1-6, 1-7), Philip Vaiman (tracks: 2-1, 2-7, 2-8), Sara Parkins (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8), Tereza Stanislav (tracks: 1-2, 1-6, 1-7), Vladimir Polimatidi (tracks: 2-1, 2-7, 2-8) 
Violin [Orchestra], Concertmaster – Charlie Bisharat (tracks: 1-2, 1-6 to 2-1, 2-7, 2-8) 

TAMPA RED — Complete Recorded Works In Chronological Order ★ Volume 5 • 1931-1934 | DOCD-5077 (1991) RM | FLAC (tracks+.cue), lossless

Abridged from this album’s original booklet notes. This fifth volume of Tampa Red‘s early recordings marks two important events in his caree...