Word: redman
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...like anxious lullabies (to suggest another unappetizing title). Though Keezer gives himself three solo numbers--a highlight being his gentle deconstruction of Lush Life--the heart of the album is a series of tunes featuring Keezer in an all-star trio setting with bassist Christian McBride and saxophonist Joshua Redman. The lack of a drummer to knit things together in the usual way, along with Keezer's provocative, concerto-like arrangements (his accompaniment can be even more interesting than his solos), suggests a kind of jazz version of Baroque counterpoint. Three cuts feature a breathy Diana Krall on vocals...
...right one of these days," McBride said of the intricate new Redman original, conceding its difficulty. "Off Center" is marked by a relatively simple melody repeated over a complex, busy rhythm figure, which combine to make the time signature of the head of the piece somewhat unclear. While the band had been tastefully restrained up till then, the solo section of "Off Center" gave the band members, particularly Blade, a chance to really come alive. Redman saw fit to change the timbre of his playing and force honks and cries from his horn. Blade got his first solo...
...band made an abrupt transition in tempo and mood as Redman began a long cadenza to preface the ballad, "What's New?" Here his very slow, almost imperceptible vibrato and airy, floating tone were vividly apparent. He played several motifs in different octaves, never once hinting that he might be performing at the extreme registers of his instrument. After the drums made a discreet entrance, and the delicate melody had been presented, McBride picked up a bow and displayed a facet of his amazing versatility as he coaxed a lush, sustained solo from his instrument...
...impossible on such a cumber-some instrument. Throughout it all, the bassist made it look effortless, never belying the technical hurdles he had to overcome in order to play such difficult intervals in such awkward positions. McBride was very much in a groove--toward the end of his solo, Redman interjected with a few notes, as if to indicate it was his turn. Through it all, the musicians were cheering each other on, yelling encouragement and flashing grins at each other...
...relief of some listeners, McBride picked up his upright bass immediately after finishing "Twenty-Seven Summers," and the trio launched into a swinging, up-tempo 12-bar blues. With McBride walking up and down his bass and Redman offering some bluesy riffs, the audience got right back into it and afterwards applauded enthusiastically as the trio took a collective bow, arms over each others' shoulders...