Trippie Redd Mansion Musik

Freddie Redd - Shades of Redd (1960) {2008 BN Rudy Van Gelder Remaster}
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© 2008 Blue Note | 50999 5 14375 2 7 | 24-bit Remaster
Jazz / Hard Bop / Piano

SHADES OF REDD is part of the seemingly endless stream of bop and post-bop albums released on Blue Note in the 1960s, and as such is easy to overlook. That, however, would be a mistake, as SHADES OF REDD is a gleaming gem of a find. With saxophonists Jackie McLean and Tina Brooks in the front line, pianist Freddie Redd leads a rhythm section through nine blues-inflected bop numbers of his own composition. Cool, elegant, and with plenty of swing factor, SHADES OF REDD might sound, theoretically, like any other disc from the period, but this is one of the sets where the elements came together perfectly. Jazz fans of nearly any stripe would do well to pick this up.

“Dreams To Reality” is the first album released from guitarist and composer Stuart Redd. This album has a very live feel greatly enhanced by the remarkable rhythm section performances of drummer Dave Weckl, bassists Ric Fierabracci, Tom Kennedy and Kim Stone with added spice and liveliness from percussionist Ramon Yslas. You will also hear outstanding keyboard performances from Jeff Lorber and Dave Weckl’s long-time studio partner Jay Oliver. On top of that, add in truly phenomenal solo performances from trumpeter Randy Brecker, and saxophonists Eric Marienthal and Gary Meek.

Freddie Redd - Everybody Loves A Winner (1991) {Milestone MCD-9187-2 rec 1990}
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© 1990 Milestone / Fantasy | MCD-9187-2
Jazz / Hard Bop / Piano

Pianist Freddie Redd has not recorded all that much during his 45-year career, but most of his records have been special events. This particular set has eight of Redd's tightly arranged compositions being performed by a fine sextet that also features tenor-saxophonist Teddy Edwards, altoist Curtis Peagler and trombonist Phil Ranelin.

In an all too small discography, Freddie Redd's Shades of Redd is without a doubt his crowning achievement. Completed after a successful stint composing music for the stage play The Connection, Redd wrote music specifically geared for his two formidable front line saxophonists - emerging alto giant Jackie McLean and the unsung hero of the tenor, Tina Brooks. Redd, bassist Paul Chambers, and drummer Louis Hayes, fresh out of the Detroit scene, took New York City by storm playing clubs and working with Redd when he was not doing production music. All of these tracks, originals by Redd, are brimming with the hope, optimism, and fresh ideas of the early '60s, music perfectly rendered and representative of the time period…

An excellent album by Isaac Redd Holt - one half of the incredible Young-Holt rhythm team, bursting out nicely here on his own! This is Redd's second album - first for Paula, as the other one was a jazz effort on Argo back in the 60s - and it's a wild blend of jazz, funk, and a lot of other weird sounds. The introduction's totally cool, and features Redd running through a list of hip little clubs in American cities, then the album launches into the great "Listen to the Drums", which has a tight pounding groove, and moves on to a whole bunch of other jazzy cuts like "Flo", "Slow Funk", and "Let the Spirit In". Redd sings a bit, which isn't too bad (mostly), but it's the grooves that will keep you coming back. Very much in the spirit of Roy Porter's legendary funk albums - but probably a bit tighter!

Freddie Redd - San Francisco Suite (1957) {Riverside OJCCD-1748-2 rel 1990}
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© 1957, 1990 Riverside Records | OJCCD-1748-2
Jazz / Hard Bop / Piano

This early recording by pianist Freddie Redd (a straight CD reissue of the original Riverside LP) features Redd's trio of the time, with bassist George Tucker and drummer All Dreares. The CD reissue is highlighted by the 13½-minute title piece, a suite that in its five melodies depicts the jazz life in San Francisco during the era. Redd shows potential both in his writing and his boppish playing. The remainder of the fine set has the group's interpretations of three other Redd originals and a trio of standards. An excellent effort.

This 1975 slab by drummer Redd Holt was his second outing after the disintegration of the Young-Holt Unlimited rhythm team. Tighter and more adventurous than Isaac, Isaac, Isaac, its predecessor, Holt goes for the heart of rhythm here, letting it flower over the top of all the other arrangements. As a way of signifying this, he opens the set with a short but deeply funky and soulful rendition of Bob Marley's "I Shot the Sheriff." With less than two-and-a-half minutes of clock time, it's get out and go or nothing and Holt makes his tom-toms pop like snares, keeping only the slamming guitaristry of Randy Ford on top with him. Elsewhere, as on "Gimme Some Mo," Holt intertwines with keyboardist Eugene Curry to allow bassist Jose Holmes to cut the groove fast and deep, popping it all over the sonic spectrum like Bootsy Collins but with more finesse…