Joshua Redman, Brooklyn Rider – Sun on Sand (with Scott Colley & Satoshi Takeishi) (2019) [FLAC 24 bit, 88,2 kHz]

Joshua Redman, Brooklyn Rider - Sun on Sand (with Scott Colley & Satoshi Takeishi) (2019) [FLAC 24 bit, 88,2 kHz] Download

Artist: Joshua Redman, Brooklyn Rider
Album: Sun on Sand (with Scott Colley & Satoshi Takeishi)
Genre: Jazz
Release Date: 2019
Audio Format:: FLAC (tracks) 24 bit, 88,2 kHz
Duration: 40:19
Total Tracks: 8
Total Size: 742 MB

Tracklist:

1. Joshua Redman & Brooklyn Rider – Flash (with Scott Colley & Satoshi Takeishi) (04:43)
2. Joshua Redman & Brooklyn Rider – Between Dog and Wolf (with Scott Colley & Satoshi Takeishi) (06:42)
3. Joshua Redman & Brooklyn Rider – Sun on Sand (with Scott Colley & Satoshi Takeishi) (06:01)
4. Joshua Redman & Brooklyn Rider – Dark White (with Scott Colley & Satoshi Takeishi) (03:14)
5. Joshua Redman & Brooklyn Rider – Soft Focus (with Scott Colley & Satoshi Takeishi) (05:21)
6. Joshua Redman & Brooklyn Rider – Through Mist (with Scott Colley & Satoshi Takeishi) (06:30)
7. Joshua Redman & Brooklyn Rider – Starbursts and Haloes (with Scott Colley & Satoshi Takeishi) (05:27)
8. Joshua Redman & Brooklyn Rider – Between Dog and Wolf: Reprise (with Scott Colley & Satoshi Takeishi) (02:18)

Download:

With Walking Shadows in 2013, Joshua Redman submerged his saxophone in a beautiful orchestral arrangement by the composer Patrick Zimmerli. Six years later, we find the two men together again on Sun on Sand, a dense suite in which each movement is, according to their author Zimmerli, an “expression of light”. Redman is accompanied by the Brooklyn Rider Ensemble, bassist Scott Colley and percussionist Satoshi Takeishi. Together, they blur the boundaries between jazz and contemporary music thanks to an unusual combination of pieces by George Russell, Milton Babbitt, Michael Nyman and even Frank Zappa. The light found here comes in all kinds of tones. Going from chiaroscuro to bright sunlight, Joshua Redman and Patrick Zimmerli’s record is like a colour chart made up of very original shades. In 2019, orchestral jazz is far from being an over-crowded genre, so this excellent project deserves some attention. – Max Dembo

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