The Hub and Henry’s Jazz Cellar, Sat 3 Aug.

I have to admit straight away that the prospect of Dewey Redman blowing in a trio with Reid Anderson and David King in Henry’s is a surreal thought. The last couple of times Redman brought his mighty tenor saxophone to Edinburgh, it was at the Queen’s Hall, firstly with his own quartet, and then with Charlie Haden’s Liberation Orchestra.

Both of those gigs were far too long ago, but the jazz festival provides an opportunity to make amends. Or rather, two opportunities. The first comes in the form of a lunchtime duo performance with pianist Ethan lverson at the Hub (don’t expect anything gently relaxing, even at that time of day), and the second in a trio with Iverson’s compadres in the Bad Plus, the aforementioned Anderson and King.

The duo marks the achievement of a long-held ambition for the pianist. When he arrived in New York from his home state of Wisconsin in the early 90$, Redman was one of the first players he sought out. He was able to catch the saxophonist in

some tasty settings, including what was the last gig played by the great Ornette Coleman-inspired quartet Old and New Dreams, and gigs with his son Joshua in the days before he became a star in his own right.

‘I moved to New York to attend New York University in fall of 91, right out of high school,’ lverson recalled. ‘I spent what was supposed to be my whole year’s worth of money in about three months, just going out and feasting on the music. It was lucky timing - I heard Dewey a few times, including a couple of gigs with the great Ed


‘l was lucky enough to have Dewey as a guest on my first record years ago, and I’ve always wanted to play with him in a duo. | see it being very rhythmic and aggressive. My goal is to treat the piano more like Ed Blackwell treated the drums when he played with Dewey.

JAZZ MAGIC MALIK La Belle Angele, Sun 28 Jul

Malik stirs up the polyphonic stew Paris has long been a melting pot for crossover musical experiment. the bubbling slew of music and musiCians from Europe. Africa. Asia and America is a truly global dish.

60 THE LIST 'h Jui'»

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A surreal return for Dewey Redman

This will be the first performance, but if it goes well, I’d like to take it back to New York. Dewey will also play in a trio with Reid and Dave at Henry’s, which should be just

Redman made his name working in seminal quartets led by Ornette Coleman and Keith Jarrett in the late 60s and 70$. His adventurous approach to improvisation should dovetail nicely with this latest round of

lverson, Anderson and King are also featured in several

other gigs in the festival, culminating in the Scottish

and the ia// festyai has se.'t:'a helpings to serve .ll) t'r's ,ear.

The three artists lll‘.’()|‘.’(:’3 see listingsi neatly illust'ate that eclectiCism. Fiautist Magic Ma M l‘zt .5; from the Ivory Coast in Atrzca, ;)I£tl‘l53'. Boian Z ishoi't for Zuli'i'karpas c. s Originally from Belgrade. and pct" work with French saxoononist J.. icn Lorau. whose recent abcm The Rise is Currently garnering ngn aCCralf“,

Magic Malik was brought up Africa. where muSic was CCl‘Va to n s life from a very eariy c ge.

My mother tells ire tnat l was always in front of the radio. trying to reproduce meiooies with a mile diatonic Vibraphone.” he says. 'i".'(} always loved inusm. at has Eil‘.'.’!t‘,’f3 talked tome. There was he POM} t'::" words. When I listened to pa'trt;-t. a' tunes. could heai sense. I played peaceful latt'i: tunes or .'“',f;(.'lf. await lllll)l()‘.’lf;(: £t'l,".'.”l‘.:l(7. ii: tl‘r; .'.m-<>:i:; us.ially_ It .'.'a‘; in. '.'.’f)ll(l. tn, innate lll().'".(3l‘!f3 o" :ixt'ritar;,.'

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debut of their trio the Bad Plus at the Hub (Sun 4 Aug), 3 band which deconstructs pop and rock tunes - from ABBA to Neil Young in much the same way that lverson likes to unravel and remould jazz standards.

(Kenny Mathieson)

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JA/X MARCUS MILLER Queen’s Hall, Wed 31 Jul

Many moons ago 1990 to be- precise The List ran what many still regard as one of its best covers. It featured a striking portrait of Miles DaVIS by liying Penn from the cover of Tutu. the best studio album he made in the decade before his death in 1991.

Marcus Miller was the architect of that album's electronic scund. and also played bass in Miles's comeback band. It is just one among many Significant assocIations which he has gathered in the c0urse of his career as a band leader. solOist. producer and session musician but he still sees his association with Day/is as a crucial one in forming his own musical philosophy.

'Playing with lvliles made me d:g deeper to f:nd a more original sound.‘ he says. ‘I learned from him that you have to be honest about who you are and what yOu do.‘

Miller makes HIS Scottish debut on the back of his best solo album to date. last year's MB. The album proyided a sno‘.'~./case for the range of his vast interests. from Ja/x <::ass=cs by Coltrane and Mingas triv'ougl: soul. funk. and R88. as well as more (:oi‘tempoiai'y manifestations.

'l l)(?|l(}\.’(‘: you can take the fire and illtl)l'()\.’lf3£tll()ll of JEt// étl‘tl combine =t ‘.‘.’llll the communal dance side of HMS. funk and hip hop. and really make something new. JaX/ is more of a passwe must: for the listener. but take that excitement from the solos and add a funk rhythm. you 'tét‘Jt} a w'toie other thing, and you'll see partiCipation on a whole different evel.'

'Ke'iny Mathiesoni

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Bassic instincts from Miller