yeah RIP Dewey, thanks for writing this up,
I always really loved his playing and sound,
I like old and new dream's "playing" heaps more than this one, "playing" is heaps rawer to my ears, but most things of Dewey (and especially with Charlie Haden) I enjoy a lot,
anways, RIP dewey, glad I saw him play in Australia some years ago.

May he rest in peace indeed. Dewey Redman was unique. He had a totally individual sound, was an instantly recognisable player and a no-nonsense kind of guy. Honest, blunt and direct. Modern/traditional, blues-soaked and yet always contemporary. Far more interesting a player than his over-hyped son. His two Impulse albums from the 70's are still some of my favourite listening, along with his stuff in the 70's Jarrett quartet and the Liberation Music Orchestra. You could recognize his sound in a flash. One of the greats. They don't come like that anymore.

I've mentioned many times before that the first jazz album I ever owned, purchased in the spring of my senior year in high school in '72, was Ornette's 'Science Fiction'. Still a favorite, even acknowledging that nostalgia, the joy of discovery etc. play no small part in how the album registers. But that mix of five musicians, my "preferred" quintet grouping from that date--Ornette, Redman, Cherry, Haden, Blackwell--still strikes me as the perfect balance for that music. Particularly the saxes, their lovely, sexy tonal offset, Redman's gruff, guttural blues against Ornette's silvery slipperiness, one of my favorite sounds in jazz. Three of that quintet gone now. Thanks for all the beautiful music, gentlemen.

I really love The Ear of the Behearer, in which some bits of the music doesn't always work, but the bits that do more than compensate for the bits that don't. A friend of mine who was a 'jazz fan' gave it to me - he found the punchy/tightness of the ensemble passages 'unjazzlike'. His loss. I even like the tracks Dewey plays on instruments other than the saxophone, but as a tenor player . . . ah, he was among the best of his generation, and that means among the best of the best.

Meds, nice writeup. Funny but I had just listened to this beautiful record yesterday before seeing your post (and I had just been reacquainting myself with Redman's wonderful "Ear of the Behearer" and "Look for the Black Star," the latter a particular favorite). Thanks for the music, Mr. Redman, and rest in peace.

doesn't = don't
too much hurry

I've been "mourning" the loss of Dewey Redman by playing his music all day long.

For Brian and any others who loved the Ornette / Redman / Haden / Blackwell formation and might perhaps not know about this, there's a little-known masterpiece of a 2LP called simply "Paris Concert" from late 1971 on the Japanese Trio label (PA 7169-70). A superb live concert, very good live sound and, as always, pristine Japanese vinyl. Why in heavens' name this has never been released outside of Japan is beyond me. Such marvellous music.

Yeah, Cap'n Hate was mentioning this to me yesterday. I don't know it but I have a (presumed) boot on Black Bird, apparently a Spanish label, just called '1971' that contains some similar work. Great stuff.

And further, why in the world have "Ornette at 12" and "Crisis" not been disc-a-fied? I think I'm going to cue those up, along with "Science Fiction" and "Friends and Neighbors."

Well said, Jason. "Ornette at 12" and "Crisis" have been screaming for CD release for two decades.

Yes! CRISIS! Some of the most unbuttoned Ornette ever. Re-release!!!

RIP- Dewey. I agree that Dewey's playing on The Paris Concert is wonderful. Ditto Crisis and ditto when the hell will we see it on disc--Hello?--Mr. Impulse!. Not to be overlooked is Dewey's soulful playing on Friends and Neighbors- especially the first track- the vocal version of the title track. Outstanding!-- so many creative musicians dying before their time- this has been a particularly sad year.

Not being a fan of Chuck Haden unless Ornette is babysitting,
my favorites are:
Tarik
Ear of the Behearer
Coinside
Look for Black Star (on the turntable now)
Red and Black In Willisau
The quartet on ECM with Helias

It sucks that he is gone. I saw him "Lonley Woman" solo alto once, It was Beautiful.

*Coincide, Sorry.
And Marc, I am with you on Blackwell, But I think Blackwell with Holland (the Karl Berger trios) or Grimes (Don Cherry) is a lot better than Blackwell/Haden. Sometimes he and Haden sound great sometimes it sounds like Blackwell is sloshing through muddy bass playing).

Ornette babysiting? I dunno man, maybe we bin listening to two different Hadens. :) You're the bass player Damon, so you'd know more than I--agreed on Grimes Cherry though. Grimes anything from back in the day, and I even enjoy his newer things, as I've written here before.
How do I get this Paris concert anybody? You know, I've never been able to digest Sci-Fi the way I want to, the way I probably should, but I'd love to hear the assemblage live.
Also, how do folks feel, while we're tangented on Ornette, about the RCA disc--can't remember the title but it's his classical work, chamber pieces.

aww, damon just has sour grapes for charlie haden because he lives in a mansion or whatever. don't listen to him.

ww

Would it only be for the first Liberation Music Orchestra, I would have to say that I LOVE Haden ...

Hadens solo on "Law Years......

ornette babysitting charlie haden ?! to me haden MAKES a lot of that stuff, he makes total harmonic sense (often by being harmonically ambigiuous sure) of that stuff, in the same way that Jammaladeen Tacuma did later, I serious doubt the music of ornette, cherry, redman, blackwell, jarrett's band from the 70's, and all the hosts of free-boppers would be anything like it is without the input of charlie haden...

It usually does come down to the bottom line. The bass player. To my ears, the magic of Ornette's 50's and 60's music is the web of tangents which Charlie Haden throws back at Ornette for him to play off.

"the avant-garde", with Cherry, Coltrane, Blackwell and alternately Percy Heath and Haden on bass, funny to see the differences (although Heath maybe wasn't the wisest choice) ...
Coltrane feels a bit unsecured on this one

heard about dewey at a show on saturday night, when Happy Apple dedicated a song to him ("rise dewey redman"). look forward to getting some recommendations from this thread. there's also this: http://thebadplus.typepad.com/dothemath/2006/09/dewey_redman_19.html

"Recommendations from this thread"? Buy everything mentioned above! OK, if you must have only one, I'd suggest you go for the 2CD "Complete Science Fiction Sessions". It doesn't get much better than that.

Deft works by Billy Hart features alot of very good Dewey Redman..His son is a very good player, although I preferred his father. Who isn't overhyped?
Chuck Haden?? Chuck Conners?? Chucky Cheese? Chuck? They all play over the bar line. Is that the connection?

"Hadens solo on "Law Years......"

-One of the most beautiful bass solos of all time, no question. then he goes on to play really sloppy durring the ensemble section. That piece kind of sums up his career.
He unquestionably made some great contributions, but nothing on the level of any of his peers.
I love a lot of his work with Ornette, because he just hears the right note where ever Ornette modulates to. In other contexts that skill is less valuable and most of the time the music could just use a great bass player like Henry Grimes or Barre Phillips.

I just don't go for the "sincere country boy" schtick that he is still miking, if he was sincere he would have practiced, like Garrison, LaFaro and Izenzon did.
Some one that overhyped needs a lot more consitency. There seems to be a huge lack of critical listening when it comes to him.
He has enough people who think he is great, he does not need me.

Charlie Haden Sloppy? In what way? His Walk? His feel? His time? His intonation is great I know that.I don't read his interviews in downbeat so I know nothing of his country boy schtick nor do I care too but claiming he's sloppy on the Ornette stuff is really a stretch. I'll agree if you put him beyond a sideman role he can be pretty droll, i.e. "Song of the Whales"??!!4tet West and I agree he doesn't belong in certain contexts.But he's influenced alot of bass players and Blackwell wouldn't have played with him if he was sloppy. Rhythm X for an ex. by Charles Brackeen would not have been a better record with Barre Phillips or David Izenon if either one of them performed on it rather then Charlie Chuck Haden. Different, yes. Better I don't think so. Lafaro's not a fair comparison.

Damon, how you do you feel about Ron Carter?

"Damon, how you do you feel about Ron Carter?"

- I think he can be great. In the later years he has made some really poor choices in terms of strings, amplification and material.

To be fair to Charlie Haden, hasn't he suffered from some fairly serious hearing problems for the last 15 - 20 years?

That is True. I think he's pretty close to deaf in one of his ear's from years of the ride cymbal..

Hey Damon,

Why are highjacking every thread to talk about bass players?

Don't you ever think about anything else.

Besides Cy Twombly.

....I second Brian and Graham. Science Fiction is just awesome. There is something really special about that record. For years I was trying to find out more about that singer but could never find anything. Not sure I care as much these days but...anyone know anything?

Asha Puthli just played Central Park Summerstage a few weeks ago. (I didn't go), She's an Indian pop singing legend, I believe having made her fame on Bollywood soundtracks and in disco-oriented music.

I caught her as a member of Threadgill's large group at BAM in the late 80s. Quite the diva! But yeah, her two tracks on "Science Fiction" are awesome and utterly unique in jazz, AFAIK.

Don't remember her name but I know in the liner note/booklet of the Complete Science Fiction CD tell her story. I think she might have been from India? I think for awhile she was in Henry Threadgill's band but not much else since. But a really great singer and great record.

I only talk about the important stuff.

Give the drummer some!

Cy Twombly is better than Charlie Haden.

Charlie Haden started his musical career as a small child, in his family's country vocal group in Iowa and Missouri. They were like the Carter family. You may not like his country boy parts, but they are genuine. His work with Ornette was part of an actual revolution in music and culture. His legacy should be respected for what it is and as it is, without revision. Just like Cy Twombly's legacy.

Haden is one thing that most musicians will never be: original. All of the "next in line" bassists in Ornette's groups. with all of their truly great contributions, (including Grimes with Don and Blackwell--awesome!. Don't exclude J.F Jenny-Clark) had Haden as a model and then did their own versions. As for his "peers" maybe Buell Neidlinger is his peer as a free bassist, but he played a different version of "free". Everyone else is a follower in that format, and all of them will admit that.

Remember, Haden INVENTED the way he played. And that is what it's all about. The fact that his playing is rigorous, deep, raw, intense and harmonically accurate to a tee, just adds to his stature as an artist for most people. Bass players had better be able to play constantly modulatiing quarter-notes, in time, accented on the 2 and 4 at around 360-400 on the metronome before they knock Charlie Haden's technique. If they can't do that then they'd better do something as meaningful to add to the language of the instrument or they will just seem like grumpy critics instead of musicians.

I had the privilege of working with the great Dewey Redman. He was a profound original too, and a beautiful person. His passing is a great loss and the end of another great part of music. I really hope no one revises the meaning of his body of work.

I find it incredible that Damon hasn't mentioned sausages yet.

Fair enough Joe, I am not trying to deny his contribution or pretend that I will make anywhere near the impact he did. He was original and important.
I still feel there is a lack of critical listening when it comes to him and that most of his peers did not get the attention he has.

Charlie, Ornette, and Don are/were treated like rock stars. Dewey never got that kind of attention and neither did Blackwell or Billy Higgins.
I agree with you that all of those bass players did something unique with Ornette. Barre on "Naked Lunch" is a revolution. Grimes with Don and Blackwell is spectacular. My favorite.

Dewey had his own scene. There are a lot of great players who worked with Dewey. Isn't Malachi Favors on Tarik? Cameron Brown and Mark Helias played bass with Dewey for years. Both tremendous bassists. Let's not forget the drummer Eddie Moore. Fred Hopkins was in Dewey's group when I played with him. John Betsch on drums. Those guys grooved in a whole new way with Dewey.

I only saw Dewey live a couple times, but one of them was an Ayler tribute put together by Kidd Jordan: Kidd, Dewey + Rev. Frank Wright on the front line with Sunny Murray on the traps! I think the bass player was Elton Herron (on fenderbass) a longtime associate/student of Kidd's, but he mostly stayed in the background and seemed kinda overwhelmed (well, with those 4 on stage...)

Anyhow, it was early in my live experiences with any free music ('88 or '89 i believe), so I had not even heard of Frank Wright previously. Quite an introduction to see the man in the flesh, as he was a true outsize character. Oddly enough, they were opening for Ornette & Prime Time (a particularly icky version of P.T., so i'll spare naming names...). Quite a memorable gig. Many years later I was interviewing Ira Kaplan of Yo La Tengo for a local rag and he brought up the gig as one of his memorable NewOrleans/JazzFest experiences...

Dewey's playing was great - kinda fulfilled the Pres role if one were to draw analogies to J.A.T.P. (Kidd & Frank in more Lockjaw/Flip roles). Around that time the record of Dewey's that really had an impact on me was "Red & Black In Willisau." It's still a favorite and I often use it as an introduction to Ed Blackwell for new/novice listeners.

Gotta go dig my vinyl out of storage so I can blast "Coincide" and "Look for the Black Star."
R.I.P. Dewey....

AND I'm diggin' all the bass talk. As a guitarist, i'm something of a frustrated contrabass player - very envious of the range, tonal girth, depth, etc. of the instrument so i'm a big listener of bass players and solo bass records. For the past couple weeks it's been Dresser's "Unveil" and Fernando Grillo's "Fluvine."

Donald Rapheal Garrett Takes an amazing arco solo on "Look For Balck Star".
That was actually a Bay Area based band. Eddie Moore on drums n dJym Young on piano.
Dresser's "unveil" is beyond good, I was inflenced by "Fluvine" just looking at the photos on th ejacket years before I even heard it.

Donald Rapheal Garrett Takes an amazing arco solo on "Look For Balck Star".
That was actually a Bay Area based band. Eddie Moore on drums and Jym Young on piano.
Dresser's "unveil" is beyond good, I was inflenced by "Fluvine" just looking at the photos on th ejacket years before I even heard it.

Lovely to see Fernando Grillo getting some recognition here!

Glad to see such positive mention of "The Paris Concert"; when the weather gets a little cooler I'm planning an archeological expedition through my attic to locate the cassette I have of it since the geniuses that own the tapes haven't seen fit to release it on disc. Lacking the cassette I've been banging away on "The Complete Science Fiction Sessions".

Regarding Haden's hearing: He's had problems with it since at least the early 70's when a bud of mine heard him complaining of not being able to hear Motian's drums to Jarrett between sets at the late lamented Smiling Dog Saloon.

Speaking of thread hijacks about bass players, are any of you going to review the awsome new Roscoe Mitchell Trio 2 cd set and talk about how Harrison Bankhead just kicks ass the entire time?

And, Rob, why not do something about it like Joe did? His Double bass playing is great and he is still in top form on guitar.

"Lovely to see Fernando Grillo getting some recognition here!"

he's great, I prefer his best Dumitrescu stuff to Fluvine, though.

http://www.paristransatlantic.com/magazine/monthly2006/09sep_text.html#8
Not the Mitchell trio (haven't heard that yet) but a damn good album though

Harrison Bankhead is fantastic. He's holding down that Chicago thing on bass that was left by Fred Hopkins and Malachi Favors. He has a similar feel. Great guy too.

Fred Hopkins and Malachi Favors Maghostut were two Masters of the black American jazz bass tradition. Both sorely missed. Their time, feel and blues-soaked sound were unmistakable. RIP to them both along with Dewey Redman.

Speaking of thread hijacks about bass players, are any of you going to review the awsome new Roscoe Mitchell Trio 2 cd set and talk about how Harrison Bankhead just kicks ass the entire time?

Already done, just do some digging.

http://www.bagatellen.com/archives/reviews/001342.html

Favors was (is, if he’s still tugging the strings back on Sirius) an absolute master, but his latest posthumous release on RogueArt left me sorely wanting in terms of his playing/placement. Turgid amplification and a sometimes wobbly attack sounded the weakest link in that particular trio. I know of at least one other person who disagrees with me (Bill Shoemaker in the latest PoD), so I’m very curious to hear others opinions of the disc to better discern whether my ears have finally turned to tin.

damon,
ha - yeah taking up the contrabass could be the answer, but it's a daunting task for hands spoiled by years of skinny strings, low action, and fuzz pedals...

i've been pretty impressed at Joe taking on the instrument at a relatively late stage in life, so perhaps there's hope. But i'm thinking the cello might be a more gradual step up from the guit'...

My other answer is that i still have enough trouble playing the guitar! Also i like the idea of adapting influences from artists who play instruments other than one's own. Years ago I noticed the influence of Lovens, Minton, and G.Christmann in Mats Gustafsson's playing and that opened a conceptual door for me. Saxophonists, bassists, and drummers became prominent in my listening for some time. Then in the last few years a lot of guitarists really stepped up with some compelling work...

The state of the bass seems damned healthy these days, with a lot of you bassists doing some great music (damon & reuben included for sure)....i'm listening.

I have several live Art Ensemble recordings where Malachi's bass (through the amp) sounds pretty terrible. Not his playing but the actual sound that's coming from the amp. I haven't heard the recent Maghostut Trio disc but from Derek's description, it sounds like a very similar problem. I recently heard that Spiritual Unity disc with Henry Grimes, Ribot, etc. and I felt Grimes bass sounded awful too. I don't understand why they recorded his bass from his amp rather than from the instrument itself. Is the Maghostut Trio recorded that way too?

In regards to Harrison Bankhead... I'm glad that these two recent recordings have come out. There aren't enough records where you can really hear him stretching out. He's on several Malachi Thompson recordings, 8 Bold Souls, etc. but I never felt (until now) that his amazing musicality, technique and approach was properly documented. Hopefully this will help bring him some of the attention he deserves. I've never heard another bassist quite like him.

Steven Tod made a fine documentary on Malachi Favors called Keep Playin Til the Lord Says Stop. I have a DVD of it but I don't know if it ever came out anywhere. Google "Silver Measure" and you'll find an email.

Dan, I'm surprised you are a fan of that DVD. I saw it and think its absolute crap. What a wasted opportunity. I'm happy that there is something that exists on Malachi Favors but that is a poor piece of documentation. Horribly shot (lots of crappy vhs quality images shot by Tod), poorly conceived and very, very little footage of Malachi actually playing. My advice is to not waste your time seeking it out.

That Spiritual Unity cd sucked pretty bad. Grimes is in desparate need of some serious cds, not just paydays. Maybe duo with William or Joe Mcphee.
There is a good one with Dennis Gonzales.

I don't know how this happened, but I was listening to fluvine while reading these posts. But I'm like jon - all the grillo I've heard that has been great has been on dumitrescu discs. every once in a while i throw fluvine on just to see if will do something for me since i like what he does with dumitrescu SO MUCH. but it just doesn't get there. (at the beginning of the fourth cut now)

Rob sez:
i've been pretty impressed at Joe taking on the instrument at a relatively late stage in life, so perhaps there's hope.

Hey, I started bass 6 years ago. Is 25 relatively late in life?

For me the best Malachi Favors is on "Sunny Murray Trio Live at Moers" with David Murray. One of all-time favorite records. Malachi didn't always play a lot of notes on his solos. Sometimes he just strummed one note or a chord, or played a rhythm on a vamp. He studied with Paul Chambers and performed with Andrew Hill early on.
As for Fred Hopkins, he is, with Steve McCall, one of The Missing Links in music. There is so much there it would take a book to tell it all. He is HUGE.

I agree Joe. I've been listening to a lot of live Air recordings I've come upon and Hopkins was a monster. So much music came from his bass. There is one concert in particular where he is killing it so much that he overshadows both Threadgill & McCall - no small task. He had such a beautiful mix of precise technique, a seemingly endless flow of ideas, musicality and insane propulsion. He could drive and push a tune like no one else.

About Malachi Favors, I believe he studied with Israel Crosby & Wilbur Ware too - two early masters of the Chicago bass lineage. One thing I love about Malachi sound is his "imperfections". He clearly wasn't a classicly trained technician and in interviews he would admit to feeling like he could barely play his instrument. But that's precisely what I love is the roughness & warmth in his sound. I feel the "imperfections" give his sound real depth and humanity. I love so many of his recordings but - to bring it back around to Dewey Redman - Tarik is one of my all-time favorites. I could listen to the track Lop-A-Lop endlessly.

That Moers lp is great, I am going to pull it out. I always love Malachai. I saw Him wiht AEC two years ago on my birthday. His solos were creative, modern and beautiful. Tarik & "Nice Guys" has always been my favorites for him.
Fred Hopkins is one of my all time favorite musicians. I have never heard a recorded note by him I did not like.
The best recordings for his playing IMO are the trio with Brötzmann and Ali "Songlines" and the Duo with Dedire Murry on Victo. I have every AIR LP released but those are more of a whole trio statement.

Another great cd (at least to my ears) featuring Fred Hopkins is Bern Nix's Alarms and Excursions. Killing. Bern Nix's playing, of course, is great, too. It's too bad he hasn't released more stuff like this since this cd was released in 1993/1994.

Another great cd (at least to my ears) featuring Fred Hopkins is Bern Nix's Alarms and Excursions. Killing. Bern Nix's playing, of course, is great, too. It's too bad he hasn't released more stuff like this since this cd was released in 1993/1994.

Funny, I remember liking the Tod film when I saw it. That's what comes of only having enough time to see things once, I guess.

re: fave Favors--"Way, Way, Way Down Yonder" from 'Sightsong', the duo with Abrams.

Glad to read Fred Hopkins being remembered so fondly; the first bass solo to get me to sit up and take notice was on "Great Body of the Riddle or Where Were the Dodge Boys When My Clay Star" from the "Air Song" lp(the "Clay Star" doesn't seem right but that's what all the online stuff sez). Good to read "Songlines" getting some run too; Ali's drums are perfectly captured on that. I guess I'd better pick up that one on Victo.

Yes, yes, yes - Fred Hopkins was just so wonderful. I can never get enough of Air in particular.

And Kristian, I also love that Bern Nix recording. Lately I've been enjoying a recording by guitarist Billy Stein (on Barking Hoop, with our own Reuben R. sounding great with Rashid Bakr) that is in the same vein as the Nix but very distinctive.

Oh, and Hate, my copy of "Air Song" lists the title as "Great Body of the Riddle, or Where Were the Dodge Boys When my Clay Started to Slide?"

Thanks Jason; that's what it is. Dunno how the online hucksters screwed that up but I suppose I should support them in their efforts to sell quality.

Like maybe they ran out of space. D'oh!!

"re: fave Favors--"Way, Way, Way Down Yonder"

- I played that song with Bert Turetzky a few times. He would get a bunch of other bass players playing harmonics and then play the melody and solo over it.

Jason, thanks for the recommendation. I'll definitely check out that Billy Stein disc.

joe,
was i way off on when you started playing bass or are you funnin' with me re: yr age? (most likely the latter, i'm guessing...)

anyhoo, the contrabass and the trumpet are two instruments that I think are among the more difficult to play from a sheer physical standpoint, so I have a lot of respect for folks who take 'em on when they're in adulthood (as opposed to starting during the formative years) cuz both can be daunting.

Being great on ANY instrument is an achievment, but with some instruments the difficulty level is much higher. With saxophones, the mouthpiece does a lot of the work in producing the sound, with electric guitars we've got the pickups and amp really helping us out, etc. Ultimately on both of those instruments the source of an individual sound must come from the hands/mouth/breath/brain/soul of the player, but the physical difficulty in getting there is a bit less. With the trumpet, you've gotta practice a lot just to be a bad trumpet player. Keeping one's chops on the trumpet over the years is an ongoing challenge that can hurt your lip and face muscles over time. The contrabass requires much more hand strength than the guitar, and a better sense of pitch without those frets guiding fingers so easily to the notes. So Joe that's a long way of saying my hat is off to you. It's inspiring.

Back to Dewey - listened to "Red & Black In Willisau" last night...one of the best recordings of Dewey's great tone....and some killer Blackwell too.

Rob:

Thanks. I was joking. I'm about to have my 39th birthday again. Playing bass has done serious damage to my body, but I'm working it out and I play more bass than ever. I wish I could've played bass with Dewey, because I like to swing and he was the best at that. Swing seems like a dying art.

The best thing about playing other instruments is that it really frees you. You don't have to fit in that box, you just get to play. Ornette is the master of that. William Parker too. I bought a pocket trumpet this year. It's killing me to play it but I'm trying. Very easy to carry to the gig.

Just a heads-up to those whose Dewey collections aren't complete: "Ear of the Behearer" is currently out of print (Impulse did a reissue just a few years ago, but apparently didn't keep it available for long) and getting harder to find at a reasonable price.

I copped a used one on Amazon for more than I'd usually pay for something on a big label & used (14.99), but figured I'd better get it now before it goes scarce. CD has extra tracks not on the orig LP.

Still no CD reissues of "Coincide" or "Look for the Black Star" to my knowledge.

Just a heads-up to those whose Dewey collections aren't complete: "Ear of the Behearer" is currently out of print (Impulse did a reissue just a few years ago, but apparently didn't keep it available for long) and getting harder to find at a reasonable price.

I copped a used one on Amazon for more than I'd usually pay for something on a big label & used (14.99), but figured I'd better get it now before it goes scarce. CD has extra tracks not on the orig LP.

Still no CD reissues of "Coincide" or "Look for the Black Star" to my knowledge.

Spool Records is releasing a live recording titled “Open Spaces” with Dewey Redman, Michel Donato, Ron Séguin, Michel Lambert and François Carrier. This recording was made during a series of concerts in Quebec City, Quebec in 1999. Playing, improvising and sharing with legendary Dewey Redman during these three nights of concerts was a deep spiritual and joyful experience. Dewey left us on Saturday, September 2, 2006 but his music is very much alive and always will be. A great source of Inspiration and a life time dedicated to Freedom, Soul and Spirit.

http://www.francoiscarrier.com/openspaces.html