Elastic

1	Molten Soul / Joshua Redman 8:11
2	Jazz Crimes / Joshua Redman 6:44
3	The Long Way Home / Joshua Redman 5:43
4	Oumou / Joshua Redman 3:43
5	Still Pushin' That Rock / Joshua Redman 8:28
6	Can a Good Thing Last Forever? / Joshua Redman 6:18
7	Boogielastic / Joshua Redman 7:55
8	Unknowing / Joshua Redman 3:29
9	News from the Front / Joshua Redman 5:57
10	Letting Go / Joshua Redman 5:07
11	The Birthday Song / Joshua Redman 2:44

Barnes & Noble

Billed as a new unit, Joshua Redman's Elastic Band is the product of a long-standing musical partnership that began at a small Greenwich Village club in the mid-'90s. There, Redman, keyboardist Sam Yahel, and drummer Brian Blade developed the resolutely collective conception that marks this eponymous new release as well as Yaya3, released earlier this year. On the former album, the trio functioned as a de facto co-op, playing primarily compositions by Yahel and Blade, with a sound closer to hardcore jazz. On Elastic, they address 11 Redman tunes, each stamped with a sturdy melodic core and a distinctive rhythmic signature. Even casual jazz fans know Blade these days for his high-visibility work with various pop artists and with jazz icon Wayne Shorter, while the more obscure Yahel -- he plays Korg and Hammond B-3 -- is a name to keep tabs on; as a rhythm section, the two virtually breathe together, stating mighty grooves and improvising with unfailing intuition and invention. The leader is right there with them, his tone more centered and burnished than ever. In all, Elastic, stripped down and focused, is a strong addition to the 33-year-old saxophonist's growing and distinguished discography. Ted Panken

All Music Guide

Coming fast on the heels of Redman's collaborative Yaya3 date with the same players (organist Sam Yahel and drummer Brian Blade), Elastic is more about pop/soul-funk than jazz, but it doesn't sacrifice any of Yaya3's organic feeling and improvisational focus. Here Yahel plays not only Hammond organ, but also Fender Rhodes, clavinet, and other assorted electric keys. Redman makes liberal use of overdubbing and signal processing, much of which is surprisingly subtle. The result is quite a lot of sound for three people, quite a lot of inspired blowing, and quite a lot of stylistic ground covered. Highlights include the agitated, over-the-top "Still Pushin' That Rock," the tight funk and involved lines of "Jazz Crimes" and "News from the Front," and the slow gospel of "Can a Good Thing Last Forever?" Redman seems fond of the Rhodes-soprano sax combination, particularly on mellower themes like "The Long Way Home" and "Unknowing." While one has to admire Redman's musical open-mindedness, his writing can take on a middle-of-the-road quality at times; on this record it surfaces on "Boogielastic." It says something that Yahel contributed the most alluring piece, a short-and-sweet song in five called "Oumou." David R. Adler