PAPATAMUS REDUX

BJUR 082 (RELEASED APRIL 10, 2026)

There’s a lot to like about trumpeter David Smith’s fourth outing as a leader. For starters, Redstone features six new Smith originals, further demonstrating his ability to straddle the fence between post-bop modalities on accessible melodies. Then, there is his versatility as a player. Smith’s agile and free flowing bravura is evident on his opening unaccompanied solo to John Coltrane’s “Central Park West,” while his Miles Davis-inspired lyricism is on full display on “It Never Entered My Mind.” Last, but not least, is the sensitive support from musicians who are well familiar with Smith’s music. Guitarist Nate Radley, saxophonist Dan Pratt and bassist Gary Wang have appeared on several of Smith’s earlier recordings. The only exception is drummer Allan Mednard, who is filling the spot left by the late Anthony Pinciotti. As a matter of fact, Smith dedicates Redstone to the memory of his father, Barrie Smith and Pinciotti. The music runs the gamut from the dramatic opening phrases and beautiful melody of “Elegy,” which serves a tribute to Smith’s father, to the dynamic and thorny rhythm of “Blackley,” written for the late Toronto drummer, Jim Blackley, who hosted jam sessions of which Smith took advantage Smith has a knack for writing compositions that provide the perfect framework to which members can add their distinctive voices . Pratt’s muscular tone is ideal for the dreamy mood of “Almost.” Smith floats effortlessly over Radley’s unobtrusive comping on tunes such “Pulse,” an upbeat hopeful tune written for a Brooklyn Club; and his guitar solos, which blend rich chords with fleet single note runs, are not only precise but powerful. On the title track, Smith, Pratt and Radley intertwine their voices over the solid foundation provided by Wang and Mednard. That brings us to Wang who has several opportunities to step out from the background like on the closing bass lines to “Almost” and his bass solo on the lilting jazz waltz “Misao.” Mednard is an equal participant in the proceedings, shaping and shifting the rhythms to provide a sense of tension and release to Smith’s compositions. Like I say, there is a lot to like about David Smith’s Redstone and it’s long overdue as his last recording as a leader came out in 2015!

BOTTOM LINE: Since 2005, trumpeter David Smith has released a new session every five years. Sadly, his last release, Impetus was in 2015.  Redstone makes up for the ten year gap as a leader. It’s a session that showcases Smith’s exceptional writing as well as his agile playing, not mention the outstanding support and solos from a group of musicians who have worked with him in the past.