On April 10, 2026, trumpeter and composer David Smith unveils Redstone, a striking new release from Brooklyn Jazz Underground Records (BJUR 082), further cementing his place as one of the most compelling voices in contemporary jazz. Recorded with a formidable quintet—Dan Pratt on tenor saxophone, Nate Radley on guitar, Gary Wang on bass, and Allan Mednard on drums—the album captures a rare balance of urgency, lyricism, and deep musical connection.
Smith, a Canadian-born trumpeter long embedded in New York’s creative music scene, brings both power and nuance to Redstone. Critics have previously praised his work with striking consistency. Frank Alkyer described his playing as driven by “hunger and burst,” noting the beauty of his tone and strength as a composer, while Jonathan Goldman highlighted the “progressive and flawless performance” that places Smith firmly within a thriving Brooklyn jazz movement. Echoes of Clifford Brown and Wynton Marsalis have been heard in his fluid phrasing, yet Redstone is unmistakably his own artistic statement.
This release follows two critically acclaimed albums on the same label, Anticipation and Impetus, and arrives after a prolific period in which Smith contributed to more than sixty recordings, including Grammy-winning and nominated projects with artists such as Dan Pugach, Arturo O’Farrill, and Alan Ferber. His résumé also includes collaborations with Manuel Valera, Meg Okura, and Jon Gordon, as well as regular appearances with Darcy James Argue's Secret Society.
At its core, Redstone is an album about memory, connection, and place. The title track draws inspiration from Redstone Lake, where Smith’s parents retired and where family gatherings shaped his life. The piece carries a profound emotional weight, as the album is dedicated to the memory of his father, Barrie Smith, and to drummer Anthony Pinciotti. That sense of reflection deepens with “Elegy,” a composition written in tribute to his father, offering one of the album’s most intimate moments.
Other compositions explore different facets of Smith’s musical and personal journey. “Blackley” honors Jim Blackley, whose legendary Toronto sessions helped shape generations of musicians. “Almost” captures the emotional complexity of near-success and perseverance, while “Pulse,” written for the Brooklyn venue Brooklyn Artery, demonstrates how creative constraints can spark innovation. Smith’s interpretation of the standard “It Never Entered My Mind,” long associated with Miles Davis, showcases his lyrical depth and tonal control, and the album closes with a reimagined take on “Central Park West” by John Coltrane, performed with renewed energy and perspective.
The recording process itself reinforces the album’s authenticity. Captured live to two-track analog tape at The Bunker Studio, the session used exclusively vacuum tube equipment, preserving the warmth and immediacy of the performance. Produced by Smith with assistance from Jerome Sabbagh and engineered by Pete Rende, the result is a sonic experience that feels both timeless and immediate.
The tracklist unfolds as a cohesive narrative: “Blackley,” “Almost,” “Elegy,” “Redstone,” “Pulse,” “It Never Entered My Mind,” “Misao,” and “Central Park West.” Each piece contributes to a larger story—one that blends personal history with forward-looking artistry.
With Redstone, David Smith delivers an album that is at once deeply personal and boldly exploratory. It stands as a testament to the enduring vitality of the Brooklyn jazz scene and to the power of collaboration among musicians who share a fearless creative vision. This is not just another jazz release—it is a document of lived experience, rendered through sound with clarity, emotion, and conviction.
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