by Christopher Hess

Since graduating Harvard in 1991, Joshua Redman has cultivated himself as a reluctant young lion, capable but somewhat hesitant to roar for fear that he may be leaving something out. He has worked on his 'band sound' relentlessly, building up over six albums in as many years as close to a signature sound as he could establish at this point in his career. (Redman is 29). The results are shaping a new synthesis of the insularity of modern straight-ahead jazz and the newer pop-hip-hop and dance-inspired jazz offshoots, moving at a snails pace in concept but a lightning bolt's in product.

Not so amazing, considering that Redman's job history includes co-workers like backline icons Jack DeJohnette, Paul Motian, Charlie Haden, and Elvin Jones among many, many others, is that it's all good, and it all fits together. But Redman senses that he's in it for the long haul, and he doesn't want to do anything brash to blemish his record in the future. Case in point: Freedom in the Groove, his 1996 release, started out as an electric project. That was soon changed.

"I was starting to feel that there was a lack of focus in the sound of the band," says Redman, "Especially considering the wide stylistic range we were covering. And I thought that consistency of instrumentation encouraged a consistency of sound, and that's important to me. I've got my whole life, hopefully, to experiment with a lot of different things, but I think it's important -- even with the eclecticism which I embrace -- to develop certain sounds at certain times. I think the best groups in jazz or any sort of music have been able to put forward something of identity. So for now, yes, I want to continue exploring and expanding an acoustic environment. I haven't given up on electric instruments, just the timing wasn't right."

His latest release on the Warner Bros. imprint, Timeless Tales (For Changing Times), puts off the timing of that jump to electricity for a while yet -- which is a very good thing. The record is a stunning assembly of covers, chronicling Redman's development not as a jazz musician, but as a lover of music. "If it's good, I like it," he says simply. And that ain't too far from the truth. From Gershwin to Stevie Wonder, Joni Mitchell to Cole Porter, Lennon to Prince, the sounds that seeped into the musical cavity in the musicians brain have remained and informed his musical sensibilities, even into life as a jazz player.

What he does to Mitchell's "I Had a King" is downright haunting. "Eleanor Rigby" contains as much Ray Charles as the Beatles. His version of Bob Dylan's seminal "The Times They Are A-Changin'" is amazing in its ability to follow the vocal melody, adhering loosely to the chord changes, turning a song that relies entirely on its verbal message for effect into an equally stirring instrumental. Like Coltrane's "My Favorite Things," the impact is due largely to the fact that this is a song so ingrained into the consciousness of most listeners that we can identify the feeling with the melody. But also like Coltrane, this song becomes Redman's own, in that when he's done with it he has created something new with the grace and sincerity to last for a long time.

Redman's recent visit to Austin (La Zona Rosa, Oct. 25) provided a good look at the direction his music is taking. His band -- a different one than on the recording -- was outstanding, the styles meshing seamlessly with their leader and with each other. Aaron Goldberg on piano and Rubin Rogers on bass share Redman's tendency to phrase solos as would someone laying down an extended improvisation in a heavy-duty funk outfit, though it never comes across as 'funk.' They are riffs -- big beautiful sweeping and soaring riffs on acoustic instruments that succeed in tying their jazz to the soul and rhythm-and-blues and funk music that they all no doubt share as part of their collective consciousness.

"We've come up listening to a lot of the same music and had many of the same experiences, and it's been very important for me to develop the sound of my own band by playing with musicians of my generation," Redman says.

The configuration at last months La Zona Rosa show, held together by the rock-solid drumming of Gregory Hutchinson, is one that Redman hopes to keep together for a while. Regardless, he's not in danger of disappearing from the eyes or minds of upcoming jazz fans. He pumps out records faster than K-Tel, he's got the Warner machine behind him, he's touring large venues and selling records by the truckload -- and most of all he makes great jazz music. Redman is in it for the long haul.