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Jazz at Lincoln Center
Notes on the Program
by Ted Panken
The sound of the tenor saxophone drew
me to it more than anything else. Its very
powerful and authoritative, yet incredibly
poignant, beautiful, sympathetic. But it took
me a long time before I realized that I needed
to work on my sound. As a young musician,
you want to play hip ideas and work out your
chops, and you forget that none of it means
nothing without a soul, without a voice.
Joshua Redman, 1994
A certain eclecticism is fundamental to my
musical nature. The love and desire to play a
lot of different styles of music is part of who
I am, and I feel no need to get rid of that.
Joshua Redman, 1995
When I got to New York in 1991, a major
topic of discussion was this faux contro-
versy of a conflict between tradition and
innovationeither you are embracing the
lineage, legacy, and history of acoustic jazz,
or youre doing something radical, revolu-
tionary, and new. Some musicians accepted
that view and chose a side. Others resisted
it and chose not to choose. They tried to
work within a variety of languages, to
immerse themselves in a variety of vocabu-
laries, and to express themselves in a nat-
ural, organic way. They hoped that over
time those would get synthesized, and
didnt consciously try to wear the mantle of
innovation, but certainly also not to be back-
ward-looking. As you might suspect, I con-
sider myself one of those musicians.
Joshua Redman, 2009
Over four sets this weekend at The Allen
Room, his first-ever Jazz at Lincoln Center
appearance with his own ensemble, Joshua
Redman presents the group that performed
on Beyond and Passage of Time. Recorded
in 1999 and 2001, respectively, these dates
capped a decade of increasingly accom-
plished saxophone and rhythm section
recordings, beginning with Redmans epony-
mous 1992 debut, and followed sequentially
by, among others, Moodswing, Freedom
In The Groove, and Timeless Tales (For
Changing Times).
In 2002 Redman began to document a
more open-ended sonic canvas, plugging in
on Elastic and Momentum with keyboardist
Sam Yahel and drummer Brian Blade, and
then exploring the open spaces of the sax-
ophone-bass-drums trio on Back East and
expanding to double-trio on Compass.
These formations coalesced on last years
Walking Shadows, an 11-tune ballad recital
that framed him in duo, trio, and quartet
contexts with a 16-instrument string
orchestra. Although the proceedings were
completely spontaneous and transpired
with barely a rehearsal, each of Redmans
improvised declamations was patient and
relaxed, with an aura of inevitability.
When Walking Shadows came out last
spring Redman decided to reconvene and
tour with Aaron Goldberg, Reuben Rogers,
and Gregory Hutchinson, his working band
from 1998 through 2001. Were playing
some ballads from the new record and new
originals I wrote for this band, as well as
older originals and standards, he says. We
always had a great connection, and weve all
grown so much since we disbanded. Its like
were picking up from where we left off, but
everyone has matured. Theyre all creative
virtuosos, and they come to play every
night, with no agenda.
In point of fact, coming to play every night,
regardless of the setting, is a constant trope
of Redmans distinguished two decades as a
professional improviser. I play my best
when I trust my instincts, he states,
describing his ongoing modus operandi.
Now, having played without piano for ten
years has helped me grow as a saxophonist.
I think my ideas have more clarity and
weight; I know more about harmony and
have more melodic freedom. But playing
quartet seems like the most natural instru-
mentation for me. If I had to play in only one
group setting for the rest of my musical life,
it would certainly be the quartet.
Jazz at Lincoln Center
Meet the Artists
Joshua Redman (Saxophones) was born in
Berkeley, California, and is the son of leg-
endary saxophonist Dewey Redman and
dancer Renee Shedroff. At an early age he
was influenced by his father, John Coltrane,
Ornette Coleman, and Cannonball Adderley.
In 1991 Redman graduated from Harvard
summa cum laude with a B.A. in social
studies and as a member of Phi Beta Kappa.
After moving to New York City and
immersing himself in the jazz scene,
Redman was signed by Warner Bros.
Records. He released his first self-titled
album in 1993 which subsequently earned
him his first GRAMMY
nomination.
Redmans second acclaimed quartetfea-
turing pianist Aaron Goldberg, bassist
Reuben Rogers, and drummer Gregory
Hutchinsonwas formed in 1998 and made
its recorded debut with Beyond in 2000.
Soon after, Nonesuch released Redmans
first piano-less trio record, Back East, fea-
turing three bass and drum rhythm sections.
He released Compass (Nonesuch) in 2009
and continued to explore the expansive
double-trio formats. In addition to his own
projects, Redman has recorded and per-
formed with musicians such as Dave
Brubeck, Chick Corea, The Dave Matthews
Band, Herbie Hancock, Roy Hargrove,
Quincy Jones, B.B. King, the Jazz at Lincoln
Center Orchestra, Joe Lovano, Branford
Marsalis, Brad Mehldau, Marcus Miller,
MeShell Ndegeocello, Dianne Reeves, The
Rolling Stones, The Roots, Clark Terry, Toots
Thielemans, The Trondheim Jazz Orchestra,
Mark Turner, McCoy Tyner, and Stevie
Wonder. Joshua Redman has been nominated
for two GRAMMY
Award winner
Esperanza Spalding on bass, and Argentinean pianist
Leo Genovese. They will undoubtedly fulfill
DeJohnettes stated dictum of being open, prepared
for the unexpected, and willing to follow that where it
takes us and coming up with music thats different and
also makes sense and communicates. Opening the
proceedings is the 24-year-old Mack Avenue recording
artist and 2014 GRAMMY
Award
winner Tomatito and Flamenco dancer Paloma Fantova
beyond jobim:
new voices of brazil
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With vocalists Lusa Maita and Clarice Assad
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tomatito:
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