{"id":6136,"date":"2014-10-23T23:50:40","date_gmt":"2014-10-24T06:50:40","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=6136"},"modified":"2014-10-24T20:10:24","modified_gmt":"2014-10-25T03:10:24","slug":"recent-listening-joshua-redman","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2014\/10\/recent-listening-joshua-redman\/","title":{"rendered":"Recent Listening: Joshua Redman"},"content":{"rendered":"

[contextly_auto_sidebar id=”WVclwNI4VXqxwLh6vYkG48kpYvPaKAD7″]<\/p>\n

Joshua Redman<\/strong>, Trios Live<\/em><\/a> (Nonesuch)<\/p>\n

\"Redman<\/a>Redman opens with an unaccompanied tenor saxophone introduction to \u00e2\u20ac\u0153Mack the Knife.\u00e2\u20ac\u009d The fluidity, power and quixotic imagination of his playing prepare his listeners for the album\u00e2\u20ac\u2122s hour of adventure. At New York\u00e2\u20ac\u2122s Jazz Standard and Washington DC\u00e2\u20ac\u2122s Blues Alley, he is in the intimate company of just bass and drums—and of audiences who listen closely and respond with enthusiasm. When Redman is in the midst of rhythmic displacements and chord substitutions on the Kurt Weill piece, the zest and daring of the young Sonny Rollins come to mind. Rollins\u00e2\u20ac\u2122 spiritual presence is evident here and there throughout, but Redman\u00e2\u20ac\u2122s individuality is striking. He packs his extended coda to \u00e2\u20ac\u0153Never Let Me Go,\u00e2\u20ac\u009d with melodic inventions like no one else\u00e2\u20ac\u2122s. <\/p>\n

Gregory Hutchinson\u00e2\u20ac\u2122s drumming on both club dates inspires, nudges and occasionally goads\"Redman<\/a> the saxophonist. High in the audio mix, in several instances Hutchinson is an equal partner in inventiveness as he and Redman reflect and reinforce one another\u00e2\u20ac\u2122s ideas. Matt Penman is the bassist on the four tracks from the Jazz Standard. Reuben Rogers is on the three from Blues Alley. They are equal partners with Redman and Hutchinson in the generation and exchange of energy that permeates these performances. In two tracks on soprano sax, Redman creates excitement, but his originality on soprano doesn\u00e2\u20ac\u2122t quite equal that of his tenor work. He is tenor sax machismo personified in Thelonious Monk\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Trinkle Tinkle\u00e2\u20ac\u009d and in the album\u00e2\u20ac\u2122s most unlikely entry, Led Zeppelin\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Ocean.\u00e2\u20ac\u009d<\/p>\n

For a Rifftides<\/em> review of Redman, Rogers, Hutchinson and pianist Aaron Goldberg at the 2014 Ystad Sweden Jazz Festival, go here<\/a>. <\/p>\n","protected":false},"excerpt":{"rendered":"

[contextly_auto_sidebar id=”WVclwNI4VXqxwLh6vYkG48kpYvPaKAD7″] Joshua Redman, Trios Live (Nonesuch) Redman opens with an unaccompanied tenor saxophone introduction to \u00e2\u20ac\u0153Mack the Knife.\u00e2\u20ac\u009d The fluidity, power and quixotic imagination of his playing prepare his listeners for the album\u00e2\u20ac\u2122s hour of adventure. At New York\u00e2\u20ac\u2122s Jazz Standard and Washington DC\u00e2\u20ac\u2122s Blues Alley, he is in the intimate company of just […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-6136","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6136","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=6136"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/6136\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=6136"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=6136"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=6136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}