{"id":8055,"date":"2016-12-19T17:00:49","date_gmt":"2016-12-20T01:00:49","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8055"},"modified":"2016-12-20T17:22:15","modified_gmt":"2016-12-21T01:22:15","slug":"monday-recommendation-redmans-and-mehldaus-nearness","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2016\/12\/monday-recommendation-redmans-and-mehldaus-nearness\/","title":{"rendered":"Monday Recommendation: Redman&#8217;s And Mehldau&#8217;s &#8220;Nearness&#8221;"},"content":{"rendered":"<p><strong>Joshua Redman And Brad Mehldau<\/strong>, <a href=\"http:\/\/amzn.to\/2i7xjTr\" target=\"_blank\">Nearness<\/a> (Nonesuch)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-8056\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/12\/Redman-Mehldau-.jpg\" alt=\"\" width=\"210\" height=\"210\" srcset=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/12\/Redman-Mehldau-.jpg 210w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/12\/Redman-Mehldau--150x150.jpg 150w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/12\/Redman-Mehldau--100x100.jpg 100w, https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2016\/12\/Redman-Mehldau--200x200.jpg 200w\" sizes=\"auto, (max-width: 210px) 100vw, 210px\" \/>They forged their empathy when Mehldau was the pianist in saxophonist Redman\u00e2\u20ac\u2122s quartet in the mid-1990s. In encounters over the years since, they have honed their rapport to a remarkable degree. These duo recordings from six cities on their 2011 European tour find them knitting together improvisational lines in Redman\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Melsancholy Mood,\u00e2\u20ac\u009d sparring with vigor in exchanges of 2-bar phrases during Thelonious Monk\u00e2\u20ac\u2122s \u00e2\u20ac\u0153In Walked Bud\u00e2\u20ac\u009d and issuing blazing bebop pronouncements in Charlie Parker\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Ornithology.\u00e2\u20ac\u009d They rhapsodize through the Mehldau originals \u00e2\u20ac\u0153Always August\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Old West.\u00e2\u20ac\u009d The height of their inventiveness comes despite\u00e2\u20ac\u201dor perhaps because of\u00e2\u20ac\u201dthe extremely slow tempo of Hoagy Carmichael\u00e2\u20ac\u2122s \u00e2\u20ac\u0153The Nearness of You.\u00e2\u20ac\u009d Reflecting on that incomparable melody, they create a mood deepened further by Redman\u00e2\u20ac\u2122s unaccompanied tenor saxophone musings, which at the end prompt the audience to emerge from the reverie and deliver an ovation.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Joshua Redman And Brad Mehldau, Nearness (Nonesuch) They forged their empathy when Mehldau was the pianist in saxophonist Redman\u00e2\u20ac\u2122s quartet in the mid-1990s. In encounters over the years since, they have honed their rapport to a remarkable degree. These duo recordings from six cities on their 2011 European tour find them knitting together improvisational lines [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":8056,"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":[5],"tags":[],"class_list":{"0":"post-8055","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-recommendations","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8055","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=8055"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8055\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8056"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8055"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8055"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8055"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}