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Jazz - Released October 24, 2014 | Nonesuch

Hi-Res Booklet Distinctions 4F de Télérama - 5 Sterne Fono Forum Jazz
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Jazz - Released October 4, 2019 | Nonesuch

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
With Walking Shadows in 2013, Joshua Redman submerged his saxophone in a beautiful orchestral arrangement by the composer Patrick Zimmerli. Six years later, we find the two men together again on Sun on Sand, a dense suite in which each movement is, according to their author Zimmerli, an “expression of light”. Redman is accompanied by the Brooklyn Rider Ensemble, bassist Scott Colley and percussionist Satoshi Takeishi. Together, they blur the boundaries between jazz and contemporary music thanks to an unusual combination of pieces by George Russell, Milton Babbitt, Michael Nyman and even Frank Zappa. The light found here comes in all kinds of tones. Going from chiaroscuro to bright sunlight, Joshua Redman and Patrick Zimmerli’s record is like a colour chart made up of very original shades. In 2019, orchestral jazz is far from being an over-crowded genre, so this excellent project deserves some attention. © Max Dembo/Qobuz
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Jazz - Released May 26, 2015 | Nonesuch

Hi-Res Booklet Distinctions Sélection JAZZ NEWS
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Jazz - Released May 25, 2018 | Nonesuch

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
Transmission and legacy are at the heart of jazz. Even in the more radical moments, or even the revolutionary ones, jazz musicians have always, one way or another, paid tribute to their elders. With Still Dreaming, Joshua Redman only confirms that. With trumpet player Ron Miles, bass player Scott Colley and drummer Brian Blade, the saxophonist drives a quartet which pays homage to Old and New Dreams, a band carried between 1975 and 1987 by his late father, the saxophonist Dewey Redman. A formation then composed of double bass player Charlie Haden, trumpet player Don Cherry and drummer Ed Blackwell, all former bodyguards of Ornette Coleman… But if this story about transmission and legacy is at the heart of the music of Joshua Redman and his friends, everything here is all invention and creation. These four don’t intend to take us to the museum! Even when they reinterpret compositions such as Charlie Haden’s Playing or Ornette Coleman’s Comme il faut and The Rest, their approach isn’t some kind of basic sanctification. On the contrary! We are here in the presence of four virtuoso, each being among the best in their area. As for Redman, he has rarely played that well. He’s often economic in his play. His breath, never wordy, is the one of almost mystical incantations that Colley’s and Blade’s rhythms make even more majestic. And then there is Brian Blade, this drummer performing with feathers in his hands. He’s an impressive colorist who radiates on everything he touches… In short, this is a masterful disc for sophisticated ears. © Marc Zisman/Qobuz
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Jazz - Released September 9, 2016 | Nonesuch

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS
Nearness finds acclaimed jazz saxophonist Joshua Redman and pianist Brad Mehldau teaming up for a set of loose yet heartfelt duo performances. Collaborators since they first began playing together in Redman's quartet in the early '90s, Mehldau and Redman have forged their own distinct solo careers. While they have continued to work together in various settings, the duo put a spotlight on their creative friendship with their 2011 tour. Nearness features live performances captured during the European leg of that tour, including tapings in Spain, Switzerland, the Netherlands, Germany, and Norway. These are dazzlingly collaborative performances that reveal Redman and Mehldau to be a highly intuitive and harmonically adroit team. While there are a handful of original compositions here, the pair also tackle several jazz standards, including a brisk, kinetic reading of Charlie Parker's "Ornithology" and a laid-back if no less invigorating take on Thelonious Monk's "In Walked Bud." Elsewhere, they take a similarly inventive approach on several originals, including Redman's warmly burnished "Mehlsancholy Mode" and Mehldau's skipping, bluesy "Old West." What makes these recordings so engaging is the way Mehldau and Redman play off each other, dancing around the melody, weaving in and out of the harmony like rambunctious birds sparring over scattered seed. It's a conversational style that comes off as both a game of hot potato and let's finish each other's sentences. Sometimes, as on "Ornithology," it almost sounds as if Redman starts a song one way and then Mehldau switches up the conversation, taking them down a wholly alternate route. Other times, as in Mehldau's poignantly rendered "Always August," they build a detailed musical architecture, their nuanced improvisational lines forming ascending and descending stairways, grandly domed halls, and hidden dulcet nooks. © Matt Collar /TiVo
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Bebop - Released May 7, 2013 | Nonesuch

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Jazz - Released April 22, 2011 | Nonesuch

Booklet Distinctions 4F de Télérama
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Bebop - Released June 16, 2014 | Nonesuch

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS
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Bebop - Released June 16, 2014 | Nonesuch

Hi-Res Booklet Distinctions Indispensable JAZZ NEWS
Trios Live features saxophonist Joshua Redman performing live in concert with his trio on two separate dates. The first concert was recorded in 2009 at New York's Jazz Standard and the second was recorded in 2013 at Washington's Blues Alley. Backing Redman on both of these dates is drummer Gregory Hutchinson; who is then joined by bassist Matt Penman on the Jazz Standard recording, and bassist Reuben Rogers for the Blues Alley performance. As there are no chordal instruments such as piano or guitar in Redman's trio, he is free to explore a wide harmonic color palette and does so here with plenty of exuberance. This is Redman the bluesy, muscular, yet mathematically concise improviser, digging deep into such influences as Sonny Rollins, Dexter Gordon, and Ornette Coleman. Although Redman has never shied away from progressive, extroverted improvisation, as Trios Live comes on the heels of his reflective, lushly produced 2013 orchestral ballads album, Walking Shadows, it has more in common with his adventurous 2007 studio trio album, Back East, as well as his fearless 2009 double-trios experiment, Compass. Along with three originals, on Trios Live we also get Redman's take on such standards as Kurt Weill and Bertolt Brecht's "Moritat (Mack the Knife)," Jay Livingston and Ray Evans' "Never Let Me Go," and Thelonious Monk's "Trinkle, Tinkle." Also included is Redman's frenetic reworking of Led Zeppelin's "The Ocean." Always an engaging improviser, Redman is perhaps at his best in a club setting and Trios Live does nothing to dissuade one of that notion. © Matt Collar /TiVo
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Bebop - Released June 17, 2014 | Nonesuch

Booklet Distinctions Indispensable JAZZ NEWS
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Jazz - Released July 10, 2020 | Nonesuch

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Joshua Redman, Brad Mehldau, Christian McBride and Brian Blade. A mere glance at Round Again’s line-up is capable of arousing a sense of collective hysteria among jazz fans. The original members of the saxophonist’s first quartet haven’t recorded together since MoodWing was released in 1994. “We would have done it ten years if it were up to me”, explains Mehldau, “Josh, Christian and Brian are all my heroes. It’s like playing with The Avengers!” It’s a worthy comparison seeing as these four really are considered superheroes in today’s jazzosphere. In almost a quarter of a century, their aura and playing has developed in an exponential way to the point that the quartet has achieved an irrevocable spiritual chemistry. In this brand-new offering (three compositions by Redman, two by Mehldau, and one each for McBride and Blade), they immediately show off a bond which allows them to perform extraordinary and colossal swing. Under the hood of this sparkling, perplexing yet vintage Rolls Royce of a record, RoundAgain is a meaningful four-way conversation. From beginning (Undertow) to end (Your Part to Play), mutual respect is at the heart of their drive and direction; even Redman’s verbose saxophone never steals the spotlight. Let’s just hope that we won’t have to wait another 26 years before they do it all again… © Marc Zisman/Qobuz
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Jazz - Released March 29, 2019 | Nonesuch

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Album titles can be throwaways, shockers or in the case of Joshua Redman’s latest, a statement of an overarching philosophy. Few jazz players on any instrument have fashioned a career as stable or respected as the one that saxophonist and composer Redman has carefully built since breaking on the scene with his 1993 self-titled debut (which earned him his first Grammy nomination). Since then, through a shifting array of ensembles, an unmistakable gift for lyricism, a recognizable saxophone tone and gift for choosing classy material and collaborators, Redman has become an eloquent, stylish purveyor of a coherent and melodic variety of improvisational jazz. Come What May's seven original compositions are more of the same, working in an engaging middle ground, somewhere between cloying smooth jazz and the jagged-edges of the avant-garde. While this may sound too mainstream for some, tunes like the wistful ballad that is the title track, the piano-driven push-pull groove of “Stagger Bear” or the fast, funk-inflected background of “I’ll Go Mine,” have a wonderfully seasoned artistry and undeniable instrumental virtuosity that makes this yet another pleasurable outing from a towering figure in modern straight-ahead jazz. Redman is mightily assisted by his touring Quartet of pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson who somehow have not made an album together since 2001’s Passage of Time. Polished and practiced, this foursome epitomizes trust and conviction, generating soul and heart in the interplay between Redman’s deceptively emotional saxophone and Goldberg’s rhythmically inventive piano lines. Gorgeously rich and present sonics complete the latest triumph in a career focused on elegance and consummate taste. © Robert Baird / Qobuz
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Jazz - Released January 21, 1993 | Warner Jazz

Joshua Redman's sophomore effort found him leading a piano-less quartet that also included guitar great Pat Metheny and half of Ornette Coleman's trailblazing late-'50s/early-'60s quartet: acoustic bassist Charlie Haden and drummer Billy Higgins. With such company, Redman could have delivered a strong avant-garde or free jazz album; Haden and Higgins had played an important role in jazz's avant-garde because of their association with Coleman, and Metheny had himself joined forces with Coleman on their thrilling Song X session of 1985. But Wish isn't avant-garde; instead, it's a mostly inside post-bop date that emphasizes the lyrical and the introspective. The musicians swing hard and fast on Charlie Parker's "Moose the Mooche," but things become very reflective on pieces like Redman's "The Undeserving Many" and Metheny's "We Had a Sister." One of the nice things about Redman is his ability to provide jazz interpretations of rock and R&B songs. While neo-conservatives ignore them and many NAC artists simply provide boring, predictable, note-for-note covers, Redman isn't afraid to dig into them and show their jazz potential. In Redman's hands, Stevie Wonder's "Make Sure You're Sure" becomes a haunting jazz-noir statement, while Eric Clapton's ballad "Tears in Heaven" is changed from moving pop/rock to moving pop-jazz. The latter, in fact, could be called "smooth jazz with substance." Some of bop's neo-conservatives disliked the fact that Redman was playing with two of Coleman's former sidemen and a fusion icon like Metheny, but then, Redman never claimed to be a purist. Although Wish isn't innovative, it's an appealing CD from an improviser who is willing to enter a variety of musical situations. © Alex Henderson /TiVo
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Jazz - Released September 9, 1994 | Nonesuch

In the extensive liner notes of this CD, tenor saxophonist Joshua Redman writes that the main problem with jazz at the time was not the music but the public perception of it as forbidding and overly intellectual; that in reality jazz is quite fun and emotional. Those descriptions can certainly be applied to Redman's music, which, while pulling at the boundaries of modern hard bop, is also fairly easy to grab on to. Joined by his regular bandmembers of the period (pianist Brad Mehldau, bassist Christian McBride and drummer Brian Blade), Redman performs a full set of originals which, although not derivative, do fit into the straight-ahead tradition. At this point in time, Redman was growing from album to album, having already started at a high level. A fine outing. © Scott Yanow /TiVo
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Jazz - Released May 6, 2020 | Nonesuch

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Jazz - Released March 18, 2020 | Nonesuch

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Jazz - Released September 24, 1996 | Warner Records

As the title suggests, Joshua Redman explores new rhythmic territory on Freedom in the Groove. Abandoning the traditional hard bop that has dominated his past recordings, Redman attempts to work himself into hip-hop and urban dance rhythms, which results in an occasionally intriguing but often frustrating album. Occasionally, the fusions work, with Redman contributing sympathetic, graceful licks to the gently insistent rhythms. Too often, the record sounds forced and stilted, which is unfortunate, since jazz/hip-hop fusion need a musician of Redman's caliber to make it credible in the jazz world. © Leo Stanley /TiVo
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Jazz - Released February 18, 2009 | Warner Jazz

Coming fast on the heels of Redman's collaborative Yaya3 date with the same players (organist Sam Yahel and drummer Brian Blade), Elastic is more about pop/soul-funk than jazz, but it doesn't sacrifice any of Yaya3's organic feeling and improvisational focus. Here Yahel plays not only Hammond organ, but also Fender Rhodes, clavinet, and other assorted electric keys. Redman makes liberal use of overdubbing and signal processing, much of which is surprisingly subtle. The result is quite a lot of sound for three people, quite a lot of inspired blowing, and quite a lot of stylistic ground covered. Highlights include the agitated, over-the-top "Still Pushin' That Rock," the tight funk and involved lines of "Jazz Crimes" and "News from the Front," and the slow gospel of "Can a Good Thing Last Forever?" Redman seems fond of the Rhodes-soprano sax combination, particularly on mellower themes like "The Long Way Home" and "Unknowing." While one has to admire Redman's musical open-mindedness, his writing can take on a middle-of-the-road quality at times; on this record it surfaces on "Boogielastic". It says something that Yahel contributed the most alluring piece, a short-and-sweet song in five called "Oumou." © David R. Adler /TiVo
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Bebop - Released February 15, 2007 | Nonesuch

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Jazz - Released August 25, 1995 | Warner Jazz