1. The Deserving Many
2. Blues on Sunday
3. Sweet Sorrow

Musicians:
Joshua Redman - Tenor sax
Brad Mehldau - Piano
Christian McBride - Bass
Brian Blade – Drums

There is something strange about this record. Total playtime is only 35.39 minutes and, for a major jazz artist, the sleeve and packaging have an amateurish feel about them! Another mystery is that the session was recorded in 1994, but the record has only just appeared. We are also told that it was recorded live and the audience is very enthusiastic, but where was it recorded? All we know is that it was somewhere in NYC!

That was the downside; the upside is that this is some of the most exciting tenor sax jazz I have heard. In 1994 Joshua Redman had only just appeared on the NYC jazz scene. I tried to get into the Village Vanguard in 1996 to see him, but was turned away because they were full. He has an amazing technique and an exciting style, together with a seemingly never ending flow of interesting improvisations. He is supported by an excellent rhythm section. Christian Mc Bride is an amazing bass player, capable of holding things together at very fast tempos, whilst driving everything along. The piano solos by Brad Mehldau are equally as inventive as those of the leader. Drummer Brian Blade is a major contributor to the overall group sound, even if his solos are overlong for my taste.

No composer credits are given so I assume the compositions are all originals: they are all worthy of their performance. I particularly liked Blues on Sunday. ---Don Mather, musicweb-international.com

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1. Uncharted
2. Faraway
3. Identity Thief
4. Just Like You
5. Hutchhiker's Guide
6. Ghost                        play
7. Insomnomaniac
8. Moonlight
9. Un Peu Fou
10. March
11. Round Reuben
12. Little Ditty
13. Through the Valley          play

Personnel: 
Joshua Redman: tenor saxophone (1-5, 7-9, 11, 13), soprano saxophone (6, 10, 12);
Larry Grenadier: bass (1-6, 8, 10, 12, 13);
Reuben Rogers: bass (1, 3, 4, 7-13);
Brian Blade: drums (2-4, 6, 8-13);
Gregory Hutchinson: drums (1, 2-5, 7, 8, 10, 12).

Joshua Redman's 2007 album Back East rightfully drew critical comparisons to Sonny Rollins' legendary trio date Way Out West, given everything from the mirror image implication in the title to the manner in which Redman offered the material on the set. The presence of Rollins looms large over Compass as well. Once more, Redman explores a piano-less trio, though there are some quartet and quintet numbers here. Redman is accompanied by longtime friends and collaborators, including drummers Brian Blade and Gregory Hutchinson, and bassists Larry Grenadier and Reuben Rogers. The material is with one exception -- a compelling reworking of Beethoven's Moonlight Sonata (here known simply as "Moonlight") -- all composed by either Redman or the group. The tunes include some beautiful ballads, such as "Little Ditty," some smoking boppers like "Round Reuben" and "Hutchhiker's Guide," and a beautiful Indo-Asian-kissed number called "Ghost." There is some stellar communication in this band -- check "March" for a single but not isolated example of the intricacies of deep listening and a generous sense of flow. The doubling of rhythm players on the quintet sides doesn't bowl the listener over -- though it could and is hinted at in places -- but rather serves the melody and the arching sense of loose harmonics Redman places at their disposal, and uses time as a device to be toyed with rather than turned in on itself in the service of pure blowing. That said, this is one of the great ironies here, because Redman is looser and more relaxed on Compass than he has ever been on a studio recording. His usual overly studied and cautious approach is largely left at the threshold, even as his now trademark sense of melodic restraint is evident on "Faraway." This serves Redman well, and also offers another signpost to Rollins' influence, because it seems that on Compass, Redman has finally learned the greatest trick from his mentor -- to walk out on the wire with his horn more, trust the fluid abilities of his incredible rhythm section(s), and let his inner sense of song and freedom take precedence over his already well-established sense of discipline. ---Thom Jurek, Rovi

Na jazzowej estradzie zaistniał nagle i nieoczekiwanie, prezentując niebywały kunszt oraz wirtuozerię. Posiadał wszelkie niezbędne do zrobienia kariery kwalifikacje: wywiedziony z hard-bopu styl gry, doskonałą prezentację, harvardzkie wykształcenie, ojca słynnego saksofonistę Deweya Redmana, jak też niebywałą biegłość gry na instrumencie i oryginalny styl gry.

Wbrew lansowanym opiniom, większy od sławnego ojca wpływ - wywarła na niego matka, rozbudzająca w nim potrzebę obcowania z muzyką. To ona zapisała 5-letnie dziecko do Berkeley's Centre For World Music, aby mogło tam zapoznać się z muzyką Indii i Indonezji. W szkole grał w jazzowym big-bandzie i mniejszych zespołach. Na drodze do kariery naukowej wygrał stypendium Uniwersytetu Harvarda na wydziale nauk społecznych. Ale tam właśnie zaczął poważniej interesować się jazzem, słuchać płyt nagranych przez mistrzów saksofonu powojennych lat, spędzać ferie letnie w Bostonie w gronie studentów wydziału jazzu Berklee College of Music.

Po otrzymaniu 1991 r. dyplomu (z doskonałymi notami) przyjął pracę w Yale Law School. Zaczął odwiedzać kluby jazzowe, podejmować pracę sidemana, wreszcie jesienią 1991 r. wygrał Międzynarodowy Konkurs Saksofonowy im. Theloniousa Monka. Dzięki tej prestiżowej nagrodzie Redman znalazł się w kręgu osobistości jazzu. Teraz grali razem z młodym muzykiem Elvin Jones, Jack DeJohnete, Red Rodney, Paul Motian, Roy Hargrove, John Hicks. Swą pozycję gruntował, wygrywając prestiżowe ankiety czytelników "Jazz Time" w kategorii Najlepszego Nowego Artysty 1992, magazynu "Rolling Stone" w kategorii Hot Jazz Artist Of 1993, ankietę krytyków magazynu "Down Beat" - Saksofonista Tenorowy Zasługujący Na Szersze Uznanie. Redman podpisał też kontrakt z wytwórnią Warner Brothers, która w marcu 1993 wydała debiutancki album "Joshua Redman".

Kolejny, "Wish" (gdzie zagrali Pat Metheny, Charlie Haden i Billy Higins) przyniósł uznanie oraz był wizytówką jego stylu gry, pełnej ciepła i swingu. W 1994 r. Redman dołączył w czasie sesji nagraniowej do Joego Lovano (album "Tenor Legacy") lub toczył "bitwę saksofonową" z Kennym Garrettem (album "Jams") albo brał z nim udział w żywym i ekspansywym starciu dwóch saksofonów tenorowych. Innym razem doskonale pointował gitarowe riffy Pata Metheny'ego w czasie koncertu w San Francisco (album "Blue For Pat"). Błyskotliwa kariera znalazła odniesienie w kolejnych ciekawych albumach (np. "Mood Swing", "Freedom", "In The Groove") oraz koncertach (np. "Live At The Village Vanguard", "Jams"). ---Dionizy Piątkowski

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1. Molten Soul - 08:10
2. Jazz Crimes - 06:43
3. The Long Way Home - 05:43
4. Oumou - 03:42                          play
5. Still Pushin' That Rock - 08:27
6. Can A Good Things Last Forever - 06:18
7. Boogielastic - 07:55
8. Unknowing - 03:28
9. News From The Front - 05:57
10. Letting Go - 05:07
11. The Birthday Song (Part 1) - 02:43    play
12. The Birthday Song (Part 2) - 05:01

Personnel:
Joshua Redman - Tenor, Alto and Soprano Saxophones
Sam Yahel - Hammond B3 Organ, Yamaha CS15D, Fender Rhodes, 
Korg MS 2000, Hohner Clavinet, Voce V5, Wurlitzer Electric Piano, Grand Piano
Brian Blade – Drums

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."

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01. Soundcheck [01:26]
02. Sweet Nasty [06:20]
03. Just A Moment [01:21]
04. Shut Your Mouth [05:37]
05. Crunge [02:38]
06. Riverwide [06:21]
07. Greasy G [04:35]
08. Lonely Woman [06:12]
09. Swunk [08:16]
10. Blowing Changes [02:10]
11. Double Jeopardy [04:42]
12. Put It In Your Pocket [06:52]
13. Showtime [01:07]

    Joshua Redman – Tenor Saxophone, Keyboards
    Sam Yahel – Keyboards
    Jeff Ballard – Drums (1, 2, 4, 8, 9, 13)
    Brian Blade– Drums (3, 5-7, 10, 11)
    Peter Bernstein – Guitar (11, 12)
    Flea – Electric Bass (5, 10, 11)
    Jeff Parker - Guitar (6)
    Eric Krasno – Guitar (7)
    Meshell Ndegeocello – Electric Bass (7)
    Stefon Harris - Vibraphone (8-9)
    Kurt Rosenwinkel - Guitar (9)
    Nicholas Payton - trumpet (12)
    Questlove - Drums (12)

While some may pine for the glory days of the '50s when jazz was more "pure, the reality is that, artistically speaking at least, the present is a great time for jazz. A more cosmopolitan affair than ever before, jazz has seen younger artists grow up with exposure to so many styles of music—inside and outside of the jazz tradition—that there's a steady osmosis allowing for the kind of cross-genre infiltration that makes for all manner of new and exciting music.

Purists may balk, but when you hear an album like Momentum, Joshua Redman's latest with his Elastic Band—which comfortably mixes material by Ornette Coleman, Sheryl Crow, and Led Zeppelin with Redman's own originals and a series of brief jam-like interludes—it's an encouraging indicator that jazz isn't a museum piece. It's a living, breathing form that continues to evolve with each passing year.

Redman and keyboardist Sam Yahel, who makes up the core of the Elastic Band along with alternating drummers Brian Blade and Jeff Ballard, know that it's possible to make funky, groove-centric music that doesn't fall anywhere close to the area of smooth jazz. Probably the most significant precedent for much of the music on Momentum is Herbie Hancock's Headhunters recordings from the '70s. But Redman's perspective is less dense than Hancock's layered keyboard approach, and while the group looks back with fondness, they are equally rooted in the present and perhaps positing for a new kind of accessible music that never panders to a lowest common denominator.

The greater accessibility of recording technology in recent years has resulted in one drawback: young artists sometimes hit the market as leaders before they are perhaps truly ready, and this may have been the case with Redman. While his early albums showed promise, he has only hit his stride in recent years. In fact, to truly appreciate his broad strengths, one need only check out, in addition to Momentum, his recording with the SF Jazz Collective, released simultaneously by Nonesuch Records, and his work on Kurt Rosenwinkel's recent Deep Song. Redman seems to be making giant leaps these days in terms of sound and harmonic depth, justifying the faith that has been afforded him all along.

Additionally, Redman and Yahel utilize technology in a completely organic fashion; Redman often applies real-time processing to his horn, emulation a larger section sound. And while "Greasy G may be the deepest, most visceral funk on the album—due in no small part to bassist Meshell Ndegeocello's guest stint—Yahel's bass synth is equally effective for most of the set.

Ballard and Blade approach the common musical ground of Momentum from two distinct viewpoints. These two players, like Redman and Yahel, can distill their wide experiences into a more focused groove.

The easy rhythms and accessible veneer of Momentum belie a greater depth. One need only listen to the contemporary yet open-ended arrangement of Coleman's "Lonely Woman, beside the folk-like lyricism of Crowe's "Riverwide, to appreciate the true breadth of everyone's reach. ---John Kelman, Rovi

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Disc 1
1. Jig-A-Jug - 11:31
2. My One and Only Love - 11:01
3. Count Me Out - 07:07
4. Second Snow - 13:56
5. Remember - 09:55
6. Dialogue - 06:52             play
7. St. Thomas - 12:11

Disc 2
1. Herb and Roots - 12:48
2. Wait No Longer - 11:44
3. Neverend - 13:45
4. Just In Time - 08:49
5. Mt. Zion - 10:12
6. Slapstick - 05:50           play
7. Lyric - 11:58

Personnel:
Joshua Redman - Saxophones
Peter Martin - Piano
Christopher Thomas - Bass
Brian Blade – Drums

This double CD gives one a definitive look at how the much-acclaimed tenor saxophonist Joshua Redman sounded in the mid-'90s. Joined by pianist Peter Martin, bassist Christopher Thomas, and drummer Brian Blade, Redman stretches from Gene Ammons (who is saluted on "Jig-a-Jug") to late period John Coltrane, showing off both his wide range and his lyricism. Redman is heard at his best on the four-minute cadenza that opens "St. Thomas," digging into "My One and Only Love" and playing almost outside on "Lyric." Of the 14 songs, nine are his originals and, although Redman was not at this point an innovator, he was well on his way to forming his own personal style. ---Scott Yanow, Rovi

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1	The Folks Who Live on the Hill (Jerome Kern & Oscar Hammerstein II)	4:00
2	Lush Life (Billy Strayhorn)	6:42
3	Stop This Train (John Mayer & Pino Palladino)	4:42
4	Adagio (J.S. Bach)	3:14
5	Easy Living (Leo Robin & Ralph Rainger)	5:31
6	Doll Is Mine (Kazu Makino, Amedeo Maria Pace & Simone Maria Pace)	5:55
7	Infant Eyes (Wayne Shorter)	5:05
8	Let It Be (John Lennon & Paul McCartney)	5:12
9	Final Hour (Joshua Redman)	2:42
10	Last Glimpse of Gotham (Brad Mehldau)	3:26
11	Stardust (Hoagy Carmichael)	5:50
12	Let Me Down Easy (Joshua Redman)	4:55

Personnel: 
Joshua Redman: saxophones; 
Brad Mehldau: piano; 
Larry Grenadier: bass; 
Brian Blade: drums; 
Laura Frautschi (Concertmistress), 
Avril Brown, Christina Courtin, Karen Karlsrud, Ann Leathers, Katherine Livolsi, 
Landau, Joanna Maurer, Courtney Orlando, Yuri Vodovos: violins; 
Vincent Lionti, Daniel Panner, Dov Scheindlin: viola; 
Stephanie Cummins, Eugene Moye, Ellen Westermann: cello; 
Timothy Cobb: bass; 
Pamela Sklar: flute; 
Robert Carlisle: French horn; 
Conducted by Dan Coleman.

Joshua Redman's 2013 album, Walking Shadows, is a lush orchestral album featuring the saxophonist backed by a large symphonic ensemble. From Charlie Parker's string recordings in the '50s, to Miles Davis' large-ensemble recordings with Gil Evans in the '60s, to Wynton Marsalis' 1984 album Hot House Flowers, there is a long tradition of jazz musicians framing themselves in the warm, classical tones of a string orchestra. Here, Redman positions himself within this continuum with an album that frames his articulate, harmonically sophisticated saxophone style with immaculately produced arrangements from Dan Coleman, Patrick Zimmerli, and pianist Brad Mehldau. Mehldau also appears here as a member of Redman's quartet alongside bassist Larry Grenadier and drummer Brian Blade. These are some of the most nuanced, lyrical, and romantic recordings Redman has ever produced. Tracks like his opening take on Jerome Kern and Oscar Hammerstein's "The Folks Who Live on the Hill" and Leo Robin and Ralph Rainger's "Easy Living" have a sweeping, cinematic quality that one could easily imagine as the soundtrack to classic film noir. Redman also includes a few of his compositions, including the ruminative "Final Hour" and the torchy "Let Me Down Easy," which perfectly balance his vocal-like saxophone melodies and roiling John Coltrane-influenced improvisations. While most of the album centers around the orchestral arrangements, some tracks -- like Redman's cover of John Mayer's "Stop This Train" and the Beatles' "Let It Be" -- are ruminative small-group tracks that should appeal to listeners who enjoyed his quartet side project James Farm. Ultimately, Walking Shadows is a mature, sophisticated album that can stand head to head with the best orchestral jazz albums of any decade. ---Matt Collar, Rovi

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1 Gambit – 11:50
2 Radio Announcer – 00:13
3 Sweet Nasty – 10:15
4 Molten Soul – 17:06
5 Moon And Sand – 09:43          play

Personnel:
Joshua Redman – tenor sax
Sam Yahel - organ
Brian Blade - drums

Joshua Redman came up through a nationally respected music program at Berkeley High School in California in the 1980s. At Harvard, he earned a bachelor's degree, but not in music. He did play in the big band, though -- encouraged by the great tenor saxophonist and Artist-in-Residence Illinois Jacquet. Redman graduated summa cum laude and Phi Beta Kappa, and seriously contemplated law school. But in the meantime he won the Thelonious Monk International Saxophone Competition and launched his career as a performing artist, and now he's one of the most charismatic and successful artists in jazz, whether playing acoustic or with electronics, in a minimal setting or a bigger band.

On Redman's new CD, Back East from the Nonesuch label, he leads an acoustic trio inspired by the Sonny Rollins classic Way Out West. Back East comes out at a pivotal moment. In a recent cover story in Jazz Times, Redman talks about two major events in his life that recently came one after the other recently. His father, saxophonist Dewey Redman -- who plays with his son on the album -- died. And Joshua Redman's son, Jadon, was born. It's been a season of condolences and graduations.

On JazzSet, we step back for the stretch-out swinging funk of the Joshua Redman Elastic Band with Sam Yahel on organ and Brian Blade on drums. Organist Yahel got this band going at after-hours jam sessions at Small's in Greenwich Village. Guitarist Peter Bernstein was a regular as well. When Redman was in town, he joined Yahel and Blade to jam. Redman says, "In the Elastic Band, there's no trade-off between grooving and improvising. … We're playing funk and swing at the same time." Check it out at Yoshi's in Oakland, Calif., New Year's Eve 2005, on JazzSet.

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1-Blues For Pat
2-Sketches
3-Band Intro
4-Wish
5-St. Thomas
6-We Had A Sister        play
7-Carla's Groove.

Personnel:
Joshua Redman - Sax
Pat Metheny - guitar
Christian McBride - bass
Billy Higgins - drums

After recording Wish for Warner Bros. in a quartet with guitarist Pat Metheny, bassist Charlie Haden and drummer Billy Higgins, young tenorman Joshua Redman hit the road with the same group (except with Christian McBride in Haden's place).

This European CD, probably a bootleg, shows just how exciting the band was live. On 70 minutes of music recorded in a San Francisco club, Redman often indulges in close interplay and exciting tradeoffs with Metheny; the two clearly inspired each other. The recording quality is decent, and the performances overall actually exceed Wish in passion and creativity. Highlights include "Blues for Pat," an 181/2-minute version of "St. Thomas" and "Carla's Groove." All Joshua Redman and Pat Metheny fans will want this one. ---Scott Yanow, AMG

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1.Shed
2.Stardust
3.Curly Q
4.Adagio
5.Balance
6.Infant Eyes

Joshua Redman - saxophone
Reuben Rogers – double bass
Greg Hutchinson - drums
Aaron Goldberg – piano

Jazz sous les Pommiers is an annual Jazz festival that takes place in Coutances, in La Manche. It is the 3rd largest Jazz festival in France, and this year the 32nd edition will run from the 4th to the 11th of May 2013.

Musical recitations, theatrical shows, films with live bands, concerts, … there is truly something for every age and for every taste. --- lecormoran.com

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1. Blues On Sunday
2. The Deserving Many
3. Sweet Sorrow

Lineup:
Joshua Redman, tenor saxophone
Brad Mehldau, piano
Christian McBride, bass
Brian Blade, drums

Recorded on 13th July 1994 at the Philharmonie am Gasteig, Munich

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