Joshua Redman Quartet w/ Orhcestra at The Town Hall
Joshua Redman, sax
Brad Mehldau, piano
Larry Grenadier, bass
Brian Blade, drums
The Knights, Orhcestra
Joshua Redman is one of the most acclaimed and charismatic jazz artists to have emerged in the 1990s. Born in Berkeley, California, he is the son of legendary saxophonist Dewey Redman and dancer Renee Shedroff. In 1991, Redman graduated from Harvard College summa cum laude with plans to attend Yale Law School, but he deferred entrance for what he believed was only going to be one year. He moved to New York, and immediately found himself immersed in the burgeoning jazz scene and playing with some of the leading jazz musicians of his generation. Five months later, Redman was named winner of the prestigious Thelonious Monk International Saxophone Competition. Since then, Joshua has worked and played with a vast array of jazz luminaries, released thirteen jazz albums as bandleader, and received three Grammy nominations.
On May 7, 2013, Redman released a collection of ballads titled Walking Shadows, his first recording to include an orchestra ensemble. Redman’s June 4 performance at Town Hall will include the same Quartet on Walking Shadows – longtime collaborators and close friends Brad Mehldau on piano, Larry Grenadier on bass, and Brian Blade on drums. Members from New York’s orchestral collective The Knights will help bring the music of Walking Shadows to life. This is the first of a very limited number of Redman performances that will include a strings ensemble and the only engagement that will include the album’s Quartet.
Creating his own take on the classic jazz-with-strings album was the initial impetus for Joshua Redman’s Walking Shadows, a collection of ballads, both vintage and contemporary, that can be as eloquently moody and restless in feel as they are hauntingly beautiful and serene. With his friend and frequent collaborator, the pianist Brad Mehldau, on board as producer—the first time Mehldau has assumed that role for a project other than one of his own—Redman has retooled a familiar formula. The jazz-with-strings concept serves as a starting point, as foundation and inspiration, for Redman’s exploration of an ambitiously eclectic set of tunes performed in a variety of configurations. The strings themselves are an active, emotive presence on the six songs in which they are featured and their absence on other tracks only seems to heighten the drama of those more austerely arranged compositions.
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