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Redman Talks Backstage with DownBeat About "Back East"

on September 01, 2007

Joshua Redman spoke with DownBeat's Aaron Cohen before a performance at the Ravinia Festival outside Chicago in June. The two discussed Redman's latest album, Back East, in a "Backstage with ..." interview for the magazine, touching on such topics as why pianoless trios are so uncommon in jazz ("Because it's friggin' hard!"), the internatinoal influences on the new album, and lessons he learned from his father Dewey, who appears on the album.


"I learned so much playing with him. It was inspiring, but also humbling and intimidating," Joshua Redman tells DownBeat. "All of his wisdom, soul and

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Earning His Spurs: Joshua Redman finds himself in Sonny Rollins's Oklahoma!, OK!

on July 17, 2007

By Francis Davis
The Village Voice

Whatever your opinion of the movers and shakers of '60s and '70s free jazz, you can't say they didn't pass on good genes. Start with Ravi Coltrane, Nas (the son of cornetist Olu Dara), and Deval Patrick (governor of Massachusetts and the offspring of a Sun Ra saxophonist). Charnett Moffett, Neneh and Eagle Eye Cherry, and Josh and Petra Haden are all progeny of Ornette Coleman's original inner circle–not to mention Ornette's own flesh and blood, Denardo.

Also from Coleman's extended clan, there's the late Dewey Redman's son, Joshua, also a tenor saxophonist,

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Joshua Redman's Back East: Four Stars

on July 01, 2007

By Michael Jackson
Down Beat

Back East mirrors Way Out West, the classic Sonny Rollins trio album from 40 years ago. Including "I'm An Old Cowhand" and "Wagon Wheels" may raise the dander of diehard Rollins devotees, but Joshua Redman slyly revamps "Cowhand" with archly phrased parenthetical statements and drills into a questing improvisation, although the geriatric cattleman gets lost in the mix. Maybe Redman should recook the title here, also? "Wagon Wheels" features Reuben Rogers' bass. It's more apropos, with Redman on soprano, ironically offering Native American flavors in his solo.

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Stop-Time and Symmetry, Punch Lines and Pathos

on June 22, 2007

By Ben Ratliff
New York Times

Branford Marsalis and Joshua Redman are in good places. By the end of their JVC Jazz Festival concert on Wednesday at Town Hall — Mr. Redman’s trio went first, Mr. Marsalis’s quartet second — they had put the crowd into happy exhaustion. It had been pummeled with hard stuff, engaged by delicate stuff, and there had been remarkably little glibness going around.

Mr. Redman is thorough as a presenter of his own work, and his music, either by instrumentation or by composition, can be overdetermined.

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Joshua Redman at Catalina Bar & Grill

on June 12, 2007

By Phil Gallo

Joshua Redman is offering a nod -- and that's pretty much all it is -- to Sonny Rollins' pianoless trio that recorded "Way Out West" 50 years ago, employing a similar setup, sharing two tunes with the Rollins effort and using his own compositions as the foundations for invigorating and precise improvisations.

Opening set at Catalina for Redman and one of the three rhythm sections that appear on his brilliant "Back East" (Nonesuch) was a thriller, a master class in communication and execution.



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