By K.D. Norris
When saxophone man Joshua Redman first burst onto the jazz scene in the 1990s he was labeled as one of the “Young Lions” of the ’80/90s straight-ahead jazz scene — with the likes of Roy Hargrove, Wynton Marsalis and Nicholas Payton.
But even back then he was fully able to excel in jazz’s traditional past as he was to blaze new trails in modern (new/neo, experimental, whatever) jazz sounds — I first heard him back in 1990-something, at Oregon’s Reed College, and there he played two sets, one for the older traditional crowd and one for the younger, more adventuresome crowd I was part of.
Three decades on, and on-stage around the world, Redman may not be “young” anymore (he’ll be 53 in February) but he and his sax can still whisper an Ellington tune and roar a totally “twisted” take on a Sonny Rollins jazz waltz, as evidenced by his stop at St. Cecilia Music Center, on Jan. 20, as the the music center’s 2022 jazz series debuted.
On that night, the Royce Auditorium crowd roared back in approval when Redman and his trio mates — Marcus Gilmore on drums and Matt Penman on bass — flowed from one jazz focal point to another. (I think there were some who wished the stayed traditional, but not I or my wife.)
In the 90+ minute set, Redman and the boys opened with Oscar Petterson’s “Tricotism” and a totally “twisted” — his word — version of Bruce Bowman’s “East of the Sun” that only the very knowledgable ear could discern.
From there Redman showed his composing chops along with his playing chops, with his “Back from Burma/Blues for Myanmar”, “Second Date” and a double-dip of “Interval Training” and “Blues for Down the Line” — the latter being about as straight ahead as you get.
A sweet take on Duke Ellington’s “Prelude to a Kiss” followed, along with a twisted reimagining of Sonny Rollins almost “jazz waltz” — again, his words — “Valse Hot”, which Redman called “Valse Hotter”, followed by a totally unrecognizable reworking of a classic piece he simply called “opus something”.
For the encore, Redman returned to his charts and the familiar with “Pimples and Dimples.”
The tune-swings of Redman and his bandmates might have been personal whim, or simply their stretching their varied musical muscles in what Redman admitted was just his sixth live gig in 23 months. (Which was probably about the same timespan that many in the audience last heard jazz at St. Cecilia.)
But whether straight ahead or neo/new, Redman and the boys were welcome sounds.
And that is just the beginning …
The venue, and the local jazz audience, will get another feast of music on stage in February as St. Cecilia will also debut Winterfest, a three-day winter jazz festival featuring host Christian McBride “and Friends” Feb. 24-26.
(The SCMC jazz series will also include Dee Dee Bridgewater and Bill Charlap on March 10, and Delfeayo Marsalis and the Uptown Jazz Orchestra on April 14.)
Some might argue that bassist extraordinaire McBride was also one of the “Young Lions” of the ‘90s, as his genre wide-ranging musical career is firmly grounded in the jazz — he was named as the artistic director of the Mecca of jazz, the Newport Jazz Festival. (Where I first saw him play, in the early 2000s. Ya. I’m venue droppin’ …)
And Redman and McBride are no strangers to the same stage as well, as the two teamed with pianist Brad Mehldau and drummer Brian Blade on the original Joshua Redman Quartet (a group that reunited to release the Grammy-nominated album “RoundAgain” in 2020, and will be touring together later this year).
For complete information on all shows at St. Cecilia, visit scmc-online.org.
