New album finds Joshua Redman's jazz career evolving
Acclaimed saxophonist is emerging as something of an elder statesman
There's an early moment on Joshua Redman's new album “where are we” that seems to open a quietly astonishing landscape where the Berkeley saxophonist has never ventured before.
The release is his first collaboration with a vocalist — captivating newcomer Gabrielle Cavassa — and his debut album on his new label, the storied Blue Note Records. If the lack of capitals in the concept album's title feels like a feint at modesty, the project's scope speaks to Redman's ambition. Formatted like a double LP, “where we are” takes an emotional X-ray of the nation via an expansive reimagining of the American Songbook, city by city.
The song that first seizes the imagination is a mashup of “Going to Chicago Blues,” the swaggering Count Basie staple for vocalist and cowriter Jimmy Rushing and (decades later) Joe Williams, with an interpolated motif from Sufjan Stevens' “Chicago.” The album features a superlative cast with pianist Aaron Parks, bassist Joe Sanders, drummer Brian Blade and four guest artists who each contribute on one track, but it's Cavassa's beguiling blend of oldsoul emotional vulnerability, legato phrasing, and her cashmere-textured tone that coaxes Redman into luxuriant balladry.
Rather than evoking Chicago as a tough, hustling big-shouldered town, Cavassa decants a hazy, liquid-ballad tempo that paints the city as a latenight reverie, as if viewing the skyscraperred Loop nightscape via a reflection on Lake Michigan.
She credits Redman's arrangement with reimagining the song “far from a traditional blues, and far from any existing recordings of `Going to Chicago,'” said Cavassa, 28, who joins Redman's new quartet on a tour that includes performances at Kuumbwa Jazz Center Sept. 20, the SFJAZZ Center's Miner Auditorium Sept. 21, and Stanford's Bing Concert Hall Sept. 22.
“Once we got into the studio, the song seemed to play itself,” she said, singling out the contributions of Chicago-reared vibraphonist Joel Ross, the guest soloist “for whom the arrangement is also quite bespoke.”
“He came in for the afternoon to join us, which was seamless and delightful,” she added. “I think the song sounds dream-like and easy because it was.”
Forged during the pandemic via email, text and Zoom sessions, Redman's relationship with Cavassa didn't take on an in-person dimension until they started recording the album. In making his first major foray with a vocalist, he singled out a young artist just starting to introduce herself to the scene. It's intriguing that her early steps echo that route that turned Redman into a star.
He catapulted into visibility by taking first place at the 1991 Thelonious Monk International Saxophone Competition. Cavassa, who now lives in New Orleans and spent her formative years studying jazz at San Francisco State and the defunct Club Deluxe in the Haight, shared first place with Tawanda Suessbrich-Joaquim at the Sarah Vaughan International Vocal Competition in 2021.
Redman, 54, noted that with the rise of Jazzmeia Horn, Veronica Swift and Samara Joy (a finalist at the 2021 Vaughan competition), “it's becoming a golden age for younger jazz vocalists,” Redman said. “I mean, female jazz vocalists are on fire. Cécile McLorin Salvant is one of the greatest of all time.”
What instantly attracted him to Cavassa's voice was the “intimacy and vulnerability in her expression,” he said. “There's something about her sense of melody and phrasing, the texture and mood she evokes. There's an emotional intimacy in her sound, and a rawness and directness too.”
Judging by “where are we,” interacting with Cavassa in the studio also elicited a different side of Redman, as he plays with a tenderness and delicacy that hasn't been a hallmark of his sound. The 30-year stretch between their competition triumphs speaks to a generational divide that he found bracing in the studio, “where sometimes she suggested some things that on the surface seemed so basic and simplistic the first response is `No, that's not going to work,' and then it turns out to be brilliant,” he said.
Redman holds tight to the album's geographical concept, delivering one revelatory interpretation after another, from well-trod pieces like “Do You Know What it Means to Miss New Orleans?” and “By the Time I Get to Phoenix” to unexpected gems like Gabriel Kahane's “Baltimore” and Bruce Springsteen's “Streets of Philadelphia.”
But the album's watershed might be in marking the transition into a new phase of Redman's career, taking younger musicians under his wing after “primarily playing with elders or musicians of my generation,” he said.
“But I've always been inspired by younger musicians and I'd like to do more of it. We like to think, or hope, that we gain in terms of our wisdom and knowledge and range as we get older, but the reality is we don't just gain. Some things become solidified or atrophied, and it takes another perspective from another phase in life to let you see things differently.”