# New music from Joshua Redman, Tom Harrell, Patricia Barber, and Elder Ones: Photos, Videos, Sounds

- Link: https://jazzblues.eu/2019/03/19/new-music-from-joshua-redman-tom-harrell-patricia-barber-and-elder-ones-photos-videos-sounds/
- Published: 2019-03-19T20:49:26+01:00
- Author: https://JazzBlues.EU

**And a premiere by bassist André Carvalho, whom you should get to know.**

**Joshua Redman Quartet, “How We Do”**

Late last week Nonesuch Records announced _Come What May_, a forthcoming album by
the Joshua Redman Quartet. Arriving on March 29, it represents the first release
for this road-tested personnel — Redman on saxophones, Aaron Goldberg on piano, 
Reuben Rogers on bass and Gregory Hutchinson on drums — in almost 20 years.

For Redman, who just turned 50, the album follows a personal best: Still Dreaming,
which featured a different four-piece band and a set of jazz-historical evocations.
The dynamic on _Come What May _is more closely related to earlier Redman efforts
like _Passage of Time_. Listen to the stop-start syncopations in “How We Do,” the
first single from the album, which puts the agility of Redman’s veteran rhythm section
on proud display.

“How We Do” is one of seven new Redman originals on the album, and as a whole they
cover a healthy range of mood and style. What feels self-evident throughout _Come
What May _is the relaxed self-assurance that Redman experiences in the company of
these players. “This record,” he puts it in a press statement, “is a celebration
of our relationship.”

**Tom Harrell, “The Fast”**

Trumpeter and flugelhornist Tom Harrell released his first album as a leader more
than 40 years ago. His latest is _Infinity,_ just out on HighNote. More than a strong
dispatch from a post-bop survivor, it’s a reminder of how driven Harrell remains.
At 72, he’s the most recent recipient of the Jazz Journalists Association award 
for Trumpeter of the Year — and a composer-bandleader with a restless urge to push
forward. For confirmation, look no further than this track, “The Fast.”

As on the rest of _Infinity, _it features Mark Turner on tenor saxophone, Charles
Altura on guitars, Ben Street on bass and Johnathan Blake on drums. The song rests
on a dark modal churn, with a melody that incorporates a train of notes up and down
the scale. Harrell solos first, with precision and soul, followed by a hyper-fluent
Altura. Turner’s improvisation, beginning at 3:25, is a characteristic offering,
harmonically astute and rhythmically sure.

**Elder Ones, “Dance of the Subaltern”**

Amirtha Kidambi is probably best known among jazz observers as the voice of _Code
Girl_, a standout recent effort by guitarist Mary Halvorson. Across the adventurous
listening landscape, she’s also widely admired for Elder Ones, her own staunchly
unplaceable band. _From Untruth _(Northern Spy), the ensemble’s new album, is a 
ferocious broadside clearly rooted in our current sociopolitical moment.

[[

“My rights are the leaves,” Kidambi sings, “trampled upon by the feet of armies.”
That metaphor — the first line in the song — arrives almost three minutes in, out
of a meditative drone. Along with a shapeshifting vocal, the track features Kidambi
on analog synthesizer, Matt Nelson on soprano saxophone, Nick Dunston on bass and
Max Jaffe on drums and electronic percussion.

The lyrics reflect a certain tendency toward urgent didacticism. (Among the other
songs are “Eat the Rich” and “Decolonize the Mind,” both as forcefully direct as
those titles suggest.) But there’s also resilience here: stick with Kidambi long
enough to hear her oscillate between “We will drown” and “We will rise,” ending 
with a desperate yet defiant gulp of breath.

**Patricia Barber, “The Albatross Song”**

As a singer, a composer and a pianist, Patricia Barber has always favored smoldering
mystery over clear exposition. But that doesn’t mean she shies away from the narrative
urge, or the application of dry wit. On her new album, _Higher_(ArtistShare), those
impulses take multiple forms, notably in a song cycle titled _Angels, Birds, and
I_…, which Barber has performed in collaboration with soprano Renée Fleming.

“The Albatross Song” is a _noir _reverie in swinging 5/4 time — Barber’s song of
praise to a lover who’s “more like a bird than a man,” replete with beak and plumage.
On bass is Patrick Mulcahy, and on drums is Jon Deitemyer; the hale tenor saxophone
solo is by Jim Gailloreto.

**André Carvalho Group, “Evil Parade”**

Bassist André Carvalho originally hails from Lisbon, Portugal, though he has spent
the last five years on the scene in New York. He has released a couple of albums
as a leader; his third will be _The Garden Of Earthly Delights_, releasing on May
17. Drawing inspiration from the art of Hieronymus Bosch, whose most famous painting
bears the same title, the album features Carvalho’s compositions for a group with
trumpeter Oskar Stenmark, saxophonists Jeremy Powell and Eitam Gofman, guitarist
André Matos and drummer Rodrigo Recabarren.

This footage of the band recording “Evil Parade,” at the Bunker Studio in Brooklyn,
has its premiere here. Vividly capturing the energies of Carvalho’s crew, it leaves
only two key figures unseen: Pete Rende, who produced and mixed the album, and Nate
Wood, who did the mastering.

![The Joshua Redman Quartet: Gregory Hutchinson, Aaron Goldberg, Redman, and Reuben
Rogers.](https://i0.wp.com/www.wbgo.org/sites/wbgo/files/styles/medium/public/201903/
Joshua_Redman_Quartet_Arne_Reimer_High_Quality-1527275104.jpg?w=640&ssl=1)

### _Related_