Bruce Handy writes about how the jazz musician Joshua Redman and the vocalist Gabrielle Cavassa chose songs for their album about American places.
The piano in the Y’s Kaufmann Concert Hall needed to be tuned before sound check, so Redman was ushered to a greenroom, where he sat surrounded by photos of eminences who have appeared at the Y—John Coltrane, Malala Yousafzai, James Baldwin, Philip Roth, Jay-Z, Sonia Sotomayor. “Some jazz musicians say it’s the best room in New York,” he said of the theatre, mentioning the late baritone-sax player Gerry Mulligan. Redman said that he had wanted to record with a vocalist for a long time.
In other words, a concept album. In jazz, that usually means “So-and-So Plays the You-Know-Who Songbook,” but Redman and Cavassa came up with something more resonant: a record whose moods move between celebratory, mournful, puzzled, whimsical, angry—a series of emotional dissonances that mimic what it can feel like to live in the United States. “Darkness and light,” as Redman put it. Still, even with the concept settled, the pair found choices difficult.
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