The presence of the 12-piece chamber orchestra makes the term ‘jazz strings’ appropriate, but the real story, at least from Redman's own perspective, is that this is about the art of the ballad, a staple of pop culture and ‘standards’. Hence the set list moves from Strayhorn and Shorter to Mayer and the Beatles, via several originals, and it is to the saxophonist's credit that he manages to make the beauty of the melody shine through the swathes of strings, which are arranged with sufficient intelligence so as to bring added density as well as levity to the movement of Redman's quartet. The highpoint of the union is the terribly affecting take of ‘Lush Life’, which harnesses the gilt-edged pathos of the theme and then nudges it over a rock-edged backbeat whose momentum underscores the tipsy abandon that pervades the lyric. It is one of the saxophonist's best performances to date and highlights the extent of his progress since his auspicious run of early 1990s recordings. The reprise of ‘Let It Be’ is one of the few false notes of the programme, but the overriding impression is that Redman has gained a gravitas and poise that mark his artistic coming of age in earnest.