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Take Five With Carlos Redman
Blending a sultry combination of hip-hop, R&B, rock, and classical in jazz genres, the young horn player continues to defy boundaries as he is often drawn in comparison to the great 
Donald Byrd
trumpet1932 - 2013
At an early age encountering people such as 
Betty Carter
vocals1929 - 1998
James Carter
multi-instrumentalistb.1969
Donald Byrd
trumpet1932 - 2013
Jackie McLean
saxophone, alto1932 - 2006
Sam Rivers
saxophone, tenor1923 - 2011
Fred Wesley
tromboneb.1943
Aretha Franklin
vocals1942 - 2018
Terence Blanchard
trumpetb.1962
Ellis Marsalis
piano1934 - 2020
Hal Galper
piano1938 - 2025
Peter Martin
pianob.1970
Traveling and encountering people from all over the world as a composer has grown him a reputation as a capable artist that fervently loves writing music that not only speaks to people in the mainstream, but also rooted in sultry Motor City soul
Instrument(s):
Trumpet, piano, vocals.
Teachers and/or influences? My teachers were William "Billy" Horner of Motown, Ronald Benko of the New Orleans Symphony, Ellis Marsalis and
Wendell Brunious
trumpetb.1954
I knew I wanted to be a musician when... I knew I wanted to become a serious musician after meeting
Wallace Roney
trumpet1960 - 2020
Geri Allen
piano1957 - 2017
Your sound and approach to music: My sound is primarily influenced by
Dizzy Gillespie
trumpet1917 - 1993
Louis Armstrong
trumpet and vocals1901 - 1971
Duke Ellington
piano1899 - 1974
Miles Davis
trumpet1926 - 1991
Your teaching approach: Teaching is easy when you have a student that is eager to learn. Anyone can learn, but not everyone has the patience. Some people are naturally gifted, but lack the intestinal fortitude to make it in the business.
My philosophy is that if a student chooses to be a musician, they must also come with discipline.
Your dream band:
I would love to work with a great vocalist like Jill Scott or a great person that I dig, producer 
Norman Connors
drums
b.1947
Road story: Your best or worst experience: The craziest time I ever had on stage was playing at a club in New Orleans. I won't say any names because the owner was kind to me. But, the place was falling apart, and there was a bug problem. So during the second set, they decided to come out and enjoy the show too. I wanted to put my horn up, but because the owner was so nice, and a lot people paid for the door, we continued to play while stomping. I just played off of it, like I was dancing... My group still laughs about the gig...
Favorite venue:
My favorite places to play are Snug Harbor in New Orleans, and maybe Bert's or Bakers in Detroit. They always feel like a homecoming party. The pressure isn't there because I'm always amongst family and friends there. George was great human being at Snug, and when he passed away, the spirit of the place changed, but Detroit is home. Nothing like playing with a hot group at home...
Your favorite recording in your discography and why? Wow, that's tough to answer. I'm never satisfied with studio performances. So that's difficult to offer a reply. Playing live is where the good stuff comes from...
The first Jazz album I bought was: The first jazz album that I bought was a Duke Ellington album with 
Clark Terry
trumpet
1920 - 2015
Cat Anderson
trumpet
1916 - 1981
What do you think is the most important thing you are contributing musically? Freedom. I am and always will be a free thinker.
Because of that independence, my music has given other young people something besides what is constantly feed to them. It's always with a groove, or mood, but always free and creative, you dig?
Did you know...
Did you know that I started off playing cello? When my family stayed in southwest Detroit, a DSO member used to come from the concert hall to the ghetto and shine some light on a different aspect of music. So I would be sawing that thing in half, trying to be Vivaldi...
CDs you are listening to now:
Christian Scott aTunde Adjuah
trumpet
b.1983
Corey Wilkes
trumpet
b.1979
Maurice Brown
trumpet
b.1981
Nicholas Payton, Into the Blue (Blue Note)
; 
Russell Gunn
trumpet
b.1971
Desert Island picks:
Freddie Hubbard
trumpet
1938 - 2008
John Coltrane
saxophone
1926 - 1967
Joshua Redman
saxophone
b.1969
Nicholas Payton, Dear Louis (Verve);
Donald Byrd, Places and Spaces (Blue Note).
How would you describe the state of jazz today? Jazz is strong, but like the industry itself, it is re-inventing the approach to marketing to new listeners.
What are some of the essential requirements to keep jazz alive and growing? Change the connotation of "Contemporary" into a positive thing...
Welcome change...
Listen...
What is in the near future? Right I'm promoting my two releases, Love Letters and Remix. While I'm doing that, I'll be finishing up my classical-influenced album, The Chocolates Suite and an R&B album called Chemistry for late 2009.
By Day:
By day I am writing great music, shedding, and giving the occasional clinic or lesson. By night, jamming...
If I weren't a jazz musician, I would be a: An Attorney... Because I still get to be suave in my suit and still talk big sh*t...
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