Redjy Emond Reviews

From: "Jeff Marx"
...great recommendation on Redjy Emond's "Sphere"-- this man deserves to be mentioned in the same breath as Emerson, Wakeman, Fritz, and Lindh.

From: Mark Fonda
Redjy Emond is a French-Canadian and is an individual keyboard artist who employs a vast array of digital synthesizers and related equipment. He records out of his own studio in Montreal and all his music is composed, arranged, programmed and performed by himself with engineering/mastering by others. This is his sole release to date and it has 15 tracks of pure instrumental keyboard heaven. The music ranges from classical to progressive and he obviously has some real keyboard talent playing everything from delicate piano to pipe organ, harpsichord and some great synth work... along with a strong drum rhythm in most tracks. A couple of tracks have a more orchestral arrangement with horns, violins and bass drums. Some have described Emond as a cross between Wakeman & Emerson and perhaps P? Lindh. As we all know it is very easy for computers to sanitize music and this is where Redjy Emond shows his brilliance in adding "feel" to his music. Sphere is highly recommended to all fans of keyboard virtuosity. This is a real sleeper of an album. Another release is planned for 1999.

From: "upnsm0ke" <>
Things are quiet tonight, so I'll use up a chunk of bandwidth, and post an old review of Canadian keyboard wizard Redjy Emond's debut CD, "Sphere" (1997):
For those of us who subscribe to EXPOSE, a mail-order prog-zine out of San Francisco, you may recall a favorable review of an all-electronic release called SPHERE, by a French-Canadian synthesist named Redjy Emond. I ordered a copy from Ken Golden's outfit, The Laser's Edge, and here is my review:
Redjy Emond plays/utilizes: E-MU Proteus 1 & MPS; Roland Sound Canvas SC-55, Digital Piano RD-300S; Korg DW-8000; Kurzweil Micro Piano; Yamaha & Ensoniq signal processors; Mac Master Tracks (sequencer program).
Track sequence:Intro FX 0:30, Impact 4:48, Mistral 6:02, March 1 1:16, Periodos 4:22, Civitas (Part 1) 4:15, Civitas (Part 2) 1:18, Impression 4:30, Sphere (Part 1) 1:50, March 2 1:08, Ancestral (Suite), a. Evocation 3:47, b. Epopee 2:52, c. Celebration 2:51, d. Epilogue 3:13, Sphere (Part 2) 4:09.
"Intro FX"...the title says it all.  "Impact"...after 0:03, it is apparent who Emond's influences are, and so is his playing ability. Emond seems to be classically trained, and executes some nice, smooth, octal sweeps atop stacked fourths and fifths with analog brass and synth-strings and piano. It's not (quite) instrumental ELP, but it's not far from it. Very rhythmic and melodic playing, very lush. Emond's drum programming seems modelled after Carl Palmer a la early-mid 70s ELP, as well. "Mistral"...very nice. This guy is a bona fide pianist, proving it with nice legato passages played with a great piano voice, which must come from the Kurzweil. Emond kicks things a little uptempo about a minute-and-a-half later. There it is! The great Oberheim-esque (portamento) analog voice, made famous by monophonic-lead keysmen such as Emerson, Wakeman and Mark Kelly. But EMusic enthusiasts should not be repulsed, or they'll miss out on some beautiful soloing by Emond on a piano/xylo-ish layered patch, and a great square-wave lead. Another aspect of Emond's composing which deserves attention is his attention to "human" bass-lines. No quarter or eight-note [repetitious] bass-sequences, but great [real-time] lower piano and synth-bass parts.
"March 1"...a much calmer piano piece, which works up to a staccato ending.
"Periodos"...synth-violins set the pace: frantic and unstable. Chorals provide the backdrop for another great thick analog lead; I certainly appreciate Emond's fondness for these voices. Emond pulls a slow break two minutes inward, heading into Franke/Haslinger-period TD. Then it's back to a march-like (replete with a great military snare) interlude before the tom-toms and analog lead cut through and bring the composition to its end.
"Civitas (Parts 1 & 2)"...beautiful. A descending piano passage culminates in a whirlpool of notes (sounds like E minor; I may be wrong)...and gives way to a church organ, tympani and harpsichord providing a grandiose soundtrack-type feel. I'd describe what folows as orchestral rock: chimes play Q & A with analog brass, before the latter consumes the former with a flawlessly executed octal-leaping solo (don't forget the bass-line, which sounds great coupled with the lead). Emond isn't afraid to show his virtuosity on different voices: he grapples the Proteus organ voice and wrestles with it, subduing it with more great neo-classical riffs. Part 2 reprises the theme and organ part. Engaging music!
"Impression"...begins with bluesy piano (no, not like Edgar's opening to
"Thru Metamorphic Rocks"); reminds me of a Western, actually. Pretty cool. Then an ominous bass-line reminds us we're not "in the old days." Rather than tire my ears with his forte for "motion-picture action-scene scoring," he reinforces his knack for arranging. This is one of my favorite tracks. Several seconds after the song "ends," Redjy reprises his opening piano part.
"Sphere (Part 1)"...Emond must have a sense of humor. The opening synth-violins remind me of Michael Myers, knife raised to shoulder level. This even reminds me a little bit of Goblin, or Claudio Simonetti, to be exact, with the overlapping of chorals atop a gnat-like sequence countering the organ line.. Then things get a little "happy," but they have to, as this track doesn't even reach two minutes.
"March 2"...Anyone heard ELP's adaptation of "Romeo and Juliet" from BLACK MOON? The opening has that dunh-dunh, dunh-dunh rhythm, complete with the portamento square-w. lead. This is a companion piece to "March 1," but more textured, with Emond's harpsichord and percussion added.
"Ancestral (Suite)"...a) Evocation...electronic chamber music. I figure this is Emond's further exploration of previous themes, on a larger scale, giving himself over twelve minutes to work it out of his system. The cinematic feel of the opening "evocation" or overture is intoxicating, beyond melodic, and even somewhat Celtic/Renaissance-flavored, whereas the previous tracks were not.... b) Epopee...The speed-violins are back, and Emond exercises some bona fide restraint, topping the viols with chorals and floor toms, allowing the violins to reign in this part. Nice... c) apt title. This ventures into Mannheim Steamroller territory with its festive characteristic, but doesn't sound as New Agey. Emond rips with alternating passages of synthesized flute and the nearly-ubiquitous harpsichord...oh, yeah, Redjy's "drum-kit" programming also resurfaces. d) Epilogue...synth-trumpets herald the approach of the end (of the suite). The steady 4/4 beat and some low-A layered chorals give you no fair warning of the ear-tickling over-modulated, LFO-tweaked square-w. patch which makes its sole appearance (for no more than four bars) on the disc. Emond breaks the flow up with a revved-up midsection before it spirals back to a steady 4/4 coda.
"Sphere (Part 2)"...Redjy knows we all love "Karn Evil 9, Part 2." Just kidding. By now, all you GoldTri'ers may have jotted down that SPHERE leans farther to the prog side of things than you may be comfortable with. Don't do that! Emond does not even skirt the ambient/spatial side of EMusic, opting to exercise his classical chops instead. SPHERE yields some great, uptempo results. The titles led me to believe this would be a disc courting the early-mid 80s Tangerine Dream sound, coupled with the usual modern (i.e. ambient, techno influences), but my judgments went straight out the window. SPHERE exhibits that Emersonian flair for compositional bombast; for an album that was 100% electronically-generated, this is one of the coolest EMusic releases of 1997.

From: Mark Fonda <>
Here's a little tidbit from his agent, Louise Rivard <>:
> A European Tour is expected to present the second album in 2000. At the dawn of the 3rd millenary REDJY would present a "one man band" new concept presentation on stage. Welcome to Tour organizators, sponsors, interested to inclued REDJY EMOND in their calendar!
His website is   There are audio samples and ordering information.

From: "Andrew J. Rozsa"
I finally got to listen to's been sitting patiently on the shelf for a while now... I listened to it once and was bowled over....stupendous....then I went back to Mark's E-Prog HomePage and read the reviews. The I listened to it again (which is rare for me -- too many CDs, too little a T-shirt I have says). I couldn't possibly even attempt to do a better or more complete job than Elias did (now I know how he became a contributor to 'Progression' magazine). He is right on the money with his review. This is an album not to be missed! At times, when I hear good music, I fancy myself thinking that if I only were born 20 years later I could and would probably have done some good music. What with all the nifty equipment around...and all that. When I listen to Redjy Emond I KNOW I couldn't even approach either his talent or his ability to work so incredibly hard. Utterly amazing one-man show. Breath-taking.

From: "Mark Fonda" <>
>Redjy Emond has provided an autographed copy of his outstanding debut CD "Sphere" to NEARfest.  I have to admit I am usually skeptical of these "one man band" efforts, but Redjy is such a masterful keyboardist and composer this CD blew me away.  Classical-rock/progressive style, kind of a hybrid between Wakeman and Lindh.  There is a great deal of depth to the compositions, it keeps you coming back for more.  I have to admit Redjy narrowly missed a slot at NEARfest, we could possibly have him in 2000. Even if you don't care to bid on this CD, please check this one out if you are fan of keyboard oriented symphonic've gotta buy this one myself since this one is being auctioned!
Join the crowd of Redjy Emond enthusiasts!!  You really should have got him to perform... that would have surely brought in visitors from Irvine, Palm Springs and Pelham,AL !!  ;-)  Here's a little tidbit from his agent, Louise Rivard <>: "A European Tour is expected to present the second album in 2000.  At the dawn of the 3rd millenary REDJY would present a 'one man band' new concept presentation on stage. Welcome to Tour organizators, sponsors, interested to include REDJY EMOND in their calendar!"

From: "Jeff Marx" <>
You better believe the Irvine contingent would be off and running!!  But I think Rob will be better off booking him next year, after Redjy releases his second album.   Emond will be looking to lengthen his compositions and develop them a little more fully.  I'm looking forward to hearing him stretch out a bit more.  I'd also like to see him use some analog synths in with the digital that he seems to prefer, but then that's my beef about almost everyone :)

From: "Andrew J. Rozsa" <>
I got this reply from Redjy Emond's publicist. If anyone has any ideas [ have nothing to do after June :-))], please spread the word and help this magnificent musician's career. Eli.... ask Dr. La Duca if one can get rich promoting concerts, and then jump on it. :-) I am sure Ms. Rivard won't mind me posting this...
Hi Mr. Rozsa, Sorry for the long delay of replying, I'm presently trying to organize a Tour for REDJY Emond.... for the launch of his second album. Altough a Tour in Europe is desired, we would like to offer it also to USA booking organizations.  If you could help me with some good tips for serious organizators that I could take under consideration a concert's proposition.... let me know.

From: Andrew Rozsa <>
Don't know how many of you keep in touch with the Redjy Emond, so here is his publicist's latest email (excuse their French, please):
Now available in our "Audio Samples" 'section: (click on MP3) ...or directly at this address: We are working on the organization of a TOUR for Redjy in 2000. We are in the process of booking shows. The next album of Redjy Emond is already composed and ready to perform. In show, Redjy utilize a very wide range of keyboards and sound modules. As a solo performer, he realized the programmation of the instruments and sounds with maintaining the ability to reproduce his music in a live performance. He is playing all instruments; only the rythmic partition is sequenced. Redjy Emond is showing his dexterity and quality as a composer in a musical live performance...Breath-taking! A not to miss concert... The new album will be release for summer 2000. Redjy Emond's show is on the market...any serious proposition will be study! Any good tip will be appreciate!
Redjy and Lou
Les Productions Redjy Emond
C.P. 238, Succ. M
Montreal, Quebec