John Fedchock's New York Big Band |
There appears to be resurgence in offerings from big band
ensembles this year. Big bands have made a vital comeback fueled on by modern,
enlivened arrangements and buttressed by stalwart musicianship. New and
exciting scores, some years in the making, are being offered by an ever increasing
number of composer/arrangers who enlist groups of talented musicians to help
them make their music a reality. The results are some of the year’s most
inspiring and compelling musical offerings.
This revival defies the market driven logic that
dismisses music unless it can be justified on a purely economic basis. In pop music, today’s ephemeral “hit” culture
has homogenized the creative output of many of today’s best selling artists. Manipulated
music machines seem to crank out mostly vacuous sounds that melt into obscurity
almost as fast as they appear, like snowflakes on your heated windshield.
Large ensemble music and orchestras have no such illusory
goal. No matter how economically difficult it is to assemble, compose, arrange
and record these types of groups, they exist because they provide a sound that
simply cannot be duplicated by small ensembles. A big, bold, sometimes brash, sometimes elegant,
orchestrated sound that cannot be created in any other way. For musicians these
bands offer a chance to share in a collaborative effort that rises above
individual expression. Many of these ventures would never see the
light of day without the dedication and drive of their composer/arrangers, the
largess of public/private funding sources and the commitment of so many fine
musicians, studios and patrons of this musical form. Take the power and majesty of well
orchestrated music and add the unpredictable creativity of improvised solos and
you have an art form that some believe is at the apex of man’s artistic musical
achievements.
Several ‘big bands”
have made their mark in contemporary jazz in recent years . The Village
Vanguard Orchestra, The Mingus Legacy Big Band, The Maria Schneider Orchestra ,
The HR Big Band and The Brooklyn Babylon Orchestra of D’Arcy James Argue come
to mind.
Unlike the big bands of the thirties forties , fifties
and even sixties, these guys and gals don’t have the advantage of working
together on the road night after night, living and breathing the music as a team,
honing their parts, tweaking their sounds and most importantly learning the
crucial art of interaction.
Today these bands operate much like film crews making a
movie. The script in this case is the score, which the composer/arranger, much
like a director of a film, may work on for months if not years. Instead of actors,
film editors, cinematographers and prop men each specialists of their
respective crafts, you have the musicians, each masters of their respective instruments
and recording engineers working to capture the fidelity of the sound. This
freelance approach allows the best to come together briefly for a project and
then disperse to their individual careers. The result can be ill conceived or a
Technicolor blockbuster!
Today’s composer/arrangers are utilizing more modern
sounds and techniques creating musical landscapes that can immerse one into a
suspended sensory state. Here are a just three of the offerings that I have had
the pleasure of listening to recently.
John Fedchock: New York Big Band Like It Is Mama MAA1048 |
John Fedchock’s New
York Big Band Like It Is:
Trombonist/arranger/composer
John Fedchock’s New York Big Band has re-entered the field with his
latest top notch offering Like
It Is. Fedchock has taken some standards from the American Songbook like Arthur Schwartz’s “You the Night and The
Music” Ellington’s “Just Squeeze
Me” and Jay Livingston’s “Never Let Me Go “ and re-imagined them around
the tightly orchestrated sounds of his formidable
New York Band. Not content to play other
people’s music, Fedchock’s own compositions include “Just Sayin’, “ “Hair of The Dog,” Havana” and
“Ten Thirty 30” and are wonderful vehicles for his big band sound- a skillful
blend of brass, reed and rhythm that is superbly executed. He creates exquisite
backdrops for soaring solos by members of his band. His subtle use of subdued
choruses behind sensitive solos allow
for some intimate and expressive ballad work.
Right from the start, the dynamic front line on “You the Night and The Music” contains
an exquisitely paced trombone lead by
Fedchock, and stirring solos by Mark
Vinci on alto and Rich Perry on tenor, making
this swinger a pure joy.
“Just Sayin’ “has an easy “cha cha” vibe with some nice alto
work by Charles Pillow and some steaming trumpet by Barry Ries. Bobby Sanabria’s deft percussive accents add
to the authenticity of the Latin vibe.
Jay Livingston’s “Never Let Me Go” features a lush
arrangement using a multi-layered approach, with Fedchock providing a somber,
achingly beautiful trombone solo that is not to be missed.
The Wayne Shorter inspired “Just Sayin’” is a medium swing tempo
piece with soprano work by Charles Pillow that sails over this groovin’ band until the horn section transition leads
to another moving Fedchock trombone solo.
Cedar Walton’s “Ojos De Rojo.” Is a Latin influenced song
with a stirring piano solo by Allen Farnham. The rhythm section of Dave Rataczak,
Dick Scapola and Bobby Sanabria keep this one on track. Gary Smulyan’s
boisterous baritone provides a raucous voice over the punctuated splashes of
Fedchock’s brass section. At the coda Scott Wendholt’s trumpet trades barbs
with Smulyan’s Bari ending with a rambunctious solo by Ratajczak on drums.
Fedchock’s “Hair of the Dog” is a progressive piece that
starts out slow as if you are dreamily awakening from a stupor, soon you
realize that the only way out is to shake it up again and get yourself out of
this funk. The band simmers until it is
Walt Weiskopf’s excitable tenor solo that brings you around.
Fedchock’s arranging skills are on full display on the
breezy “Havana.” Sanabria’s percussive beat transports one to the sunny shores
of this forbidden city accentuated by an alluring Fedchock trombone solo. The band seems to sway
to the rhythm with a seductive ease as Mark Vinci’s flute swoops over the
backdrop like the Bird of Paradise.
Because every big band owes a debt to Ellington Fedchock
does his interpretation of ” Just
Squeeze Me.” The arranger intersperses some modern,
somewhat displaced choruses over the melodic baritone of Scott Robinson.
Ultimately Robinson s gets a chance to break from the melody and he lends his
own sense of history to his solo with impeccable tone and a modern sense of
harmony. Robinson introduces a series of ascending bellows at the coda that are just stirring.
Barry Ries’s mellow flugelhorn is
featured on the softly stated “For Heaven’s Sake” and the John Fedchock’s “Ten
Thirty 30” ends the set as a hard
driving, up-tempo song inspired by the music of Clifford Brown- the title being
a abbreviation of Brown’s birthday 10-30-30. Appropriately Brownie’s legend is
carried on through a fine solo by trumpeter Scott Wendholt. Fedchock gets his last licks in on trombone
with a JJ Johnson like solo that pulses and bellows behind this well
orchestrated band. Rich Perry is the last soloist and he offers a ruminating
tenor sound that wanders in search of direction before he finds a path and
follows it to conclusion above the pulsing orchestra.
Personnel:
John Fedchock, leader/arranger/trombone; Mark Vinci, alto sax, flute; Charles Pillow, alto sax, soprano sax; Rich Perry, tenor sax, Walt Weiskopf, tenor sax; Gary Smulyan, baritone sax; Scott Robinson, baritone sax; Tony Kadleck, trumpet, flugelhorn; Craig Johnson, trumpet, flugelhorn; Scott Wendholt, trumpet, flugelhorn; John Bailey, trumpet, flugelhorn; Barry Ries, trumpet, flugelhorn; Keith O'Quinn, trombone; Clark Gayton, trombone; George Flynn, bass trombone; Allen Farham, piano; Dick Sarpola, bass; Dave Ratajczak, drums; Bobby Sanabria, percussion; Kim Scharnberg , production assistant.
Ryan Truesdell's Gil Evans Project Lines of Color ASBN 0133 |
Ryan Truesdell’s Lines of Color:
This year Ryan Truesdell was once
again back at it trawling through previously unearthed works of composer
arranger Gil Evans. He garnered great praise and success with the previously
released Centennial and this time he added some of new gems to some work
previously recorded by Evans for a
“live” recording of the band’s 2014 residency at the Jazz Standard in NY. The resultant CD Lines of Color is a treasure,
documenting what it is like when a great big band, with great charts come together and performs in front of a live and receptive
audience.
Highlights of this album include the
time tested Evans Composition “Time for
the Barracudas”, with its repetitive rhythmic figure leading to a probing
trombone solo by Marshall Gilkes, an exploratory tenor solo by firebrand Donny McCaslin
and some impressive trap works by drummer Lewis Nash.
“Davenport Blues,” is another
favorite with Matt Jodrell’s sensational trumpet solo work, evoking an
authentic New Orleans sound. The collective solos of Ryan Keberle’s trombone, Steve
Wilson's’soprano sax, Marcus Rojas on tuba chorusing behind Jodrell’s trumpet shows Evans technique of
using a superb a backing chorus to lift a soloist performance.
Listen to the seductive swing era
sound of “Avalon Town” which mixes era consistent melodic sounds with more a
modern juxtaposition of discordant ones. Brief but inventive solos abound on
this one by Jodrell, Steve Wilson, Scott Robinson, Dave Pietro, Ryan Keberle
and James Chirillo.
On “Concorde” Evan’s again
employs multiple layers of sounds to create the basic swing before introducing
the voice of Lois Martin’s viola in a
decidedly Americana flavor.
The band is screaming with solo talent
driven to great heights by a superb rhythm section of Jay Anderson on bass,
Frank Kimbrough on piano and Lewis Nash on drums. It works so precisely, like a
fine Swiss movement under Truesdell’s apt direction, that it is hard to single
out any one performance except to say the band is the true star here. Evans
music swings, soars, excites and entertains with an attention to detail and a
reverence that cannot be faked.
The nostalgic feeling of Wendy
Giles vocals on “Can’t We Talk it Over,”
“Easy Living Medley” and “Sunday Drivin’” only adds to the transporting
effect this music has on the listener.
Perhaps the most surprisingly evocative of
songs on the CD is the well worn American Standard Greensleeves,” This song that was originally arranged by
Evans for guitarist Kenny Burrell and was often featured in the master’s own outings. On
this version Truesdell employs the sensitive trombone work of Marshall Gilkes,
who provides just the right amount of modernity to this treasured and moving ode.
The hoping “Gypsy Jump”, a newly
unearthed gem, comes from an arrangement
Evans did when he was with the Claude Thornhill Band back from 1942. The band
plays this with great originality while still preserving the period feel of the
music.
Gil’s “Easy Living Medley” is
perhaps Evans’ most recognizable work.
Despite its languorous pace the arrangements are intricate, subtle and
lush. The band plays with sensitive aplomb recreating the dreamy melody .Solos
by pianist Frank Kimbrough, vocalist Wendy Giles and tenor man Scott Robinson
all add to the magical mood.
The Cole Porter standard “Just
One of Those Things” takes flight with a high flying, introductory soprano sax
solo by the inimitable Steve Wilson. Trombonist Ryan Keberle, with his
bellowing lower register trombone, adds to the freewheeling feel of the song as
arranged. The band cooks with tight, brisk arrangements and after a nice piano
solo by Kimbrough, Wilson takes it back up a notch with a reprise of his
previous soprano solo to the coda.
Truesdell ends the set with “How
High the Moon” which he states in the liner notes was one of the last charts
Evan’s wrote for the Claude Thornhill Orchestra. Solo work by altoist Dave
Pietro, pianist Kimbrough, trombonist Keberle and saxophonist McCaslin are
featured on this medium tempo piece of history.
The band ends on a chorus of exclamation as the crowd applauds
appreciatively.
Personnel:
Ryan Truesdell, conductor; Woodwinds: Jesse Han, Jessica Aura Taskov, Steve Kenyon, Steve Wilson, Dave Pietro, Donny McCaslin, Scott Robinson, Brian Landrus, Tom Christensen, Alden Banta. French Horns: Adam Unsworth, David Peel. Trumpets: Augie Haas, Greg Gisbert, Mat Jodrell. Trombones: Ryan Keberle, Marshall Gilkes. Bass Trombone: George Flynn. Tuba: Marcus Roja, Rhythm Section: Guitar: James Cirillo. Piano: Frank Kimbrough. Bass: Jay Anderson. Drums:
Lewis Nash. Voice: Wendy Gilles. Viola: Lois Martin.
Patrick Williams Home Suite Home BFM 302 062 432 2 |
Patrick Williams : Home Suite Home
Over the years , arranger/composer
Patrick Williams has been a major force in the creation of some the most dramatic
and exciting orchestral compositions for film, TV and recorded music. He has over
two hundred films to his credit. His work has garnered him a Pulitzer Prize for
his cross genre classical/jazz work titled
An American Concerto . Among countless nominations, Williams has
also garnered two Grammys and four Emmys for his prodigious work.
On his latest effort Home
Suite Home , Mr. Williams has attracted an extraordinary group of West
Coast musicians, many who have worked
their anonymous magic on his scores and in
the studios for years. On this most personal of
projects, Mr. Williams wrote this music with members of his family in mind. Musical
portraits of his wife of fifty four years Catherine and his three children
Elizabeth, Greer, and Patrick B. are the wellspring of his inspiration. In addition Williams wrote tributes to two of
his favorite artists, the arranger Neil Hefti and the great drummer Buddy Rich.
Needless to say the album is a
masterful compilation of modern composing and arranging in the big band
format. Williams demonstrates just how
facile he can be armed with such a large and talented group of musicians.
“52nd Street &
Broadway” features a lush arrangement dedicated to the epicenter of the big
band era and the famous Roseland Ballroom that resided there. Vocalist Patti
Austin is featured fronting this pulsing band that swings in the big band
tradition. Ms. Austin has a powerful instrument
that can hold up well to the big sounds that back her on this love affair to an
era past. Chuck Berghofer’s big bass is prominent and Peter Erskine’s drums
drive this well oiled machine.
“Home Suite Home I” dedicated to
his daughter Elizabeth “The Beautiful Scientist,” has a distinctive ostinato
beat that enters with a declaration that mixes minuet like formality with
modern brass overtones. The various band
sections create tumultuous flows. A walking bass line that leads to a detective
novel like stroll before yielding to
some funky tenor work by horn legend Tom Scott. With the pulsing chorus behind
him West Coast studio stalwart Bob Sheppard lets loose with his own exclamatory
tenor solo that soars to new heights
“Home Suite Home II” is titled “The Dreamer “ dedicated to his son Greer.
This seductive ballad is smooth and delicate. A beautiful alto solo by Dan
Higgins brings this waking dream to life as the band escalates its intensity,
almost trying to break the mood with a wall of layered sound. Pianist Dave
Grusin gently plays a repeating motif as Higgins alto sings the sanguine melody
with the band drifting into and out of consciousness with the dynamics of
Williams’ arrangements.
“Home Suite Home III” , dedicated
to his son Patrick B. “The Real Deal”
starts with a march-like cadence from drummer Peter Erskine. Williams
overlays different registers of brass and reed sounds so skillfully creating a jaunty
stroll over Erskine’s syncopated drum cadence. Then the band hits its stride,
fully synchronized with beautifully realized horn accents. Williams continually
alternates sections from carrying the melody to countering it, shifting times,
masterfully employing tension and release. Mr. Scott offers another raspy tenor
solo that cooks and the band wails in equal intensity. Trumpeter Michael Stever offers a nice open
horn solo.
“A Hefti Dose of Basie “is
Williams homage to both the big band sound of Count Basie and to his longtime arranger
Neil Hefti. This smooth as silk stockings music features the Basie-like single
note piano stroke of Dave Grusin, a muted trumpet solo by Stever and that
big walking bass line by Berghofer.
Williams resurrects his
connection with Frank Sinatra with whom he did two duet albums by arranging “I Get Around” as a duo for Ole Blue Eyes son
Frank Sinatra Jr. who sings this with Tierney Sutton.
“Blue Mist,” written for his wife Catherine, is a
sweepingly beautiful theme that features the beguiling trumpet of Arturo
Sandoval. The composition plays cinematically evoking distant horizons and
hidden vistas before it settles into a slow sauntering ballad. The sensuous
sound of Sandoval’s open bell trumpet with its clean, clarion timbre offers an
inspired cry. Williams changes the tempo to a medium swing as Sandoval his horn for a short bit as the band really starts to
swing. Sandoval returns to open horn with his distinctive tone and brassy ,high
register command at the coda.
Peter Erskine’s traps start “That’s
Rich” dedicated to the great drummer Buddy Rich. The band spells out the lines
leaving breaks for Erskine to solo between in true Rich fashion. Additional highlights are solos by Higgins on
alto, Andy Martin on trombone, Grusin on piano and a swinging sax solo by Tom
Scott. The band powers along through
Williams unified wall of sound arrangement as Erskine accentuates at the breaks
ending in a dramatic drum solo that
Buddy Rich would be proud to call his own.
Personnel: All music Composed and Arranged by Patrick Williams
Piano: Dave Grusin; Bass: chuck Berghofer; Drums: Peter Erskine; Guitar: Dean Parks; Alto Saxes: Dan Higgins, Jeff Driskill. Tenor Saxes: Bob Sheppard, Tom Scott; Baritone Sax: Gene Cipriano.
Trumpets: Wayne Bergeron, Dan Fornero, Bob Summers, Michael Stever. Trombones; Charlie Loper, Andy MArtin, Bob McChesney. Bass Trombone; Craig Gosnell, Percussion: Dan Grecco
Vocalist Patti Austin, Tierney Sutton and Frank Sinatra Jr.
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