Pianist and composer Orrin Evans is not only the pianist in The Bad Plus, he also leads his own groups including the Captain Black Big Band. Evans organized the ever-evolving ensemble in 2009 in Philadelphia, PA, inspired by his years working with the Mingus Big Band plus a commission to lead a big band at a festival in Portugal in 2007. Evans has originally employed friends from the jazz community in New York City, mixing in students from Temple University and Philadelphia's University of the Arts. The CBBB, named for the pianist's father's favorite brand of pipe tobacco, is now based in The Big Apple
After releasing its first two albums on Posi-Tone Records, the Band moved to Smoke Sessions Records which released "Presence" in 2018. That album, recorded in Philly, featured a slimmed-down version of the ensemble (nine musicians instead of the usual 16-18) yet retains the power and raucous quality that has been the band's personality since its inception. CBBB's fourth album, "The Intangible Between", finds the ensemble back up to full strength, back in the studio, and creating thoughtful, exciting, provocative music. Many of the tracks include two bassists, Eric Revis being one of them, and powerful soloists in each section – included are trumpeter Sean Jones, saxophonists Stacy Dillard and Immanuel Wilkins, and others – see personnel below.
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The eight-song program opens with the thunderous "Proclaim Liberty" with powerful solos from Evans, Jones, Dillard, and one of the drummers. That's followed by the leader's fascinating arrangement of the Harry Dixon Loes's gospel classic "This Little Light of Mine." The music opens into a propulsive rhythmic arrangement with the sections framing the soloists with phrases from the original melody. The band pays tribute to Roy Hargrove with a handsome reading of late trumpeter's "Into Dawn". Arranged by trombonist David Gibson, the finely-hone melody is shared by the brass and reeds before a strong alto sax solo followed by an even stronger piano solo (listen for the short Latin groove and how Evans interacts with the bassists and drummer.
The final two tracks on the album also stand out. "Tough Love", an Andrew Hill composition, utilizes the text of poems, one by Evans's brother Todd, to talk about social issues in the African American community. All the voices in the band, both their own and their instruments plus children chime in the opening moments over a bass accompaniment; the piece then opens up into a high-speed walking bass (actually two walking basses) and the leader takes over speaking his brother's poem. After a few minutes, the entire band reenters and the music burns bright hot white as Evans takes on gun control and police brutality (extremely timely). Over the course of nearly 16-minutes, both words and the music gets more serious.
"I'm So Glad I Got To Know You" is dedicated to Lawrence "Lo" Leathers. The drummer, who worked with pianist Aaron Diehl and with Cecile McLorin Salvant, was shot to death in the stairwell of hs apartment in the Bronx, NY. The track, composed by Evans, opens with a quiet piano solo before the band enters in an uptempo rhythm reminiscent of Abdullah Ibrahim (especially the brass and reeds melody) – the music picks strength as it dances forward until the reeds and brass drop out and everyone sings a mantra composed on the words in the song's title. Powerful finish to a powerful set of music.
The Captain Black Band is getting better with age. Always run as more of a cooperative, with members contributing both songs and arrangements, the CBBB plays with fire and enthusiasm, eschewing labels and genres to create its own voice in a growing sea of large ensembles. "The Intangible Between" is essential listening at any time but especially in this time of social unrest and pandemic. Orrin Evans and company offer hope, humor, and beauty in this exciting 65 minute package.
Orrin Evans: piano; Luques Curtis: bass; Eric Revis: bass; Madison Rast: bass; Mark Whitfield Jr., Anwar Marshall: drums; Thomas Marriott: Josh Lawrence: Sean Jones: trumpet; Caleb Wheeler Curtis: Troy Roberts, Immanuel Wilkins, Stacy Dillard, Todd Bashore: alto and tenor saxophones David Gibson, Stafford Hunter,Reggie Watkins: trombone; Jason Brown: drums; Joseph Block: keyboards; Dylan Reis: bass
Trumpeter, composer, arranger, and band leader Daniel Hersog hails from Vancouver, British Columbia, Canada. He graduated from the New England Conservatory in 2016 where he met, studied, and worked with pianist Frank Carlberg, drummer John Hollenbeck, trumpeter John McNeil, and many others. He now teaches music and conducts plus serves as the composer for Big Band at North Vancouver's Capilano University. He also teaches trumpet and leads the school's Trumpet Ensemble. For his debut album, "Night Devoid of Stars" (Cellar Live), he's working with the 16-member Daniel Hersog Jazz Orchestra – most of the musicians hail from Canada are joined by saxophonist Noah Preminger (who is the "featured soloist"), drummer Michael Sarin, and pianist Carlberg.
The eight-song program (seven Hersog originals plus a classy rearrangement of the venerable Jerome Kern piece "Smoke Gets In Your Eyes") shines from the opening seconds to the raucous closing track. Close your eyes, don't read the liner notes, and make up own your mind; I heard music inspired and influenced by Bob Brookmeyer , Jim McNeely, Maria Schneider and Thad Jones plus Darcy James Argue. Yet, once you listen again, those influences mostly die away and each track begins to stand out. "Cloud Break" starts off the album in a forward motion with the first five notes sounding like the melody of "Getting To Know You" – the melody opens up like a morning flower before the sections drop back for a delightful solo from trumpeter (and one of Hersog's mentors) Brad Turner. Sarin and bassist James Meger lock into the groove as the solo unwinds. The sections return to usher out the trumpeter, opening the door for Preminger's powerful solo – the Boston, MA-based saxophonist is in great voice throughout.
The pieces in the program feel as if they have been percolating for a long time but do not sound overworked. That's thanks to the fine musicianship. Carlberg's long, rhythmical solo opens "Motion" with Sarin's cymbal work standing out. After he steps back, the reeds and brass sounds like a power blossoming before Preminger digs in for a powerful statement. "Makeshift Memorial" is one of the loveliest large ensemble compositions of the past several years, voices echoing throughout the melody section – listen to how Preminger's saxophone wheels in and around the others reeds and the brass. The title track flows forward in a joyous rush; note how the sections are integrated with the soloists, Preminger and Turner, and inspire to flights of fancy. I especially like the use of the flute and piccolo to add to the brightness of the music.
Photo: Robert Iannone
Carlberg, the brass and reeds, and the somber arrangement, all converge to give an original treatment to "Smoke Gets In Your Eyes." The pianist dances through his solo as if to dispel the cloudiness, leading to an introspective finish. The album closes with two playful pieces. The stop-start beginning of "Indelible" leads to a medium tempo rhythm and then, the fun begins. The spirited clarinet solo by Tom Keenlyside interacts with the piano until the trumpets return with bird-like chatter over a droning trombone note. Listen to how Hersog has the playful clarinets and flutes support the trumpet melody. The closing track, "Song for Henrique" (dedicated to pianist Henrique Eisenmann), opens with a classical flourish provided by the solo piano. Then, the band jumps into a dramatic yet playful tango with the sections involved in the dance before Carlberg moves off into his solo. Preminger's solo takes place in rubato with rumblings from the brass while Sarin explodes underneath. When the rhythm returns, the trumpets, acting like toreadors, lead the way to the end. "Night Devoid of Stars" is a delightful introduction to the music and artistry of Daniel Hersog. During the hour-long program, he and his cohorts take the listener to so many places and through so many emotions. Listening to the Daniel Hersog Jazz Orchestra leaves one in a better frame of mind thanks to the creativity of the composer-arranger, the inventive solos, and fun that emanates from musicians doing what they love to do. Kudos to Frank Carlberg and Noah Preminger for bringing more light to the sessions. For more information, go to www.danielhersog.com. Take a look and listen to the title track: Personnel: Chris Startup :Alto Saxophone, Clarinet Michael Braverman: Alto Saxophone, Soprano Saxophone, Clarinet Noah Preminger: Tenor Saxophone Tom Keenlyside: Tenor Saxophone, flute, piccolo, alto flute Ben Henriques: Baritone Saxophone, Bass Clarinet
Rod Murray: Trombone Jim Hopson: Trombone Brian Harding: Trombone Sharman King: Bass Trombone
Frank Carlberg: Piano James Meger: Bass Michael Sarin: Drums
Photo: Peter Gannushkin
Throughout his career, trumpeter, composer, and arranger Bobby Spellman has played a multitude of styles; r'n'b with The Four Tops and The Temptations, Afrobeat with the Big Mean Sound Machine, large ensemble experimental with Charlie Kohlhase's Explorers Club and the Either/Orchestra, and a combination of all the above with his own Dingonek Street Band. Spellman also leads a Nonet that explores the sound of Miles Davis/ Gil Evans Birth of the Cool. Spellman's nine-piece has just issued its debut album "Revenge of the Cool" on Sunnyside Records.
Spellman utilizes the instrumentation that Davis and Evans employed for their original projects and, entranced by the sonic possibilities, created his own music. There are some similarities that ones hears throughout; the leader is a fine trumpeter, the intelligent use of the "lower" sounds of the tuba (Ben Stapp), trombone (Tim Schneier), and baritone saxophone (Taylor Burchfield) plus the way Spellman's arrangements utilizes Evans-like harmonic clusters. Also, the majority of the music captures the enthusiasm of be-bop that the 1950s recording demonstrated. There's a delightful wit involved here as well. Spellman's "The Isles of Langerhans" has a romantic title but is named for "the islets", or specialized cells, found in the pancreas of most vertebrates (discovered by 19th Century German physical Paul Langerhans). The tune is part of the leader's "Endocrinology Suite". Even better, the title does not detract from the fine performance!
The drum solo at the end of "...Langerhans" leads directly in to the joyful swing of "At The Brink" with the relentless drive supplied by bassist Andrew Schiller and drummer Evan Hyde supporting the solos of David Leon (alto sax) and Justin Muellens (French horn). "Uncle Chip" opens with a spirited interaction between the leader and drummer before the entire plays the theme. Note the fine piano solo (Ben Schwendener) which has echoes of Cecil Taylor and Don Pullen which leads to both a chattering solo from Leon and toying around with the tempo.
Photo: Peter Gannushkin
The Evans commecntion can be heard in the melody line and the writing for the bass and reeds on "Certainty for Uncertainty". The nonet takes its time playing the full melody before Leon steps into his solo followed by trombonist Schneier and pianist Eli Wallace. "The Human Condition" closes the program on a raucous bluesy note; right from the leader's countdown into the tune followed by his hard-edged solo, the music has a late-night, smoky barroom feel. The brass and reeds don't enter until near the close of pianist Schwendener's solo and disappear again for Schiller's bowed bass solo(as does every but the drummer and occasional piano interjections. Everyone returns to (finally) play the "head" and take the tune out. "Revenge of the Cool" is more than just a tribute to the classic "Birth of the Cool", it's also the sound of a composer-arranger coming to terms with his influences and moving beyond them. There's much to like listening to the debut album of the Benny Spellman Nonet – one fervently hopes that we get to see and hear the band play in person because one can tell from the album that the ensemble can really "hit it". For more information, go to www.bobbyspellman.com. To hear some of the music and purchase the album, go to https://sunnysiderecords.bandcamp.com/album/revenge-of-the-cool. Here's "At The Brink": Personnel: Bobby Spellman - composer, trumpet & slide trumpet Emily Pecorard - alto saxophone (on the opening track only) David Leon - alto saxophone (all tracks but 1) Tyler Burchfield - baritone saxophone Kyra Sims - French horn (six tracks) Justin Mullens - French horn (two tracks) Tim Shneier - trombone Ben Stapp - tuba Ben Schwendener - piano (six tracks) Eli Wallace - piano (two tracks) Andrew Schiller - bass Evan Hyde - drums
In September of 1963, Duke Ellington and his Orchestra began a State Department of the Middle East, Turkey, India, and various other cities and countries in the region. When President John F. Kennedy was assassinated on November 22 of that year, the tour was abruptly cancelled and the large ensemble returned home. Yet, Elington and his musical partner Billy Strayhorn began composing music inspired by the journey. It was December 19th, 1966 that the band entered the RCA Victor studios in New York City to record the nine tracks that made up the oddly-titled "The Far East Suite" released in June 1967, just a few weeks after Strayhorn passed away from cancer.
Nearly five decades later, the Balkan Brass jazz band known as Slavic Soul Party! decided to perform the Suite in its entirety. In July of 2016, the band released "Slavic Soul Party! Plays Duke Ellington's Far East Suite" (Ropeadope Records) - the nonet, composed of John Carlson and Kenny Warren (trumpets), Matt Musselman and Tim Vaughn (trombones), Ron Caswell (tuba), Peter Hess (saxophones, clarinet), Peter Stan (accordion), Chris Stromquist (snare, percussion) and leader Matt Moran (tapan, goč, bubanj - all hand-held drums) - plays the program in the order of the original album. One of the joys of the works of Ellington and Strayhorn (especially from the 1940s forward) is how adaptable much of it is. Slavic Soul Party makes sure you hear all the great melodies and then put its signature percussive fire under the music. "Tourist Point of View" rushes out of the gates at top speed, Moran and Stromquist pushing the rest of the band to play with great fire. Kudos to Caswell's tuba work as he is impressive throughout. With five brass and only one reed player, accordionist (well, that's an instrument with reeds!) Stan is an important voice providing depth and flair. The funky take of "Bluebird of Delhi" (imagine James Brown letting his band loose) has great work from Hess (on clarinet) on a smart arrangement by Moran.
Thanks to the work of trumpeter Carlson, there's a drunken swagger to "Ifashan" while Hess's baritone plays sweetly on "Agra" while the band staggers just a bit (on purpose) before hitting its stride halfway through. "Mount Harissa" opens with a fine trumpet (Warren?) reading of the melody (listen for Caswell's sustained low notes) - after a short unaccompanied trumpet statement, the band kicks into a raucous dance beat and the trumpeter continues forward. Even more of a party is the high-energy performance of "Blue Pepper"; you can just see the Brass band dancing through the streets. Stan gets the spotlight on "Amad" with an opening solo that goes from an imitation of a a steam train to high-intensity lines interspersed with drones. When the rest of the band kicks in, the trombones blare, the trumpets blast, the tuba lays down a hardy beat, the drums pound away (Hess, on alto, joins the trumpets on the melody) and the piece flies along. Watch for the interchange of brass and reeds with the accordion na minute before the "Bali Hai" finish.
Duke Ellington purists might be scared away but this rendition of "Far East Suite" is full of spice and fire. It is impossible to sit still through the up-tempo songs and even the ballads have a touch of spunk. Somehow, I missed reviewing the "Slavic Soul Party Plays Duke Ellington's Far East Suite" upon its release late last summer. If you have yet to discover this delightful album, check it out. It's pure joy!
Here's "Blue Pepper":
Composer and arranger Brett Gold took a long route to creating his New York Jazz Orchestra and recording his self-releaseddebut album "Dreaming Big." Though he had played trombone through high school, his double-major in college was History and Film Studies. Gold then earned his law degrees, concentrating on international and corporate tax law. He continued working but started his return to music in the 1990s and then, in 2004, began studying with the album producer Pete McGuiness and David Berger (among others) and soon became involved with the BMI Jazz Composers Workshop where he was mentored by Jim McNeely, Mike Holober, and Mike Abene. Over his time there, he developed the compositions and arrangements heard on his album.
A glance at the personnel and you'll see members of the Maria Schneider Orchestra, the Pete McGuinness Jazz Orchestra, and the Tony Kadleck Big Band. As one might expect from a debut, the composer shows his comfort in wiring for different styles but, to his credit, the album never becomes a simple "blowing session." Only one of the 11 tracks has more than two soloists and five have just one. That leads one to believe that Gold wrote for specific players in the manner of Duke Ellington, Bob Brookmeyer, Gil Evans, Ms. Schneider, and several others. Perhaps the best part of this album is that, even though the program runs nearly 72 minutes, the music is always involving, with melodies that capture your mind and heart, emotionally rich solos, and, on several tracks, great forward motion.
That "forward motion" is quite evident on the opener, "Pumpkinhead, P.I." Yes, there's a bit of stop-and-start but the band really romps under the hardy tenor solo of Charles Pillow. There are also several tracks that exude joy. "Lullaby for Lily" was composed shortly after the arrival of the composer's daughter. After a high-stepping opening, the music slows for a sweet soprano sax solo from Mark Vinci who later trades lies with trumpeter Scott Wendholt. Whereas "Stella's Waltz" was composed to honor the marriage of Gold's father and stepmother. One can see the couple whirling around the floor dancing to the sweet melody as it passes from section to section. William Shakespeare devotees will be pleased to see the song title "Exit, Pursued By A Bear" as it was one of the few stage directions the Bard ever wrote. The subtitle, "Slow Drag Blues", could be the real title as the song is a vehicle for a jocular trombone solo from Bruce Eidem and a short, sweet Phil Palombi bass solo. Pay attention to how the various musicians also have a playful role, especially the flutes, bass clarinet, and bass trombone right at the end.
Two of the pieces have a connection to the Middle East. "Al-Andalus" (which refers to Spain during the Muslim rule from the eighth Century until 1492) bounces along on a beat that has the feel of Gil Evans-Miles Davis and "Sketches of Spain". Kudos to trumpeter Jon Owens for a great and wide-ranging solo. The final track on the album, "Nakba", is the longest (11:30) and the most political. The word is Arabic and translate to "catastrophe" is the term that Arabs use to describe the 1948 war after the partition of Palestine created the state of Israel. The "voice" of the song is Tim Ries on soprano sax but pay attention to the great work of the various sections. The flowing melodies from the reeds, the intense rhythm work, the sharp sound of the brass (and occasional "air-raid" warnings), the occasional "alarm-like" sounds from the piano, all that and more draws the listener into the conflict in and outside of the music. Powerful music, indeed.
"Dreaming Big" is certainly the modus operandi for composer and arranger Brett Gold. He's put his heart, soul, money, brains, creativity, and more into this project; this is music that deserves to be heard. Lord knows if this is a band that will ever tour but, if they do, I would not hesitate to buy a ticket.
Personnel: Jon Owens: trumpet, flugelhorn; James de la Garza: trumpet, flugelhorn; Dylan Schwab: trumpet, flugelhorn; Scott Wendholt: trumpet, flugelhorn; Mark Vinci: alto, soprano sax, clarinet, flute; Matt Hong: alto sax, clarinet, flute; Dave Riekenberg: tenor sax, clarinet; Tim Ries: tenor, soprano sax, flute, clarinet (3, 5-7, 11); Charles Pillow: tenor, soprano sax, clarinet (1, 2, 4, 8-10); Frank Basile: baritone sax, bass clarinet; Bruce Eidem: trombone; John Allred: trombone; Bob Suttmann: trombone; Jeff Nelson: bass trombone; Ted Kooshian: piano; Sebastian Noelle: guitar (3, 5, 6, 7); Phil Palombi: bass; Scott Neumann: drums. Here's a track:
Brian McCarthy, composer, arranger, and saxophonist, looks at the United States during a time when it was at its most divided, the Civil War. Six of the nine tracks on "The Better Angels of Our Nature" (Truth Revolution Records) were composed during the conflict, two are original, and one, "Oh Freedom", is an African American spiritual. Using a quote from President Abraham Lincoln's 1861 Inaugural Address as its title, the album could be weighed down by expectations as well as by comparisons to today's toxic (to many) political climate. But the project came into being thanks to a Vermont Arts Council Creation Grant in 2015 and really took flight when the Flynn Center for the Performing Arts in Burlington Vermont in November of that year.
Vermont Public Radio
Opening with "The Bonnie Blue Flag" (composed in 1861 by Harry McCarthy - no relation to the leader), the song was a favorite of the Confederate States. McCarthy, the arranger, creates an impressive arrangement around the melody, one that sounds quite contemporary. After the nonet explores the melody, baritone saxophonist Andrew Gutauskas begins a lengthy solo accompanied by the handsome piano of Justin Kauflin. The piece picks up with the entrance of the rhythm section, then the brass and reeds. Not surprisingly, "Battle Hymn of the Republic" follows, a piece that has as much for the North as the previous one did for the South. The leader opts for a less rousing readin, opening up the chords to give the piece its wings. Fine solos from pianist Kauflin and the leader on alto saxophone.
I admit that the first two tracks, while well played, did not capture the emotions one imagines anthemic music provides for people. "Shiloh", the first of McCarthy's original, has great power and gravitas while still telling its story. The title track is the other McCarthy original and is a three-part look at Abraham Lincoln, the lawyer, then the President, and closing with the Person. There's authority in Bill Mobley's fine solo that closes the first part. Kauflin's strong piano work draws a picture of President in command of his emotions after several early Confederate victories. Tenor saxophone Stantawn Kendrick also solos in that section and the second section comes to a crashing close. The last two minutes are contemplative, quiet, a portrait of a man reflecting on all the events occurring as he attempts to right the Ship of State.
There are numerous highlights during the remainder of the album. Daniel Ian Smith's impressive soprano sax solo on "Battle Cry of Freedom" as well as the lengthy exploration of the "I Wish I Was In Dixie" sparked by Zach Harmon's powerful drums and featuring strong saxophone work from Kendrick and McCarthy. However, it's the two ballads - "Weeping, Sad and Lonely" and "Oh Freedom" - that really stand out. The latter track, scored for reeds and brass, may remind some of the short introduction Blood, Sweat, and Tears created in 1968 for its reading of "God Bless The Child." Still, it's a powerful gospel work and the performance is captivating. That should be the last cut but Brian McCarthy decided to add a "bonus track", a swinging take of "All Quiet Along The Potomac To-Night" (composed by John Hill Hewitt in 1863). It's fine with good playing all around but it is anti-climatic (hence the "bonus" appellation).
Minor quibbles aside, "The Better Angels of Our Nature" is a powerful statement - particularly tracks three through eight - about the Civil War, a conflict whose issues were not confined to the four years of horrific battles and skirmishes but whose roots are in the country's fight for independence and its centuries of racial inequality. The music is a compelling fusion of our ethnic makeup, the messages in the songs are (mostly) uplifting, and the performances often riveting.
Personnel: Brian McCarthy, composer, alto & soprano saxophone Daniel Ian Smith, tenor & soprano saxophone Stantawn Kendrick, tenor saxophone Andy Gutauskas, baritone saxophone Bill Mobley, trumpet & flugelhorn Cameron MacManus, trombone Justin Kauflin, piano Matt Aronoff, bass Zach Harmon, drums
Here's the title track:
Trombonist, composer, and arranger Ed Neumeister (born in Topeka, Kansas, and raised in the San Fransisco Bay area) moved to New York City in 1980 and was soon a member of the Duke Ellington and the Mel Lewis Band (which became the Vanguard Jazz Orchestra after Lewis passed). He, also, performed and recorded with the likes of Jerry Garcia, Gerry Mulligan, Aretha Franklin, and the New York Philharmonic. After nearly two decades in Europe where he taught and worked with the Metropol Jazz Orchestra, Budapest Jazz Orchestra, and Jazz Big Band Graz, Neumeister is returning home to the United States, New York City, to be precise.
Like many modern composers-arrangers-educators (Jim McNeely Bill Kirchner, Maria Schneider), Neumeister displays the influences of Duke Ellington, Thad Jones, and Bob Brookmeyer, doing so without imitating any of them. His new self-released and fan-funded album, "Wake Up Call" (MeisteroMusic), is his first with the NeuHat Ensemble, a group he has written for over a decade. The musicians, listed below, should be familiar to most readers as many of them work and record with the Vanguard Jazz Orchestra, with Ms. Schneider, and with Ryan Truesdell's Gil Evans Project. And, like much of the material those groups play, the songs are more about melodic and harmonic development, a narrative, rather than an vehicle for multiple solos. Yes, it could be called "concert music" and that's fine. While there is plenty of rhythmic action, the leader wants you to listen and have emotional reactions.
Listen to the glorious tone-poem "Reflection" to hear how each member of the Ensemble contributes to the piece, how the tension is heightened by the repetitive lines in various sections while drummer John Riley colors the piece with his fine cymbal work. After the long introduction, the melody is moved forward by the brass until Dick Oatts (on tenor) and trombonist Larry Farrell begin a solo section (aided by the atmospheric guitar work of Steve Cardenas and David Berkman's impressionistic piano). There's more than a hint of Burt Bacharach in the arrangement and melody line of "Dog Play", enlivened by the sweet clarinet work of Billy Drewes. The focus is on the tenor sax of Rich Perry on "New Groove" but not until the melody is laid out by the reeds and brass.
There are impressive examples of ensemble writing throughout the album, especially on the opening and closing tracks. "Birds of Prey" moves in quietly on percussion before the main melody is introduced shared by the sections. There are no solos, just different voices moving in and out of the melody as well as the background. No solos either on the title track that closes the album. Yet, listen how the reeds and brass share melody and harmonies while the rhythm section creates a light samba feel. There's a playful nature to the interactions, the piece moves insistently forward and, again, listen to how all the pieces fit so well.
"Wake Up Call" is a delight from start to finish with melodies that linger long after the final fade. Though it's taken nearly three years from the recording dates to the release date, the music is timely and timeless. With Ed Neumeister moving back to the US, maybe the NeuHat Ensemble will bring this music to concert halls. That's so nice to contemplate!
Personnel: Reeds: Mark Gross Dick Oatts Billy Drewes Rich Perry Adam Kolker Trumpets: Tony Kadleck Ron Tooley Jon Owens Dave Ballou Trombones: Keith O’Quinn Marshall Gilkes Larry Farrell David Taylor
David Berkman - Piano Hans Glawischnig- Contra Bass Steve Cardenas - Guitar John Riley - Drums John Hollenbeck - percussion Take a listen:
Until "Big Alpaca", the self-released debut album from the Bill Simenson Orchestra, came in the mail, I knew nothing about the man and his ensemble. Do what I did - go to www.billsimenson.com and you'll discover the composer, trumpeter, and educator has led quite a busy life. Take a look past the names listed below under personnel. Chances are, unless you live in the Minneapolis/St. Paul area (where the ensemble is based), you've not heard of these musicians. Do not walk away from this album. Give it a good listen. You'll hear the influences of Thad Jones and Bob Brookmeyer in the compositions and arrangements as well as hints of Duke Ellington, Gil Evans, Quincy Jones, Thelonious Monk, and Kenny Wheeler.
Thanks to an Artist Fellowship, Simenson took time off to study composition for big band. In 2012, he formed the Orchestra, they began playing once-a-month in Minneapolis, learning the music and how to create a unified sound. In late January of 2016, they entered the Sateren Auditorium of Augsberg College (also in Minneapolis) and emerged with this album.
Jazz Central Studios
Allow the music to roll around your brain. Whether it's the bluesy opener "Bedlamoogie" (and its Count Basie-lie dance rhythms) or the noir-ish "Uptick" or the "Killer Joe" flow of "Pete's Waltz", this program has many pleasing qualities. There are pieces that swing in delightful fashion such as "New Shoes" with the brass and reeds playing off each other in contrapuntal fashion. Dig the second-line groove of "Steamboatin'", replete with playful trumpets and forthright reeds plus a straight-forward swig under the solos. The title track opens with a strong bass solo before the playful interaction of the sections roll through the melody. Trombonist Ryan Christianson and the leader share the solo spotlight, the former with just the rhythm section and the latter with the brass and reeds vying for your attention with quick riffs. "Might Have Been" has the makings of a classic big band ballad with the reeds and brass introducing the melody before excellent solos from Pete Whitman (soprano sax) and pianist Ted Godbout. Both short, both sweet. In the liner notes, Simenson credits the influence of Alison Krauss for the creation of "Titanium"; perhaps that influence shows in the ways the band moves together underneath the melody or how the sections make the melody and rhythm fit so seamlessly. Not sure how Ms. Krauss's music and lovely voice impacted the composer but it is quite a good tune.
In the 1930s and early 40s, the Bill Simenson Orchestra might be considered a "territory" band, with its home base in the Twin Cities. It's easy to imagine people gathering in a club or auditorium to listen and to dance. "Big Alpaca" is truly a collection of good tunes. The songs don't necessarily blow you out of your chair as the melodies and the crisp execution of the band insinuates its way into your head. Give the album a listen and you'll be glad you did. Go to www.billsimenson.com/billsimensonorchestra.html to find out more.
Personnel: Pete Whitman (soprano and alto saxophones), Doug Little (alto sax and flute), Clay Pufahl (tenor sax), Scott Johnson (tenor sax), and Gus Sandberg (baritone sax) Bill Simenson (leader, composer, arranger, trumpet, flugelhorn), Paul Stodolka (trumpet, flugelhorn), Elizabeth Stodolka (trumpet, flugelhorn), and Jake Baldwin (trumpet, flugelhorn) Pete Enblom, Ryan Christianson, and Matt Hanzelka (trombone) Derek Crosier (bass trombone) Ted Godbout (piano) David Martin (guitar) Chris Bates (bass) Dave Schmalenberger (drums)
To commemorate and celebrate the 50th Anniversary of the release of The Beatles "Sgt. Pepper's Lonely Hearts Club Band", the Frankfurt Radio Big Band (also known as the hr-Bigband) commissioned British multi-instrumentalist Django Bates (keyboards) to "reimagine" the classic album from 1967. Commission partners include the
Norrbotten Big Band (Sweden), the Danish Radio Big Band, and the UMO Jazz Orchestra. For the recording, Bates brought along Stuart Hall (acoustic and electric guitar, electric sitar, violin, lap steel) plus the Danish trio Eggs Laid By Tigers (vocalist Martin Ullits Dahl, bassist Jonas Westergaard, and drummer Peter Bruun) to augment the reeds and brass sections plus guitarist from the Frankfurt Radio Big Band (personnel listed below).
The assembled multitude move through "Saluting Sgt. Pepper" in the order of the original album. Bates doesn't change the music drastically but makes room in each song for his "alterations" - for instance, listen to the reeds and brass dance during the second chorus of "With a Little Help From My Friends" and the raucous tenor saxophone work of Tony Lakotos on "Lucy In the Sky.." Lakatos bops away on the extended close of "Getting Better" over a snappy arrangement. Impressive drum work from Bruun takes the place of tablas on "Within You Without You" (the one George Harrison song on the record) as well as strong violin work from Hall. Flutes replace the violin, the brass jump in, and Hall switches to electric sitar in the solo section. The brass sound like a traffic jam and car alarm at the onset of "Lovely Rita" - there is a Blood, Sweat, & Tears feel to the playful arrangement, especially in the middle of the song.
The desperation that seemed to envelop John Lennon's vocal on "A Day In The Life" is missing - Dahl, who does an impressive job throughout the album, seems a bit distant here. Yet, listen to the long rising line to the center section (the McCartney part of the song). After its climax, there is a feel of Rio De Janeiro and samba. It's cleverly done, a delightful shift in the mood. Back for the final verse and the long-awaited final piano chord. Bates gives the brass a quick shout and there's a long fade until....the goofy closing loop from the original pressing.
Kudos to the participants as they handle the classic material and the alterations Django Bates brought to the party with aplomb. Dahl and his compatriots from Eggs Laid By Tigers (the band took its monicker from as Dylan Thomas poem) capture the vocals without imitation (harmonies are nicely done). All in all, a fun and fine tribute that old fogies such as myself (18 years old at the time of the original album's release) and younger fans will enjoy.
Here's a live version of the Harrison song (check out YouTube for the group's versions of "Penny Lane" and "Strawberry Fields Forever":
Frankfurt Radio Big Band (hr-Bigband):
Heinz-Dieter Sauerborn: soprano sax, flute, clarinet.
Oliver Leicht: alto sax, flute, clarinet, alto clarinet.
Tony Lakatos: tenor sax, flute.
Steffen Weber: tenor sax, alto flute, bass clarinet.
Rainer Heute: baritone sax, bass sax, bass clarinet, contra alto clarinet. Frank Wellert: trumpet.
Thomas Vogel: trumpet.
Martin Auer: trumpet, flugelhorn. Axel Schlosser: trumpet, flugelhorn. Günter Bollmann: trombone.
Peter Feil: trombone.
Christian Jaksjø: trombone.
Jan Schreiner: bass trombone. Martin Scales: electric guitar.
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