In 2021, in the midst of the Pandemic, composer and producer Ryan Truesdell was worried about the future of the Big Band, a genre he has been quite committed to for a long time. He changed his focus and decided to commission a number of big band composers to write pieces for string quartet. Truesdell then worked with cellist Jody Redhage Ferber to help him think through the project and to advise on which musicians to invite into the studio to record what turned out to be 17 new pieces for string quartet plus, in several instances, additional instrumentation. He did not give the composers any restrictions but did invite them into the studio to work with the musicians who were interpreting their work.
The results of the experiment can be heard on "Ryan Truesdell Presents: Synthesis: The String Quartet Sessions" released through ArtistShare. Besides recording three of of his own string quartet pieces, the producer, who is the Manager of the Bob Brookmeyer Music Estate, used a work that the St. Louis Symphony had commissioned from the late trombonist-composer (1929-2011) but never recorded. Anyone who listens to contemporary Big Band music will recognize Jim McNeely, John Clayon, Christine Jensen, John Hollenbeck, Alan Ferber, Dave Rivello, and, perhaps, Miho Hazama but Truesdell also invited younger composers such as Joseph Borsellino III, Nathan Parker Smith, Vanessa Perica, and Asuka Kakitani. Producer and arranger extraordinaire Oded Lev-Ari debuts a new work as does bassist Rufus Reid, who premieres his "String Quartet #1".
Photo: Leo Mascaro
How should one approach "Synthesis", a three-CD set containing nearly three hours of music? One obvious answer is with "open ears and an open mind" but that's too easy. You literally have to set aside that these composers, many of whom you've heard in large instrumental ensembles are working with a much different palette. As stated above, there are a few additions to the Quartet; clarinetist Anat Cohen is the main soloist on Truesdell's "Suite for Clarinet and String Quartet", bassist Jay Anderson joins a Quartet on Truesdell's "Heart of Gold", composer Borsellino III uses pre-recorded synth tracks on his "Paper Cranes", and Hollenbeck adds marimba, drums, and piano (not all on the same movements) to different movements of his seven-part "Grey Cottage String Quartets" that closes the album. The Brookmeyer piece was written for and is performed by a string trio.
Photo: Leo Mascaro
There are pieces that have impressive rhythmic flow (the album opener "Where Can You Be" by Mr. Parker Smith Ms. Hazama's "Chipmunk Timmy's Funny Sunny Day", and Ms. Jensen's "Tilting World") and others that have moments where time is suspended or fractured (the "#1 Movement" of Mr. Reid's "String Quartet #1", Mr. Lev-Ari's "Copycat" movement of "Playground", and Mr. Rivello's "1. "Sorry" section of "Two Reflections for String Quartet". Several of the works jump out on first listening including Mr. McNeely's "Murmuration and Adagio", the leader's lovely "Dança de Quarto" and his four-part "Suite for Clarinet and String Quartet", and Ms. Kakitani's "Melt".
Photo: Dina Regine
This project owes much of its success to the brilliant musicians who interpreted the variety of styles, genres, ideas, and desires of the composers. Violinist Sara Caswell appears on every track while cellist Redhage Ferber appears on all but two (she's replaced by Noah Hoffeld). The second violin chair features either Joyce Hammann or Lady Jess (who tours with Beyoncé as well as with her husband Jay-Z). Violist Lois Martin performs on the majority of the album save for the three times she is replaced by Orlando Wells.
Perhaps that's the best way to enter into this glorious project: just listen to the musicians. Throw aside expectations and comparisons. Dive in, test the musical waters – take your time but also make the time to go back and really allow the music to move you out of the everyday and into its special worlds.
As stated above, "Ryan Truesdell Presents: Synthesis: The String Quartet Sessions" is only available through ArtistShare. Go to www.synthesissqs.com/ for more information. To learn more about Ryan Truesdell, go to https://ryantruesdell.com/.
Pianist, composer, conductor, arranger, and educator Mike Holober has been involved with the New York City jazz scene since 1986. He has led or co-led groups, played with a slew of artists (from The Tim Ries Rolling Stone Project to saxophonist Jason Rigby's bands to jazz orchestras led by John Fedchock, Alan Ferber, Tony Kadleck, The WDR Big Band, the HR Big Band, Pete McGuinness's Jazz Orchestra, and the Vanguard Jazz Orchestra). He's been on the faculty of The City College of New York since 1995 and teaches composition and arranging at The Manhattan School of Music plus conducts workshops around the country and the world. From 2007 - 2015, Holober served as Associate Director of the BMI Jazz Composer’s Workshop, where he taught with Director Jim McNeely. Among the groups he has led are the Westchester (NY) Jazz Orchestra, The Gotham Jazz Orchestra, a Quintet, and an octet known as Balancing Act plus the 45-member Gotham Wind Symphony.
The Gotham Jazz Orchestra has just issued its third album (and first since 2009). The two-CD set, "Hiding Out" (Zoho Records), contains two long suites (one, "Flow", is four-part, the other, the title track, in five-parts) and the opening track "Jumble" which was commissioned in 2008 by the US Army Jazz Nights. The final track, "Carminhos Cruzados", comes from the prolific mind of Antonio Carlos Jobim: There's actually two version with the final cut a "radio edit" of the first (it's only 79 seconds shorter than the first but cuts out some of trumpeter Marvin Stamm's parts). What stands out throughout the recording is Holober's excellent writing for the different sections, how the Orchestra creates a singular sound even though two different drummers split the four tracks equally, and the maturity of the compositions. One can intuit the influence of Bob Brookmeyer as solos grow organically out of the composed material.
The two suites are quite different. Both are inspired by the composer's retreats from the city: "Flow" sprang out of Holober's time at the MacDowell Colony in New Hampshire while the title track was inspired and composed on a journey to Wyoming. The four-part "Flow" opens with "Tear of the Clouds", a 14-minute section that takes its time to unfold, opening to a powerful tenor saxophone solo from Jason Rigby. Listen to how the piano and guitar (Jay Azzolina) support the saxophone while bassist John Hébert and drummer Jared Schonig spur Rigby forward. "Movement 2: Opalescence" has a handsome brass opening section with the flutes of Ben Kono, Billy Drewes, Adam Kolker, and Rigby coloring the thematic material. The solo section belongs to trumpeter Marvin Stamm but pay attention to the flutes and the fine piano accompaniment of the leader. The short (1:49) penny whistle "Interlude" (played by Kono) leads into "Movement 4: Harlem" another 14 minute track that opens with an unaccompanied alto saxophone solo from Billy Drewes. When the rhythm section enters, the music changes into a high-driving and swinging dance for the alto saxophonist to continue playing over. Holober introduces the next episode with his funky piano figure before the entire band dances in led by Schonig's dancing drums. Trumpeter Scott Wendholt steps out for a crisp solo over the rampaging drums with occasional responses from the brass and reeds. The music slows down and momentarily belongs to the Holober's piano before he leads the ensemble in for a full-throated closing section with a delightful give-and-take from the alto sax, clarinet, and trumpet.
The five-part "Hiding Out" suite may speak of an escape from the city especially in its gentle "Prelude" with chord created by the reeds as well as a lovely melody by Kono's piccolo and Stamm's trumpet – note the handsome brass arrangement near the end. "Movement 2: Compelled" opens with a gentle unaccompanied piano melody before the flutes and clarinet enter playing a melody that Holober continues to support underneath. Various voices share the melody lines as the piece grows ever-so-gently into a handsome guitar spot for Steve Cardenas. The sections swirl around him while the bass and drums (Mark Ferber) keep the rhythms flowing. As the ensemble fades out, Holober takes a musical journey first building a variation of the original melody and then dancing over the rhythm section. The band returns to reiterate its earlier statement before the piano leads the song out. "Movement 3: Four Haiku" is literally four short melodic statements sans solos, gentle phrases passed around the sections save for the bass and drums. Holober's short unaccompanied piano "Interlude", with the recording echoes of earlier melodies, leads the listener in to "Movement 5: "It Was Just The Wind"; the longest track on the recording at 18:30. The piano is alone for the opening 90 seconds until the rhythm section enters. Soon, the music is pouring out from the entire ensemble, melodic phrases shared by the reeds and brass until the alto saxophone of Jon Gordon steps out over the rhythm section. Tenor saxophonist Adam Kolker is next with a fiery statement over the very active horns. At the climax of his statement, the music takes a turn into a frisky rhythm and a delightful Fender Rhodes solo from the leader – the occasional melodic fills from the reeds and brass plus a repetitive bass clarinet figure support Holober until he really digs in. He switches to acoustic piano and the music changes as now the reeds and brass are featured. Cardenas returns to take the piece out, working with as well as apart from the sections.
The album "Hiding Out" contains many moments of beauty, of melodies that singi and harmonies that ring, with solos that have power and grace. Give this music the time it deserves to enter your mind (and heart) – its rewards are plentiful. Mike Holober & The Gotham Jazz Orchestra have made one splendid musical adventure!
Mike Holober - all tracks, Conductor, Leader, Piano/Fender Rhodes
Saxophone/Woodwinds Billy Drewes - alto, soprano, flute on Flow Jon Gordon - alto, soprano on Hiding Out, Jumble Dave Pietro - alto, soprano, flute, piccolo on Hiding Out, Jumble, Caminhos Cruzados Ben Kono - alto, soprano, flute, clarinet, piccolo, penny whistle on Flow, Caminhos Cruzados Adam Kolker - tenor, flute, alto flute, clarinet – all tracks Jason Rigby - tenor, flute, clarinet on Flow Charles Pillow - tenor, flute, clarinet, alto flute on Hiding Out, Jumble Steve Kenyon - baritone, bass clarinet on Hiding Out, Jumble Carl Maraghi - baritone, bass clarinet on Flow, Caminhos Cruzados
Trumpet/Flugelhorn Tony Kadleck - all tracks Liesl Whitaker - all tracks Scott Wendholt - all tracks James de LaGarza - on Tear of the Clouds, Harlem, Jumble Marvin Stamm - on Hiding Out, Opalescence, Caminhos Cruzados
Trombones Tim Albright - all tracks Mark Patterson - on Flow, Jumble, Caminhos Cruzados Alan Ferber - on Flow, Jumble, Caminhos Cruzados Bruce Eidem - on Hiding Out Pete McGuinness - on Flow Nathan Durham - bass trombone on all tracks
Guitar Steve Cardenas - on Hiding Out Jesse Lewis - on Jumble, Caminhos Cruzados Jay Azzolina - on Flow
Bass John Hebert - all tracks
Drums/ Percussion Mark Ferber - on Hiding Out, Caminhos Cruzados Jared Schonig - on Flow, Jumble Rogerio Boccato - on Hiding Out, Jumble,
Trombonist, vocalist, arranger, and composer Pete McGuinness, a native of West Hartford, CT, is a graduate of the famed Hall High School music program who went on the New England Conservatory of Music and the University of Miami, then earned his graduate degree at the Manhattan School of Music. McGuinness studied with Bob Brookmeyer and Manny Album in the BMI Jazz Composers Workshop. He's been on the New York City jazz scene as long as his good friend Mike Holober, playing in the pianist's large ensembles as well as experiences with the Woody Herman Orchestra, Jim Cifelli's Nonet, and Bill Mobley's "SMOKE Big Band" plus recorded with the Maria Schneider Orchestra on "Concert in The Garden". Although he had been co-leader on several albums in the 1990s, it was not until 2007 that McGuinness signed with Summit Records and released his first Jazz Orchestra album.
His latest recording, "Along For The Ride" (Summit), is the third Pete McGuinness Jazz Orchestra album (and fourth for the label). The 17-member ensemble is comprised of New York City-based musicians, many of whom have worked together in groups led by Maria Schneider, Alan Ferber, Ryan Truesdell, and others. Powered by an excellent four-person rhythm section including pianist Holober and drummer Scott Neumann, the music that McGuinness has composed and/or arranged for this project gives everyone the opportunity to shine. The leader, whose previous album "Voice Like a Horn", featured a smaller ensembles as well as his fine trombone work and handsome tenor voice, keeps both under wraps much of the time (save for a wordless vocal on "You Must Believe in Spring", singing the lovely ballad "May I Come In", and unpacking his 'bone for a delightful solo on his original "Point of Departure", not the Andrew Hill composition).
McGuinness's program has a healthy balance of slower pieces with full-throated romps. The latter is represented on tunes such as the venerable standard "Put On a Happy Face." After the brass and reeds introduce the tune (notice the sly call-and-response before the melody is played), there are several delightful solos, especially Holober's exciting turn. Nat Adderley's "Jive Samba", which opens with a six-note phrase older listeners may recognize from "Rowan & Martin's Laugh-In", is a playful dance – Holober switches to electric piano, a sound that hearkens back to Joe Zawinul's work with Cannonball Adderley's Quintet.
Two of the tracks, both McGuinness originals, exceed 11 minutes. "Old Roads" has great section work around a handsome melody replete with counterpoint and harmonies. Holober's piano solo stands out for his ability to tell a story while he's "singing". The piece is capped by a short but catchy drum solo and a trumpet outro that takes its time to reflect on the song. "Aftermath", the longest cut at 12:27, opens as an introspective ballad with the rhythm section providing the ethereal introduction before Dave Pietro plays the melody on soprano saxophone. It's his piece throughout even as the brass and reeds enter to raise the tension. Pietro responds and the piece moves out, loses its darker edge when he plays a danceable duet with Neumann's drums. When that ends, there's a delightful soprano sax round that leads to a short piano solo. The episodic nature of the piece, with several different mood shifts, all feature the soprano saxophonist. Near the close of the piece, he plays a beautiful, soulful, melody, that hearkens back to the ethereal opening.
"Along For The Ride" closes with "One For the Maestro", the leader's tribute to his Hall High Band Director Bill Stanley. It's the most traditional piece on the album, With a sound that is reminiscent of the Count Basie bands of the 1950s and 60s, serving as a coda to a most delightful "ride". Pete McGuinness has shown himself to be an excellent arranger and his original compositions on this album are among the most mature of his three+ decades. The Pete McGuinness Jazz Orchestra, now in its 13th year, makes music to savor!
Pete McGuinness: leader, composer, arranger, trombone;
Bill Mobley: trumpet; Jon Owens: trumpet; Tony Kadleck: trumpet; Chris Rogers: trumpet;
Dave Riekenberg: alto sax; Dave Pietro: alto and soprano sax; Rob Middleton: tenor sax; Mark Phaneuf: tenor sax; Tom Christensen: baritone sax;
Jeff Nelson: trombone; Matt Haviland: trombone; Bruce Eidem: trombone; Mark Patterson: bass trombone;
Mike Holober: piano; Paul Meyers: guitar; Andy Ealau: bass; Scott Neumann: drums.
Just received an email from educator, bandleader, arranger, and composer that his new book "Bob Brookmeyer: In Conversation with Dave Rivello" should be out in print by mid-August. Rivello funded his book through ArtistShare – writer's note: I happily supported the project being a fan of Mr. Brookmeyer's music since the 1982 release of "Make Me Smile" by the Mel Lewis & The Jazz Orchestra (why has this classic album never been reissued on CD?) Mr. Brookmeyer (1929-2011, pictured above) had a long career that hit some bumps along the road but really he always could play his valve trombone and piano and really hit his stride in the mid-1980s after shaking off his addictions. His songs and arrangements for various large ensembles, including his own New Art Orchestra, are among the most adventurous in contemporary music plus his work as an educator influenced a slew of bandleaders including Mr. Rivello, Darcy James Argue, Jim McNeely (who wrote the "Forward" in the new book), Maria Schneider, Mike Holober, Ayn Inserto, and so many more.
The author sat with his mentor over several days in January 2010 and recorded their discussions. He sent along a digital copy and, while I do not possess much musical intelligence, Mr. Brookmeyer's stories, some funny, some straight-forward, always truthful, are a pleasure to read. He talks about the influence of 20th Century Classical music on his later compositions, chats about the experiments he attempted in his arrangements, and about how happy he was teaching, composing, arranging, and recording into his 80s. There's plenty of technical talk that should please students as well as an understanding of the creative mind at work (and the plain fact that creativity is work, a lot of work, but for Brookmeyer – especially later in life – fun and rewarding).
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.
The best review of "Standards", the latest release from Bob Brookmeyer (ArtistShare), comes inside the package. Maria Schneider, a disciple/student of the late composer-arranger, does a thorough job of explaining each one of the 8 tracks. This CD, released several weeks before Brookmeyer passed in December of last year, features his favorite aggregation of the past 15 years, the New Art Orchestra with special guest Fay Classens on vocals.
If you are a Brookmeyer fan, you probably already own the recording (perhaps you even contributed to ArtistShare to support the project.) If you have never heard a CD with Brookmeyer and the NAO, then you are missing some of the most vital contemporary music created in the new millennium. The way the arranger uses the different sections (the brass writing is particularly sharp on "Standards") can often be breathtaking. On this CD, the different ways that Brookmeyer frames Ms. Classens' vocals really captures the ear. "Detour Ahead", a piece co-written by Herb Ellis, Johnny Frigo and Lou Carter, has been recorded by scores of artists, from Billie Holiday to Sarah Vaughan to Kurt Elling, features smooth horn lines (lovely soprano saxophone shadowing the vocal) and the most delicate drumming from John Hollenbeck. The "heavy" opening of "Love for Sale" gives away to a lovely brass and reed introduction to the vocal, which is sung over Kris Goessens' expressive piano. Yet, the bluesy swagger of the opening returns for a short lead to the brass & reed intro. The "cat-and-mouse" game goes on throughout the song - on the final verse, Ms. Classens gives the tune a tremendous emotional life.
Brookmeyer has recorded "Willow Weep for Me" on numerous occasions starting in 1966 with his arrangement for the Thad Jones-Mel Lewis Orchestra. Here, the arrangement retains its bluesy mood but has a darker feel in the opening. The sweet trumpet solo from Ruud Breuls over a rhythm that could have come from Gershwin's "Porgy and Bess" is long and languid and goes out on a playful note; still, the ominous horns and synthesizer lines lead the song and soloist out.
The opening section of "I Get A Kick Out of You" is literally indescribable - magical, classically inspired, it drops away to Goessens' piano and Ms. Classens' singing the rarely-heard opening verse. Then, we move into the body of the song and the arrangement builds off the simple piano riff and Hollenbeck's propulsive ideas.
"Standards" allows the listener to bask in the light of Bob Brookmeyer one more time. Like most of his big band work (starting with Gerry Mulligan in the late 1950s until this recording), the more you listen the more you hear. John Hollenbeck's drum work is quite impressive; not only can he drive a large ensemble, but he plays so subtly behind the Ms. Classens (listen to his simple yet brilliant work on the last verse of "Detour Ahead.") It may be a cliche to write that Bob Brookmeyer (1929-2011) will live as long as music lovers continue to explore his recordings and bands play his arrangements or his numerous students continue to create new music for large ensembles but it's true. Thanks to the wonderful musicians and vocalist, the engineers, the people who supported the project as well as the people who buy the CD, this music is a living and breathing testament to the joy Bob Brookmeyer gave to all of us through his creativity and hard work. To find out more, go to www.bobbrookmeyer.com.
"Changing Seasons"(ALMA Records) is an ambitious project composed and arranged by Canadian-born saxophonist/pianist Phil Dwyer. The 4-part suite - "Spring", "Summer", "Autumn" and "Winter" - features a 37-piece orchestra plus guest soloists Mark Fewer (violin, conductor of the 21-member string section) and Ingrid Jensen (trumpet on "Winter"). The music is supple, luscious, built around Fewer's expressive violin work. The band can swing, powered by the rhythm section of Chris Gestrin (piano), Ken Lister (bass) and Jon Wikan (drums, percussion) and there are many moments when Dwyer's arrangements balance the strings and "big band" sound. Wikan, who also is the propulsion beneath Darcy James Argue's Secret Society, does fine work throughout the program. His subtle yet strong work under Fewer's solo on "Autumn" allows the piece to breathe and his rambunctious work on "Winter", especially as Fewer then Ms. Jensen solo is quite enjoyable.
Fewer, Artistic Director of the Sweetwater Music Festival and chair of the string department at the Schulich School of Music at McGill University, plays with emotional intensity throughout. He opens "Autumn" by himself, with a lovely melody that shows his impressive technique; yet it's his heart that one hears in the music. In the middle of the piece, his poetic lines dance atop the active rhythm section.
"Changing Seasons" is the second recording I've reviewed in the last few weeks that uses the different times of the year to tell its story - Anthony Wilson's "Seasons: A Song Cyclefor Guitar Quartet" was the other. Both CDs are rich with melodic inventions and strong musicianship. Phil Dwyer, who's recorded with bassist/vibraphonist/pianist Don Thompson as well as the Bridge Quartet, truly stretched himself to create this stirring music. The blend of strings with big band reeds, brass and rhythm section sounds natural, relaxed yet with much depth. For more information, go to www.phildwyer.com or www.almarecords.com.
The joy of having a blog is that one can correct his mistakes - the flipside of that statement is that I make too many mistakes (all the more as I approach "alter kocker" status - look it up.)
In my previous post ("Rest of Best Of.."), I inadvertently omitted the splendid "Goldberg Variations/Variations" recording of pianist Dan Tepfer (Sunnyside). And, in my haste to complete the list before 2012, I left out a section of favorites that fall, for me, in the category of "Uncategorizable." In June, I reviewed "Interstitials", the latest release by composer/vocalist/guitarist Joshua Stamper. Returning to the music over the past week, it still sounds fresh and refreshing; the blend of voices, guitars, low brass and woodwinds makes me smile, replacing the chill of the outside world with the joy of creation. My review (click here) still contains a link to the music.
"Flickers of Mime/Death of Memes", the latest "solo" creation of Alexander Berne & The AbandonedOrchestra (Innova Recordings) is filled with sounds that are wonderfully strange and familiar at the same time. Berne's music is a mysterious world of sounds from many different sources, including instruments of his own making. Like many other composers whose work is considered "out" (such as Roscoe Mitchell, Terry Riley, John Cage), the listener has to jettison preconceived notions of what music "should be" and revel in composer's sonic world. Yes, easier writ than done but... For more information and a fascinating visual experience, go to www.alexanderberne.com.
There are numerous examples of musicians who came of age in the 1960s who still perform their "hits" on a regular basis - because they are in the "music business", many of them plow the same fields that gave them their fame.
Paul Simon will still perform his "big hits" but he is no nostalgia act. He continues to write, record and go on tour, all the while continuing to experiment. Some work, some don't, but his music stays pliant and current. "So Beautiful or So What" (Hear Music) shines, plain and simple. Make of the lyrics what you will but this music, a wondrous amalgam of guitars, drums, blues and world music influences, is often exhilarating.
Darcy James Argue has added his voice (and the words of others) to the tributes for Bob Brookmeyer. Argue blends his heartfelt words with reflections from others who have been touched by the music and teachings of this man whose career spanned 6 decades and whose influence on large ensemble music can be compared to that of Edward Kennedy "Duke" Ellington. Go to www.newmusicbox.org/articles/celebration-remembering-a-tribute-to-bob-brookmeyer/ to read the entire piece.
In the rush to get my previous post on Bob Brookmeyer completed, I forgot to mention the influence the arranger/composer had on the life and work of Darcy James Argue. When you listen to the debut CD of DJA's Secret Society, "Infernal Machines" (New Amsterdam), one can hear brass sweeps, long sections of melodic development and just how important a strong drummer (in this case, Jon Wikan) is in the music of a larger ensemble. And you can trace that style back to Bob Brookmeyer. Like most smart, creative, and hard-working composer/arrangers. Argue adds other influences to the mix to make the music his own. Go to secretsociety.typepad.com and read what Mr. Argue has to say about his mentor and friend.
Then, go take a look at what 26-year old Nicholas Urie (click here) has to say about Mr. Brookmeyer. A teacher, an elder statesman, a friend, a mentor, Bob Brookmeyer, through his life's work, set an example that not only resonates through his music but now courses through the creations of his students and admirers.
I had the post planned out in advance. This coming Monday (December 19), I would wish the composer-arranger-valve trombonist Bob Brookmeyer a Happy 82nd Birthday with a sparkling review of his new CD, "Standards" (Artist Share), recorded with his most constant ensemble of the last 15 years, the New Art Orchestra, and guest vocalist Fay Claassen.
Instead, this post is 3 days before his birthday and written the day after Bob Brookmeyer died. There will be plenty of deserving tributes for this man who had a most wonderful talent to write handsome melodies, unique arrangements, and could play with humor. Oddly, his passing comes at the same time as the writer and political & cultural correspondent Christopher Hitchens. Although the politics of the 2 men were diametrically opposed (Brookmeyer strongly opposed the Iraq War and it's another odd coincidence that the US involvement in that country - a deployment Hitchens greatly supported - is now history.) Both men wrote with great passion and disregard for the feelings of those who disagreed with them. And, both deplored complacency, an attitude that has been in abundance for the longest time.
Bob Brookemeyer leaves behind a legacy of 50+ years of fine recordings (his work in the 1950s and 60s with Jimmy Guiffre and the Gerry Mulligan Concert Jazz Band) and splendid compositions and arrangements for the Thad Jones-Mel Lewis Big Band. He co-led a Quintet with trumpeter Clark Terry in the 1960s and recorded a 2-piano date with Bill Evans. After Thad Jones left the US to work overseas, Brookmeyer became musical director of the Mel Lewis Orchestra (the band's 1982 classic, "Make Me Smile", is woefully not available on CD). He also recorded a duo set with Jim Hall,
recorded in smaller group settings (one quite memorable one with trumpeter Kenny Wheeler and never shied away from experimentation. Yet, his output with the New Art Orchestra supplied with a vast canvas and he painted so many memorable musical portraits with that ensemble ("Waltzing With Zoe", "Elegy", the entire "Spirit Music" CD) - on the new CD, the opening section of "I Get A Kick Out Of You" channels Aaron Copland, Erik Satie, and Nino Rota without sounding like any of them.
He also leaves behind a slew of disciples and students ranging from Maria Schneider (who sent out the initial announcement of his passing) to John Hollenbeck (who Brookmeyer installed as the drummer in the NAO) to Ayn Inserto to Ed Partyka to Nicholas Urie and many more. Ms. Schneider was also the driving force behind the new CD, making the initial suggestion and writing the expansive liner notes.
As I wrote above, in the next few days and weeks, there will be plenty of tributes. Start here with Terry Teachout, move on to Peter Hum (who has a fine knack of getting quotes from musicians - click here) and then take the time to read this excellent 2009 interview on Marc Myers' JazzWax website (click here for Part 1). Such a great talent - we are so lucky to have so many examples of his music to get lost in. Losing Bob Brookmeyer and Paul Motian is the space of 3 weeks is quite shocking but that's one of the mysteries of life.
I get dozens of emails every day but few more exciting than the one telling me that there's a new Bob Brookmeyer CD coming at the end of September. With his faithful ensemble, the New Art Orchestra as well as vocalist Fay Claasen, Brookmeyer has created "Standards." The idea of both Maria Schneider and the trombonist-arranger's oldest friend (they first met in 1946!), the CD will come out via ArtistShare meaning that you can take part in the project. If and when you sign up (the URL is below), you get a download of "How Deep Is the Ocean" and you'll understand why every new recording from the 81+ year-old Brookmeyer is a real treat. For more information, go to www.artistshare.com/projects/project_experience.aspx?projectID=409&artistID=22.
In May of this year, I wrote about percussionist-conceptualist Brian Adler and his "Helium Project" - at that time, I said "Essentially what Adler is doing is creating a coterie of collaborators throughout the world, musicians and vocalists he can work with when he is "on the road." You may have read of musicians who travel sans rhythm section and hire a local band/rhythm section for each gig. Through the "magic" of modern technology, Adler can compose, record, and edit a piece of music with anyone, anywhere, and any time. You may be thinking "what's the difference between hiring a local rhythm section and creating a song in this piecemeal fashion?" Through the Helium Music Project, Brian Adler has turned the world into his playground in that he already has a working relationship with his collaborators."
"Phase 2" is now out; it's one song "Esa Pantero Baja La Luna" and features the New York-based Adler with a trio of Argentinean musicians including Rodrigo Dominguez (tenor saxophone), Juan Pablo Arrendondo (guitar) and Jerónimo Carmona (acoustic bass). The drummer writes that "the piece is inspired by a poem by Jorge Luis Borges and the Argentine folk rhythm, the chacarera." There is no denying it's a propulsive number, built upon Carmona's thick-sounding bass lines and Adler's poly-rhythmic drumming. Both the saxophonist and guitarist play strong solos, the former pushing against the force of the rhythm section while the latter rides atop the fiery flow. You can listen and then purchase by going to helium.bandcamp.com/track/esa-pantera-bajo-la-luna.
Pianist David Berkman's approach to "standard" is anything but. He's the de-facto leader of the New York Standards Quartet, an ensemble that also features Tim Armacost (saxophones, alto flute), Gene Jackson (drums) and Yosuke Inoue (bass.) This "band of friends" has been making music together for 6 years and "Unstandard" (Challenge Records) is their 2nd CD.
The band spent a June day recording in Tokyo, Japan, and the results are a joyous set of tunes that are either "standards" or based on standards. The former group includes "swinging" takes of tunes such as "How High the Moon", "All the Things You Are" and "Stablemates" (dig the work of both the pianist and drummer as they play beneath the tenor sax solo and together on the piano spot.) The program also includes 3 short "Polka Beamlets" composed by Berkman (bet you can figure out what tune they are based on), 2 longer originals also composed by Berkman (based on standards), a duet of tenor sax and drums and one very short (:37 seconds) tenor solo from Armacost aptly titled "After Thought" (though not the final track.) The blend of alto flute and piano on Jimmy Van Heusen's "But Beautiful" is quite lovely; the duo ride atop the swirling cymbals, the rubato nature of the piece making the music seem suspended in time. Berkman's "Lunar" opens with a bass solo that quickly moves into a flying "walking" bass line supported by Jackson's highly propulsive drumming. Armacost, on soprano sax, really digs into his solo before yielding the spotlight to Berkman who absolutely "dances" over the drums.
The playing is "serious" even as the quartet is having fun making its way through the tunes. "They Ballet Girl Stirs (By Starlight)" (the title a nifty anagram and the words in parentheses tell what the tune is based on) is a pleasing ballad with emotionally rich tenor sax playing, full piano chords and more excellent work from the rhythm section.
What's not to like about "Unstandard"? The melodies are quite fine, the solos strong, the interplay exciting and intelligent, and Gene Jackson's work is stellar (bassist Inoue is the "true" time-keeper, though there are moments when his counterpoint to the soloist is quite imaginative.) On paper, this might look like a run-of-the-mill series of hard-bop interpretations; don't be fooled. The New York Standards Quartet makes creative music that rings true. For more information, go to www.davidberkman.com.
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