Plenty of Big Band/Large Ensemble have come my way this Summer––here's three of the best!
Arranger, conductor, composer, and educator Chuck Owen, with over four decades on the music scene, finally got to live a dream in late 2019 when he flew over to Germany to record with the WDR Big Band. He was hoping to record new pieces with the ensemble but the sessions were moved up. Instead, he "reimagined" three of his original works, arranged three pieces by members of the WDRBB, and brought over arrangements of the Frank Sinatra/Tommy Dorsey classic "This Love of Mine" (1941) and Chick Corea's "Arabian Nights" (from 2007's "The Ultimate Adventure"). Over the course of the eight song, 73-minute, program, the music not surprisingly displays the talents of one of Europe's most accomplished ensembles but also the intelligent, witty, arrangements of Mr. Owen.
The sessions were recorded before and during the Pandemic. Ms. Caswell made the initial journey and is guest soloist on two of the tracks including the achingly lovely "Of Mystery and Beauty" composed by WDR alto saxophonist Karolina Strassmeyer. Watch below and listen how Owen's arrangement moves the brass and reeds around the solos. Bassist John Goldsby's evocative "Fall Calls" has a lovely melody line shared by alto and trombone (Ms. Strassmeyer and Andy Hunter)––nothing is rushed and you can almost hear the autumn leaves pirouetting down from the tree. The Big Band kicks good and hard on Mr. Owen's "...And Your Point Is?"–thanks to the presence of organist Billy Test, the tunes sounds somewhat like Jimmy Smith and his large ensemble recordings on Verve.
While it turned out that the sessions that created "Renderings" were a hardship for those involved, the music triumphs. If you are an aficionado of Big Bands, you already know how good the WDR Big Band can be––thanks to the top-notch material and excellent arrangements from Chuck Owen, the large ensemble is at the top of its game––go listen.
Here's "Of Mystery and Beauty" with guest Sara Caswell:
Boston, MA-based pianist and composer Mehmet Ali Sanlikol has never been one to shy away from his Turkish roots (born in Istanbul, Turkey, in 1974)–over the course of five albums released on DUNYA Records in the past nine years, he has shown an affinity to large ensembles (with one exception, his 2021 trio date "An Elegant Ritual"). His main vehicle is Whatsnext?, a sprawling 20-person group that includes a three-person percussion section made up of the finest musicians in the Boston area. "Turkish Hipster: Tales From Swing to Psychedelic" (the title tells the listener what to expect) is quite the trip. With guest artists such as Anat Cohen (clarinet), Miguel Zenón (alto saxophone), and Antonio Sanchez (drums), the music expands to take in the styles and influences of those musicians, with the composer and arranger finding ways to tell all the stories contained in the compositions.
Photo: Eric Antoniou
The program opens with "A Capoeira Turca (Baia Havasi)" which blends Turkish and Brazilian rhythms plus the expressive and joyful clarinet of Ms. Cohen. Listen below and see if you can keep still––it's downright funky. The most ambitious piece on the album follows; "Times of the Turtledove" takes its form from classic Turkish music yet drummer Bertram Lehmann and bassist Fernando Huergo give the piece a more modern sound in the first part of the episodic work. A lovely melody played by the leader on ney flute supported by a simple percussive pattern gives away to the brass section's strong melodic interpretation of the theme. Mr. Zenón plays as part of the ensemble early in the piece and does not move out for a solo until nearly 10 minutes has passed. The rhythm section dances beneath him before the horns and brass swell up leading to a powerful finish to his musical story. All three of the guests plus the leader are celebrated by rapper Raydar Ellis on "The Boston Beat", a funky hiphop tune that pulsates out of the speakers.
"Turkish Hipster: Tales From Swing to Psychedelic" closes with the three-part 21-minute "'Abraham' Suite". Featuring Mr. Sanchez, the story is based on the patriarch Abraham's story seen through the lens of Islam; the piece was commissioned for the Jaazar Festival in Switzerland and also recorded with an international lineup of musicians including drummer Billy Cobham. The composer expanded the arrangement for this more orchestral lineup. It's a powerful piece with excellent musicianship and an impassioned vocal for Mr. Sanlikol.
This splendid recording illuminates the many and varied talents of Mehmet Ali Sanlikol, especially in how he marshals his musical troops to create a work of beauty, power, and a bit of sassiness, one that will resonate for years to come. For more information, go to www.sanlikol.com/whatsnext/.
Here's the delightful opening track (featuring Anat Cohen):
Dr. Javier Nero, trombonist, composer, and arranger, has an impressive CV, one that encompasses his education at the Juilliard School and the Frost School of Music at the University of Miami. He has played and recorded with numerous large ensembles, played in Broadway pit bands, and worked with artists such as Veronica Swift, trumpeter Brian Lynch, and pianist Shelly Berg (among many others). He is currently the lead trombone for the U.S. Army Blues, an 18-member Big Band that plays concerts throughout Washington D.C. In 2020, Outside In Music released his debut Septet album––"Freedom" featured all original material, band members included bassist Dion Kerr (Nicholas Payton, Marcus Strickland), saxophonist Melvin Butler (Brian Blade), and pianist Tal Cohen (Terence Blanchard) as well as numerous guests including the afore-mentioned Messrs. Lynch and Berg plus vocalist Lauren Desberg.
For his second Outside In Music album, "Kemet (The Black Land)", the ensemble is now billed as the Javier Nero Jazz Orchestra, 18 musicians (plus guests) strong. Most of the musicians are members of the U.S. Army Blues with a number of guest artists including Randy Brecker (trumpet), Warren Wolf (vibraphone), Sean Jones (trumpet), and others. The nine-song, 74 minute, program covers a wide swath of musical territory from blues to swing to lovely R'nB ballads to World Music. The playing is uniformly (no military pun intended) excellent and the occasional use of vocals add a fuller feel to tunes such "One Day", the lovely Brazilian/African-flavored "Reflections on the Dark, Tranquil Water", and the title track. "Reflections..." stands out for many reasons including the well-crafted melody, the handsome piano solo (Josh Richman), and the leader's silky-smooth melodic solo. The folky African feeling "One Day" rides in on the acoustic guitar of Michael Kramer that leads to Dr. Nero's aspirational lyrics. After a soaring flute solo (Daniel Dickinson), there is a fine Chris Burbank trumpet solo with the assembled voices swirling around him. Perhaps the prettiest tune on the album is the impressionistic ballad "Just Let Go", a soulful ballad with a handsome trombone solo from the leader and impressive arrangement for the horns and reeds (clarinets add quite a lovely touch
Listen below to "Nostalgic Haiku", a soulful song with powerful brass and great solos from Messrs. Brecker and Wolf. The rhythm section, especially electric bassist Regan Brough and drummer Kyle Swan, create a strong pulse while the arrangement opens to smart section behind the soloists second chorus.
The digital edition of "Kemet (The Black Land)" features two bonus tracks (pushing the total time of the album to 87 minutes!). Cole Porter's "It's Alright With Me" features the sweet voice of Christie Dashiell, a rollicking piano solo from Richman, and the excellent trumpet spot for Sean Jones (he spars with the vocalist). The album closes with McCoy Tyner's "Contemplation" (off of the pianist's 1967 Blue Note Lp "The Real McCoy"). The leader creates a sturdy solo before Sean Jones digs into his wide-ranging solo. Richman (who's quite active on the Philadelphia scene) again delivers a fine solo which leads to the song's end and the program's finish.
Take your time to savor the music on "Kemet (The Black Land)", listen to the arrangements, to the excellent section work, to the fine solos, and to the music. Javier Nero has certainly put his heart and soul into this recording, gathering his musician friends to help tell all these stories. There's a lot to here to contemplate as well as pieces that just ask to tap your feet or clap your hands. Dr. Nero's music has expanded exponentially since his 2020 debut and one expects/hope he continues to mature as a composer, arranger, and musician.
Since I began this blog in 2009, I realized that every Top Ten list has a number 11, 12, and so on. When hundreds of recordings are released every year, it's physically impossible to give every one of those albums the time it deserves to be heard but I believe that every reviewer/ critic has favorites that could quite easily replace several, if not more, of the recordings listed 1-10. Ergo, here's Part 2.
Fergus McCreadie – "Cairn" (Edition Records) – The young Scottish pianist and composer has proven himself to be a technical wizard but this album shows he has a delightful and potent lyrical side. Wit an equally impressive rhythm section, this music sings.
Joe Fiedler's "Open Sesame" – "Fuzzy and Blue" (Multiphonics Music) – Trombonist, orchestrator, and composer Fiedler has the music director of "Sesame Street" for over a decade embraces his playful side. Along with trumpeter Steven Bernstein, saxophonist Jeff Lederer, bassist Sean Conly, drummer Michael Sarin, and (occasional) vocalist Miles Griffith, he takes this "kids music" and brings out the funky, jazzy, side.
William Parker – "Migrations of Silence Into and Out of the Tone World" (AUM Fidelity) – 10 albums, 10 different ensembles, hours of fascinating music: released early in 2021, this collection continues to display/ uncover the bassist's endless springs of creativity each time you play one or more of the recordings. In those hours when the despair in the world has tried to overtake the days/ nights, Mr. Parker's music reminds one that music is a welcome oasis.
In 2021, the Finnish label TUM Records celebrated Wadada Leo Smith's 80th birth year by releasing four projects, three in multi-disk boxed sets that the trumpeter, composer, and conceptualist recorded in the past six year. All four deserve to to be listed in Part 1 of these posts and in any "Best of" list. The picture on the left is the cover of "A Love Sonnet for Billie Holiday" featuring Wadada with drummer/ percussionist Jack DeJohnette and pianist/ organist/ synth player Vijay Iyer.
"Trumpet" (pictured left) is three albums of solo trumpet music recorded in St Mary's Church in Pohja, Finland. Before you shake your head and walk away, know that this is an amazing journey filled with introspection, joy, feistiness, freedom, and more, never failing to satisfy the adventurous listener. One can hear the spirits of Louis Armstrong, Lester Bowie, Booker Little, and Clifford Brown shaking their collective heads and shouting "Amen"!
"Sacred Ceremonies" is also a three-CD set, one with Wadada and percussionist Milford Graves, one with the trumpeter and bassist Bill Laswell, the third with all three artists. The sound quality of these albums is stunning, one feels as he or she in the middle of a room watching the the musicians creating in the moment. Music without borders played by musicians who love and respect each other so they create without ego.
Go to https://tumrecords.com/tum-info to find out more and also to check the 38-minute video of Wadada's 80th Birthday tribute.
Gabriel Vicéns – "The Way We Are Created" (Inner Circle Music) – Puerto Rican-born guitarist and composer Vicéns strikes gold with his third album as a leader. His mature, intelligent, and playful compositions are performed by a splendid sextet including Roman Filiú (alto sax), Glenn Zaleski (piano), Rick Rosato (bass), E.J. Strickland (drums), and Victor Pablo (percussion). One can get lost, entranced, in the flow of this wonder-filled collection.
Roxana Amed - "Ontology" (Sony Music/Latin) – The Argentinean-born, Miami, FL, vocalist, composer, and educator has had a long and distinguished career in Latin America. Since moving to the US, Ms. Amed has created alongside Guillermo Klein, Frank Carlberg, Leo Genovese, and others – this album runs the gamut from introspective ballads to performances in a "freer" style and a voice that move one to the edge of his seat.
Jen Shyu – "Zero Grasses: Ritual for the Losses" (Pi Recordings) – There are albums and artists whose music enters my brain and soul yet I cannot really describe why. Ms. Shyu, an amazing composer, musician, and performer has the innate ability to make "foreign" sounds feel familiar; in the case of this album, much of which is inspired by the loss of her father, it's because she is telling a story mostly all of us live through, facing pain with the need to create music that "frees" feelings. Her ensemble – Ambrose Akinmusire (trumpet), Dan Weiss (drums, percussion), Thomas Morgan (bass), and Mat Manieri (viola) – aids in her quest with creativity and dignity for the subject matters.
Lorraine Feather – "My Own Particular Life" (Relarion Records) – Ms. Feather has proven herself time and time again to be one of the finest lyricists of the past 20 years. Over the past decade, her albums have become even more personal even as she displays quite a love for science as well as more arcane subjects. This may be her most personal album as there are songs that address her former husband's battle with dementia, how one lives a real life during the pandemic, and a few more. But there are also new examples of her delightful humor. The band, all recorded remotely (including the late percussionist Michael Shapiro who recorded his work in the Philippines!), is her usual band of suspects including the wondrous violin of Charlie Bisharat.
Art Hirahira – "Open Sky" (Posi-Tone Records) – Over the past decade, pianist and composer Art Hirahira has issued six albums as a leader for the Los Angeles-based Posi-Tone Records: he started out strong in 2011 with "Noble Path" and his music has only gotten stronger and more delightful since. Here, he is backed by Posi-Tone's "pandemic" rhythm section (bassist Boris Kozlov and drummer Rudy Royston with guests vibraphonist Behn Gillece and tenor saxophonist Nicole Glover performing on selected tracks) and the results are exciting, lyrical, exploratory, and so much more.
Chuck Owen & The Jazz Surge – "Within Us" (MAMA Records/ Summit Records) – Composer, arranger, and educator Owen (who retired this year) has produced one fine large ensemble album. The lyricism, the musicianship, the delightful violin of guest artist Sara Caswell, and a 19-piece band that is so responsive that the music flows seemingly without effort, Mr. Owen has kept this band together for 25 years (this album celebrates that longevity), continuing to produce music filled with ideas, possibilities, dreams, and realities.
Chuck Owen has had a long career as a jazz educator, composer, and arranger. In 1981, Owen left California where he had been attending school and free-lancing as a film composer: he and his family moved to Tampa, Florida, when he became the first full-time faculty of the Jazz Studies program at the University of South Florida. Over the decades, Owen helped to build a program that is one of the best in the United States –– he's also been involved in numerous educational events and workshops around the country and, in 2015, helped to create the International Association for Jazz Education. On top of that, in 1995, Owen organized the Jazz Surge, a 19-member ensemble, to be his primary creative outlet.
To celebrate the group's 25th Anniversary, Owen created "Within Us" (MAMA Records/Summit Records), a eight-song program that features six originals plus one composition each by Chick Corea and Miles Davis. The album opens with Corea's "Chelsea Shuffle", a piece that the late pianist created for his 2001 New Trio. Originally the pianist was scheduled to record with Owen's band but passed before he could join the Jazz Surge in the studio. The solos in the bluesy piece belong to soprano saxophonist Steve Wilson (who was part of Corea's Origin band), vibraphonist Warren Wolf, and bassist Mark Neuenschwander but do pay attention to the sections move in and around the soloists. Violinist Sara Caswell soars over the acoustic strumming on "Trails of the Ancients" –– when the band drops out and you hear guitarist Corey Christiansen's rhythm guitar, there's a strong hint of The Who's "Pinball Wizard" in that moment. But, the remainder of the piece includes splendid direction from drummer Danny Gottlieb and a powerful electric guitar spot for Larue Nickelson.
Pick a track, any track, and you will hear excellent writing, splendid musicianship, and memorable solos. The rhythm section creates a funky foundation for the band on Miles Davis's "Milestones": the herky-jerky conversation between Gottlieb and the sections right before his short solo is a treat as is how the ensemble moves out of that into a delightfully impressionistic reading of the melody. Meanwhile, soloists Jack Wilkins (tenor sax) and Clay Jenkins (trumpet) weave their lines around each other. Be sure to dig the fun and heroic bari sax work of Matt Vance! That's Vance's bass clarinet beneath the handsome melody of "Apalachicola", a ballad that puts Ms. Caswell's violin, Christiansen's bluesy (and roaring) guitar, and Tom Brantley's moaning, gutbucket trombone in the solo spotlight. Vibraphonist Wolf and trumpeter Jenkins lead the ensemble in on "The Better Claim", a piece that Owen created for his 2011 "River Runs: A Concerto for Jazz Guitar, Saxophone, & Orchestra". While Ms. Caswell's violin is prominent in the mix, the reeds and brass dance around the fine solos. Note how Owen blends a single sax with the trumpets, the trombones swirling underneath, all the while Gottlieb is piloting the musicians through the "rapids".
The final piece in the program, "Within Us (An Invincible Summer)", a lovely ballad inspired by Albert Camus's essay "Return to Tipasa". The beauty of the melody, the sparkling piano of Per Danielsson, the light tenor phrases of Rex Wertz, and the occasional violin phrases, are clear, harmonious, and, in the final analysis, soothing to the listener's soul.
25 years is a long time for any group to stay together much less a large ensemble. But the intelligence and musicality in the material that Chuck Owens composes and/ or arranges for the Jazz Surge keeps the ensemble on the edge of its creative seats. "Within Us" is a gem, well worth examining numerous times so that you can see its myriad facets.
For more information, go to www.chuckowen.com. The album is set to be released on September 17, 2021.
Check out this short video to see the Jazz Surge going to work:
Personnel:
GUEST SOLOIST
Warren Wolf (Vibes/Marimba)
WOODWINDS
Tami Danielsson
Steve Wilson
Jack Wilkins
Rex Wertz
Matt Vance
TRUMPETS
Frank Greene
Jay Coble
Mike Iapichino
Clay Jenkins
Composer, arranger, and Pittsburgh, PA, native David Sanford (pictured left) often blurs the lines between classical and jazz as well as composition and improvisation. Started his musical life young as an aspiring trombonist, loving r'n'b and "Soul" music, he discovered Charles Mingus and that helped turn his life towards composing. He did his undergraduate work at the University of Northern Colorado, went on to get a Masters of Music at the New England Conservatory and his M.F.A. and Ph. D at Princeton University. Dr. Sanford has won a slew of awards and fellowships plus became the conductor of the Pittsburgh Collective, a 20-member orchestra that also straddles genres. He currently is the Elizabeth T. Kennan Professor of Music at Mount Holyoke College in South Hadley, MA.
Greenleaf Music will release "A Prayer for Lester Bowie" by the David Sanford Big Band featuring Hugh Ragin on September 24, 2021. The eight-song program, composed and arranged by Dr. Sanford save for the title track which is the work of Dr. Ragin plus a rollicking reading of Dizzy Gillespie's "Dizzy Atmosphere". The band is composed of members of the Pittsburgh Collective and others (such as saxophonist Anna Webber and trumpeters Brad Goode plus Tony Kadleck). The music on the album is brash, brassy, bold, at times hard-rocking (guitarist Dave Fabris really wails on several tracks), and full of aural surprises. My initial reaction was that the music reminded me of the Muhal Richard Abrams Orchestra and that composer-arranger's ability get all sorts of sounds and moods out of the musicians.
The album opens with "Full Immersion" – the band, led in by conga player Theo Moore, drops into a funky beat piano, chunky guitar, funky bass line, and drummer Mark Raynes playing side of his snare. You can hear the influence of soul riffs on the sectional writing as the piece moves forward. It's fun to hear the lower brass (bass trombone and tuba) dueling over the Raynes thundering drum between the strong tenor sax solos from Ms. Webber and Geoff Vidal (the pair then trade phrases as the band thunders on before coming together to raise the roof).
Dr. Ragin takes center stage for the title track. Opening the piece with a plaintive solo trumpet spotlight, the Big Band enters playing loud chords with a touch of dissonance. The musicians then enter a "free" period as if they were all trying to get the listener's attention at the same time. After several minutes of various instruments carrying on the conversation, the brass and reed sections play powerful melodic passages –– suddenly, the music falls into a rapid-fire beat with Ragin leading the charge. Saxophonists Ted Levine (alto), Vidal (tenor), and Mark Phaneuf (tenor) join the solo fray until the rhythmic charge slows down. The entire trombone solo around each other until the music slows down to a crawl, the sections again play powerful phrases going from the trumpets to the reeds to the trombones. The spirit of experimentation and merriment that were two of the hallmarks of the musical experience of Lester Bowie (1941- 1999) shines through Dr. Ragin's composition and arrangement.
Photo: Joanna Chattman
Highlights abound throughout the program. The lovely ballad "Women in Shadows" suggests the photography of Roy DeCarava (1919-2009) and features a delightful alto sax solo from Levine while "Soldier and the CEO" enters on the rich tones of Kelly Hart-Jenkins's alto saxophone. After a powerful declarative statement from two trumpets, the drums kick in and guitarist Fabris roars forward to a thunderous climax. The quiet coda belongs to pianist Geoff Burleson and baritone saxophonist Brad Hubbard. The Band's take on Mr. Gillespie's "Dizzy Atmosphere" is reminiscent of the dance band music of the 1940s. Short and sweet solos statements from trumpeters Wayne J. du Maine and Brad Goode sets the stage for a dancing solo by tenor saxophonist Phaneuf and a happy-go-lucky bowed bass solo from Dave Phillips accompanied by the brass, Freddie Green-like comping (Fabris), and immaculate time-keeping.
The album closes on a muscular note with the high-energy "V-Reel." Pianist Burleson dances up and down the keyboard before the trumpets take on the melody. Levine rises, squalling, out of the musical commotion propelled forward by the rhythm section and the fiery section playing. Trombonist Ben Herrington enters next with his high-energy solo. The last two minutes of the track features a tumultuous conversation between the brass, reeds, and the rhythm section.
Although "A Prayer for Lester Bowie" was recorded over five years ago (June 2016), the music is fresh, relevant, and worth exploring. David Sanford has had his works played throughout the United States and Europe by both classical and jazz ensembles. Here's hoping that this album plus his 2019 "Black Noise" recording with the Boston Modern Orchestra Project (check it out here) brings him a much wider audience.
SAXOPHONES Ted Levine and Kelley Hart-Jenkins - alto saxophones Anna Webber (tracks 1, 2, 7, 8), Marc Phaneuf (tracks 3-6) and Geoff Vidal - tenor saxophones Brad Hubbard - baritone saxophone
BRASS Brad Goode (tracks 1-7), Tony Kadleck (track 8), Tim Leopold, Wayne J. du Maine, Thomas Bergeron and Hugh Ragin - trumpets Mike Christianson, Jim Messbauer, Ben Herrington (tracks 1, 2, 4, 6-8) and Mike Seltzer (tracks 3, 5) - tenor trombones Steven Gehring - bass trombone Raymond Stewart - tuba
RHYTHM SECTION Dave Fabris - electric guitar Geoff Burleson - piano Dave Phillips - electric and acoustic bass Mark Raynes - drums Theo Moore - percussion
CONDUCTORS David Sanford (tracks 1-4 and 6-8) Hugh Ragin (track 5)
Saxophonist, composer, arranger, conductor, and educator Bob Mintzer has had a long and varied career. He's been a member of the Yellowjackets for 30 years, has been the chief conductor for the WDR Big Band Cologne for six years, leads his own Big Band, and is currentlyBarbara and Buzz McCoy endowed chair at the Thornton School of Music at the University of Southern California. Mintzer has over 30 albums released as a leader or co-leader plus another 20 as a member of Yellowjackets. He's also recorded with Jaco Pastorious, Bobby McFerrin, New York Voices, Kurt Elling, and others. His sax work was featured in large ensembles like the Thad Jones-Mel Lewis Orchestra, the Buddy Rich Band, and bassist Sam Jones Big Band
As the Chief Conductor of the WDR Big Band, Mintzer has organized programs for the band that features guest artists from around the globe. Because of his position, he is allowed to create a program of his own music. The result is "Soundscapes" (MCG Jazz/WDR), an album that features 10 original pieces arranged for the 17 musicians that Mintzer has come to know well over the past half-decade. He even solos on seven of the tracks, four on tenor sax and three on EWI. To his credit, the composer has created pieces that build from the rhythm section up, featuring snappy writing for the brass and reeds and plenty of room for the soloists to dig. The spirit of Joe Zawinul inhabits the opening "A Reprieve", especially in the work of drummer Hans Decker and percussionist Marcio Doctor. The popping electric bass work of Stefan Rey percolates underneath giving the soloists Mintzer (EWI) and Paul Heller (tenor sax) a thick cushion to dance upon.
WDR's American connection –– tenor saxophonist Mintzer, trombonist Andy Hunter, and pianist Billy Test –– are the featured soloists on "The Conversation" but dig the excellent rhythm guitar of Paul Shigihara and his interactions with rhythm section. Alto saxophonist Karolina Strassmeyer shines on "Montuno" as she reaches the heights of his solo, the brass and reeds push her forward). The gentle Brazilian feel in the rhythm section permeates "New Look" plus the blend of the flutes with the trombones is ear catching as is the delightful piano solo from Test.
The final two tracks, "One Music" and "VM", take out the program in grand style. The former cut is an older Mintzer tune, one that he recorded with the Yellowjackets for a DMP release under his own name. The straight-ahead steams along on the power of the rhythm section, featuring a powerful tenor solo from the leader and yet another delightful turn from pianist Test. He jumps atop the rhythm section and pushes them forward with his dazzling lines. Listen closely to hear the playful guitar lines of Shigihara. The album closes with a sweet tribute to composer-arranger Vince Mendoza. Excellent blend of reeds and brass over the pulsating rhythm section brings the listener to a pleasing alto solo from Ms. Strassmeyer and, later on, introduce the trumpet spot from Ruud Breuls.
"Soundscapes" is such an enjoyable listening experience. Sound quality is excellent, each solo stands out, and the arrangements are really smart. Bob Mintzer and the WDR Big Band have created a very entertaining recording well worth exploring.
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