Joe Fiedler's Bug Sackbut Does The Sackbut Stomp

Trombonist's Joe Fiedler's Big Sackbut is a quartet of Fiedler and fellow trombonists Ryan Keberle and Luis Bonilla along with the tuba player Marcus Rojas. Inspired by the World Saxophone Quartet, Big Sackbut eschews having a rhythm section and instead the three trombones and the brass bass provided Rojas explores the originals from Fiedler along with three covers. The group has a new recording, "Sackbut Stomp" on Multiphonics Music that continues in the vein of Fieder's prior recording "Big Sackbut." Bonilla replaces Josh Roseman from that earlier recording. Steven Bernstein, on slide trumpet, guests on three of the nine selections here which provides for a a little more variety in the tonal colors of this group.

The opening title track provides an example of the interplay between the four before followed by a slightly  rendition of Roger Miller's "King of the Road" with Bernstein's slide trumpet providing a whimsical feel with the trombones providing a dynamic background before Rojas displays his nimbleness on the tuba. Bennie Wallace's "Eight Page Bible" is built upon a bluesy motif with each trombonist taking a solo that he first introduces unaccompanied before the other two and Rojas provide support. Fielder's own incorporation of Duke Ellington's "Things Ain't What They Used To Be" is particularly delightful. It is followed by a wonderful rendition of the Gil Fuller and Chano Pozo classic "Tin Tin Deo" on which Bernstein is along featured along with Bonilla. Fiedler did all the arrangements and this one particularly stands out. The lovely "Pittsburgh Morning" allows Fielder to showcase the warmth he is quite capable of while Keberle sounds lively and focused on "The Schlep."

Given the limited tonal palette of the instrumentation, this may be a recording that some may wish to sample a few selections at a time. At the same time, listening to the performances several times one hears nuances in the performances that make them continue to sound fresh. There is an audaciousness in a trombone-tuba group playing without a rhythm section. Mixed with excellent playing and arrangements, "Sackbut Stomp" is another fascinating, and often, exhilarating recording.

I received my review copy from a publicist.

Joe Fiedler's Big Sackbut

Trombonist Joe Fiedler's newest recording, Big Sackbut (Yellow Sound Label) features Fiedler, Josh Roseman & Ryan Keberle - trombones, and Marcus Rojas - tuba, was really born in the late 1980s when Fiedler first saw The World Saxophone Quartet (WSQ) live. He explains this revelation: "The drive and energy that they put forth, all without a traditional rhythm section was quite compelling.  In addition, the tunes had a wonderful balance of 'loose-tightness' or 'tight-looseness' that totally sucked me right in.  And this is to say nothing of the four powerhouse solo voices.  I immediately thought of how I might incorporate my image of all of those elements into a trombone driven project of my own.”

The ideas for this had rattled in Fiedler’s mind for about twenty years until on a gig with Ryan Keberle two years ago he mentioned the idea to Keberle and the idea was finally brought to fruition. The intent in this album is to eschew a rhythm section and have a similar self-contained horn group such the WSQ. Included are seven original Fiedler compositions along with interpretations of compositions by Sun Ra; Willie Colon; and Captain Beefheart (Don Van Vliet).

It is fascinating hearing the interplay among the musicians from the opening Mixed Bag, to the closing Urban Groovy. Fielder's Don Pullen is a lovely piece with Keberle playing exquisitely. Fiedler plays particularly expressively and forcefully on his 11, which is followed by Willie Colon’s Calle Luna, Calle Sol, although without a rhythm section they can at best only imply the latin flavor. I am not sure if there are many jazz interpretations of Captain Beefheart. Roseman takes the lead on the Captain’s Blabber and Smoke, a mostly pensive interpretation on which one of the trombones briefly employs a mute adding to the range of sounds heard. The leader does effectively make use of one on his solo on Ging Gong, that also spotlights Rojas’ tuba.

The lack of a rhythm section and the restricting the instrumentation to trombones and tuba does have the effect of limiting the musical palette that can be employed (compared to the WSQ with baritone, alto, tenor and soprano saxophones). It might be best to listen to several selections at one sitting rather than the entire album. Still, there is much to reward listeners of Joe Fiedler’s Big Sackbut with captivating performances. 

I received a review copy from a publicist. Well not with this group, here is Joe Fiedler as part of a group performing Captain Beefheart.