Jazz at Lincoln Center Orchestra with Wynton Marsalis Sherman Irby's Inferno

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Sherman Irby's Inferno
Blue Engine Records

"Inferno" is a suite by Sherman Irby, the lead alto saxophonist for the Jazz at Lincoln Center Orchestra (JLCO). The suite is Irby's interpretation of Dante Alighieri's epic poem from "The Divine Comedy," which takes listeners on a musical tour of the underworld's nine circles. This recording is from a May 19, 2012 performance by JLCO, the personnel of which included on Reeds: Sherman Irby (alto saxophone, clarinet, and flute), Ted Nash (alto saxophone, clarinet, and flute), Victor Goines (tenor saxophone, bass clarinet, and clarinet), Walter Blanding (tenor saxophone), and special guest Joe Temperley (baritone saxophone, bass clarinet); Trumpets; Ryan Kisor, Marcus Printup, Kenny Rampton, and Wynton Marsalis; Trombones Vincent Gardner, Chris Crenshaw, and Elliot Mason; and the Rhythm Section: Dan Nimmer (piano). Carlos Henriquez (bass), and Ali Jackson (drums).

The download of this recording that I was provided did not include more than a brief description of the music. I also am aware of Dante, but not familiar with his writings. There may be liner notes that explain the seven movements as well as the connection to Dante's writings. Baritone saxophonist Temperley is cast as the voice of Dante, while the various improvisers are intended to give life to the denizens of hell. Even without a fuller context, I was able to appreciate the music and the performance captured here.

One thing that impressed me was an Ellingtonian quality to the music and performances. One might compare the music here to some of Ellington's Suites. The sounds of the horn sections, such as the heralding of the trumpets heralding at the beginning of "Movement I; House of Unbelievers," along with the solos from Ted Nash's flute, Victor Goines' clarinet, and Chris Crenshaw's trombone, as well as the voicings of the horn sections, enhance this feel.

While the JLCO plays at a high level throughout, one standout track is the animated, blues-drenched "Movement III: Beware the Wolf and the Serpent," with Irby's heated alto sax followed by Elliot's equally spirited trombone and Wynton Marsalis fiery trumpet. But there is magic to be heard throughout this first-rate performance of a superb musical composition. "Inferno" is an outstanding recording. I understand that this recording is only available as an MP3 or hi-res WAV digital download from https://store.jazz.org/products/inferno.

I received a download to review from Blue Engine Records.

Derrick Gardner's Outstanding Hard Bop

A couple of CDs by trumpeter Derrick Gardner have given me much pleasure. Here are reviews from the October 2008 (Issue 309) and August 2009 (Issue 319) of Jazz & Blues Report, respectively.

A Ride to the Other Side…

Formed in 1991 when Derrick Gariner arrived in New York, the hard bop Jazz Prophets has hung together since then. This group is heard on the exciting new release “A Ride to the Other Side… “ (Owl Studios).

The core of the band is leader Derrick’s trumpet, his brother Vincent on trombone and Rob Dixon’s tenor saxophone, rounded out by the rhythm of pianist Anthony Wonsley, bassist Rodney Whitaker and drummer Donald Edwards. Percussionist Kevin Kaiser spices up several tracks with his Latin rhythmic accents. Musically, the Jazz Prophets are inspired by the funky hard bop of the likes of Cannonball Adderly, Horace Silver, Art Blakey and Louis Hayes-Woody Shaw. If Derrick Gardner is the leader,, this band sounds like there is quite a cooperative flavor as both brother Vincent and saxophonist Dixon contributing some of the originals. The only performance that is not an original is “Be One,” from bassist Bill Lee (Spike’s dad). 

Whatever the source, this album cooks from the opening “Funky Straight;” through the hot Afro-Cuban scorcher “Lazara;” the dreamy “Just a Touch,” with its stop-time effect; and Dixon’s spirited “Of Infinity,” that closes this disc. “Mac Daddy Grip” is a Blakey inspired number with a loping beat with brother Vincent opening with a strong trombone solo followed by a prancing tenor solo from Dixon before the leader takes the spotlight recalling the likes of Woody Shaw and Lee Morgan with his brash and bright tone. Bill Lee’s “Be One” gives Derrick a chance to showcase his marvelous ballad playing on a number some may be familiar with from the sound track of “School Daze.” Few, if any, hard bop enthusiasts will be disappointed by the spirited and thoughtful playing here by an excellent ensemble that bring some fresh voices to this jazz tradition.

Echoes of Ethnicity 

Trumpeter Derrick Gardner returns with an intriguing new album with an intriguing new recording, Echoes of Ethnicity (Owl Studios). The credit to the album is to Derrick Gardner & The Jazz Prophets + 2, reflecting the session expanding the sextet of the Jazz Prophets to that of an octet (being a nonet on tracks with percussion), in lines of a big little band such as could be heard on some recordings by the likes of a Jimmy Heath, Charles Mingus, Bennie Golson or Randy Weston.

Joining him are Jazz Prophets pianist Rick Row, trombonist Vincent Gardner, tenor saxophonist Rob Dixon, Bassist Gerald Cannon and drummer Donald Edwards. The additions are Brad Leali on alto sax and Jason Marshall on baritone sax with Kevin Kaiser on percussion.

“ 4Newk” is inspired by Sonny Rollins and a hot number in the vein of a Lee Morgan and with a blistering solo from the leader and Jason Marshall also outstanding. Kaiser’s congas are added on brother Vincent's “Afros and Cubans” with a 6/8 rhythm with pianist Rick Roe displaying a fine relaxed attack on a number with interesting contrasting horn parts and the band skillfully negotiating several tempo shifts.

The tenor of Dixon and alto of Leali get showcased on Dixon’s “We Jazz June” is taken at a brisk tempo and its melody had a hint of “Giant Steps,” but is much more than a reworking of that classic. Leali opens the solos with a solo that displays imagination and a marvelous tone before Derrick comes in with a very round sounding solo. “Natural Woman” is an imaginative rendition of the Aretha Franklin soul classic set up with a slow 4/4 marching band tempo giving it a dirge-type flavor with Derrick’s arrangement of horns behind his solo and Leali’s short alto break is quite nice. Kaiser adds a Latin flavor to Freddie Hubbard’s The Melting Pot,” on what is a funky bluesy performance with brother Vincent shining on his solo.

“Autumn in New York,” is reworked as a “tone poem,” and a concerto centered Derrick’s Gardner’s wonderful ballad playing with Cannon taking a short solo. Rob Dixon’s “The Crystal Stair,” adds a bit of African flavor in Kaiser’s percussion with Leali, Marshall and Derrick taking the solos. Derrick’s “The Miss’ippi Man,” which closes this album, is a Mingus inspired number with the opening baritone honking by Marshall evoking Hamiett Bluett’s playing with the World Saxophone Quartet with his funky riff that sets the composition’s tone, with Dixon taking charge on his solo and drummer Edwards taking a short, crisp solo before Marshall takes them to the rocking conclusion as the musicians chat in a spirited manner as this ends.

Derrick Gardner has put together another strong hard bop disc which harkens back to some of the strong recordings the late Woody Shaw produced a couple decades back.

For purposes of FTC regulations, review copies of these CDs was provided by a publicist for these released