Ian Charleton Big Band A Fresh Perspective

Ian Charleton Big Band
A Fresh Perspective
Self-produced

Ian Charleton grew up around Carbondale, Illinois, and began playings saxophone when in 5th Grade. He joined a jazz band as a freshman in college and later attended North Texas State University, where he earned Bachelor's and Master's degrees in the jazz studio program. He then joined the Navy to play in a military band and has been head of academics at the Naval School of Music, running a staff of instructors and teaching arranging.

For "A Fresh Perspective," he selected a number of musicians from Southeastern Virginia are: Leader/Arranger: Ian Charleton, Saxophones: Richard Garcia: Alto/Soprano Sax (Lead), Jason Hammers: Alto Sax, Keith Philbrick: Tenor Sax, Michael Ferrante: Tenor Sax, David Fatek: Baritone Sax, Trumpet and Flugelhorn Mark Oates (Lead), Pete Sutorius, Mark Nixon, Kerry Moffit, Trombones John Lloyd (Lead), Lisa Drefke, Carl Lundgren, Dandrick Glenn (Bass), Emily Charleton (Vocals), Bart Kuebler (Piano), Wes Wagner (Guitar), Ryan Persaud (Bass), and Bob Habib (Drums). He had lengthy associations with Bart Kuebler, Kerry Moffit, and Keith Philbrick, while others like John Lloyd and Richard Garcia are more recent musical friends. The program of ten songs includes four originals along with six arrangements of standards.

Charleton's big band is what might be labeled a mainstream big band with a swinging rhythm section as well as melodious horns. One might think of the modern Basie Band mixed with touches of Thad Jones, Quincy Jones, Clark Terry, and others. The Basie touch is evident on the opening "1 West 67th Street," with Kuebler's piano leading the rhythm section for the beginning before the horns enter with trombonist Lloyd taking a solo, exhibiting a fluid and warmth. There is a subtle cool lyricism for the relaxed "Sunday Morning. " This selection showcases pianist Kuebler, Kerry Moffit on flugelhorn, and bassist Persaud. Moffit's solo is particularly gorgeous, and the subtle ensembles frame the solos wonderfully. The title track is a more modern composition in 6/4 with a lilting rhythmic feel. After Richard Garcia's serpentine, snake-charmer tone, soprano sax solo, Moffit follows with another lyrical Flugelhorn solo before drummer Habib solos dynamically.

Charleton's wife Emily wryly delivers the humorous lyrics of Rogers & Hart's "Everything I Got Belongs To You" set against a Basie-like backing with punchy horns. Emily Charleton also is heard on a jazz waltz rendition of "Blue Skies," which is taken at a lazy tempo. On his relaxed swinging solo, Philbrick displays a full-bodied sound on the tenor sax. Charleton's arrangement of "Stardust" helps frame Kerry Moffit's enchanting, lyrical flugelhorn solo. There is Latin fire for the performance of Stefan Karlsson's "El Otono." Moffit adds smoldering heat on trumpet while Garcia is torrid on alto sax. Then there is a novelty in the slowed-down "Tea For Two," with pianist Kuebler lending this performance a pensive feel, while Moffit's muted trumpet hints at the great Harry 'Sweets' Edison. Usually sung as a ballad, "When Sonny Gets Blue" is revamped with a hot Latin arrangement with Lloyd's fiery trombone from Lloyd and Philbrick's searing tenor sax.

Closing this album is a mid-tempo original, "Party on Park" with guitarist Wagner, and the rambunctious baritone saxophonist David Fatek, in addition to those from pianist Kuebler and bassist Persaud. It caps a top-flight straight-ahead big band album that should have feet tapping and fingers snapping.

I received my review copy from a publicist. Here is an interview with Ian Charleton.

Dave Stryker With Bob Mintzer and the WDR Big Band - Blue Soul

Dave Stryker With Bob Mintzer and the WDR Big Band
Blue Soul
Strikezone Records

Guitarist Dave Stryker's latest recording dates from March 2019 when he recorded with the WDR Big Band with tenor saxophonist Bob Mintzer. Mintzer, who serves as the principal conductor for the renowned Cologne, Germany band, provided the arrangements. The material here includes several songs in the vein of the Eight-Track soul and pop songs Stryker has featured in some recent recordings. Also heard are Stryker's originals that are in a similar groove-based manner.

Obviously, there is a difference between Stryker's usual organ jazz combo and a big band. However, the finger-popping, soulful feel of these performances is similar, in part due to Mintzer's handsome arrangements. Stryker is terrific with his lithe single note, horn-like solos set against a relaxed swinging groove. There are several standouts in the big band, including the keyboards of Billy Test (whose organ playing is excellent), drummer Hans Dekker and Mintzer himself.

Standout tracks include renditions of a couple Marvin Gaye songs, "Trouble Man" and, "What's Going On." Karolina Strassmayer is impressive on alto sax while Billy Test plays some funky organ. Stryker's jaunty original "AHA" has a robust Mintzer solo along with one from Stryker. Another original "Blues Strut," has a relaxed marching groove and showcases Test and Mintzer in addition to Stryker's scintillating playing. An unexpected delight is the performance of "Prince's "When Doves Cry," with Stryker's lyrical statement of the melody set against brassy horns. In addition to Stryker's nimble fretwork, alto saxophonist John Hörlén exhibits a dry, bluesy tone.

Against the relaxed swing of "Wichita Lineman," Stryker makes use of the lower register of his guitar to state the theme before Andy Hunter's surging trombone. Mintzer and Stryker are the soloists on Stanley Turrentine's "Stan's Shuffle," that closes this recording. With varied music, Mintzer's terrific arrangements, and the first-rate backing of the WDR Big Band, Dave Stryker's "Blue Soul' is his latest memorable recording.

I received my review copy from a publicist. Here is "Blues Strut" from  this CD.

Schapiro17 - Human Qualities

Schapiro17 - Human Qualities - Summit Records

Composer-arranger Jon Schapiro, currently a professor at Yeshiva University, formed Schapiro17 as a vehicle for his writing and to showcase some of New York's top musicians. The members on this recording are trumpets: Bryan Davis, Andy Gravish, Eddie Allen, Noyes Bartholomew; trombones: Alex Jeun, Deborah Weisz, Nick Grinder, Walter Harris saxophones: Rob Wilkerson, Candace DeBartolo, Paul Carlon, Rob Middleton, Matt Hong piano: Roberta Piket; guitar: Sebastian Noelle; bass: Evan Gregor; and drums: Jon Wikan. 

This big band opens like a modern New Testament Count Basie Band with the opening "Count Me Out." This composition transforms itself into a more contemporary vein with Rob Middleton's remarkable tenor sax, a piano interlude by Roberta Piket that evokes Duke Ellington, and Deborah Weisz's wooly trombone solo. This results in a memorable performance. "Tango" opens with bassist Noelle in duet with baritone saxophonist Matt Hong before the reeds and full band join. Schapiro's scoring provides a turbulent setting for Hong's rambunctious solo. Then there is the driving, irresistible groove of "Hmmm" with Piket laying down a barrelhouse piano progression for the high energy horns, Andy Gravish's scorching trumpet, and Paul Carlon's high-spirited tenor sax solo. All of this exceptional music is set against Schapiro's top-flight arrangement to builds up to an explosive climax.

The one song that Schapiro did not write is an evocative rendition of "The First Time Ever I Saw Your Face." Schapiro initially provides a haunting setting for Eddie Allen's mournful trumpet. Against the brooding atmosphere, Allen's trumpet becomes a bit more luminous. The title track is built around a fair amount of counterpoint by the ensemble. It also has dynamic solos from Rob Wilkerson on alto sax and Nick Grinder on trombone. These two trade-off with each other with their counterpoint playing over Schapiro's dense, volatile arrangement. 

The remainder of this recording is full of the same superior ensemble playing, marvelous and imaginative arrangements, and terrific solos by the ensemble's members. Guitarist Noelle especially shines on "Hallelujah." On "A Bounce in Her Step," Schapiro imaginatively incorporates various bebop phrases, especially from "Billie's Bounce." Drummer Joe Wikan lays down a funky groove while Alex Jeun's growling trombone evokes Tricky Sam Nanton on the closing selection, "House Money." 

With the fabulous music on this album, Schapiro17's "Human Qualities" is an outstanding contemporary big band recording that sounds fresh with repeated hearings.

I received my review copy from a publicist. Here is a link to a video of "The First Time I Ever Saw Your Face." https://youtu.be/U3UEci0kktw.

The David Angel Jazz Ensemble - Out on the Coast

The David Angel Jazz Ensemble - Out on the Coast - Basset Hound Productions

The David Angel Jazz Ensemble grew out of the rehearsal band that Angel began in 1969. While the group featured many West Coast jazz giants over the years, it currently consists of 13 top-notch players to showcase Angel's compositions and arrangements. While Angel is one of the most respected composers/arrangers on the West Coast; however, he is virtually unknown to the general public. Jim Self wanted to correct this by documenting his music. 

The members of the ensemble are David Angel - tenor sax, conductor; Phil Feather - alto & soprano sax, piccolo, flute, alto flute; Gene Cipriano - alto & soprano sax, clarinet; Jim Quam - tenor sax, clarinet; Tom Peterson - tenor sax, flute, alto flute; Bob Carr - baritone sax, bass clarinet; Jonathan Dane - trumpet, flugelhorn; Ron Stout - trumpet, flugelhorn; Stephanie O'Keefe - horn; Scott Whitfield - trombone; Jin Self - tuba, bass trombone; John Chiodini - guitar; Susan Quam - bass; and Paul Kreibich - drums. This ensemble laid down 22 tracks in just four days, right before the pandemic hit. There are 15 original compositions by Angel and his arrangements of seven standards. These are spread over three discs containing two and 3/4 hours worth of music. 

In the booklet that accompanies this 3 CD set, Jim Self observes, "This group is not so much a big band, but a 13 piece jazz chamber ensemble. Every chart has extensive space for jazz solos. I like to describe his stuff as 'Gil Evans meets J. S. Bach" – let that sink into your mind! Imagine the jazz harmonic complexities of Evans with the Polyphonic lines of Bach. …"

Angel's writing is striking and fresh to these ears. The set opens with "Out on the Coast 2," one of four such named pieces. It starts with a sax trio before the full band joins in swinging with a crisp, measure sound that evokes to these ears an expanded Clifford Brown-Max Roach band. Guitarist Chiodoni takes a choice, skillfully constructed solo here. There is a Latin-accented arrangement for the Arthur Schwartz standard, "Alone Together," with a superb trumpet solo from Jonathan Dane. Angel certainly captures the essence of Duke Ellington's "Prelude to a Kiss" that features a gorgeous Gene Cipriano alto sax solo set against the handsome setting Angel crafted.

"Ah Rite!" is a swinger opening with Bob Carr's husky baritone sax, with mood and tempo shifts along with another strong Dane trumpet solo, Scott Mayfield's plunger mute trombone, and a vital ensemble sax section. After this unique blues, we are treated to the impressionistic "Wild Strawberries," with its lush horn voicings. Jim Self takes a lengthy solo on Johnny Mandel's "Hershey Bar." Tenor saxophonist Tom Peterson takes the spotlight on "Loverman," again, with Angel providing a glorious framework for his playing. One can hear the classical influences in Angel's compositions in the waltz, "Leaves," as well as his interpretation of Billy Strayhorn's "A Flower is a Lonesome Thing." Scott Whitfield's trombone is showcased on "Leaves," while the warmth of Stephanie O'Keefe's French horn takes the spotlight on the Strayhorn classic. 

Hopefully, this sampling of the performances provides an idea of the range of music heard here that is only touched on here. Jim Self and David Angel comment on each selection, and the soloists on each track are identified in the accompanying booklet. This information enhances the pleasures one has listening to the superb performances on an outstanding big band jazz recording.

I received my review copy from a publicist. Here is an interview with David Angel & Jim Self discussing this release.

Smithsonian Jazz Masterworks Orchestra - Bernstein Reimagined

Smithsonian Jazz Masterworks Orchestra - Bernstein Reimagined - MCG Jazz

"Bernstein Reimagined" is the result of a concert the Smithsonian Jazz Masterworks Orchestra (SJMO) performed in 2018, the year of the Bernstein centenary. SJMO Artist Director and conductor Charlie Young noted discussions among directors of various artistic programs to honor Bernstein that year. "I imagined the Smithsonian Jazz Masterworks Orchestra presenting a grand concert of Bernstein's music … "Re-imagining Leonard Bernstein for this occasion required examining some of his compositions rarely associated with jazz. The resulting concert was a blast!" 

The re-imagination avoids the usual suspects such as the oft-explored West Side Story songs or those songs that have become jazz standards. Instead, the project's five arrangers – Jay Ashby, Darryl Brenzel, Scott Silbert, Mike Tomaro, and Steve Williams – tackle lesser-known corners of Bernstein's output such as symphonic works, spiritual music, operas, and his sole film score, "On the Waterfront." 

The album opens with "Times Square Ballet," one of three pieces from the Broadway show "On the Town." "On the Town" was Bernstein's first Broadway show, although part of Bernstein's music was dropped from the film adaptation that many are familiar with. Scott Silbert wrote the arrangement of this suite that includes "New York, New York." Silbert's clarinet and Steve Williams alto sax stand out here. Also from "On the Town" is Mike Tomaro's arrangement of "The Great Lover," on which Silbert's tenor saxophone is among those showcased. Darryl Brenzel provides a reflective mood to the arrangement of "Lonely Town," with Tom Williams' blues-inflected trumpet.

Charlie Young takes a rhapsodic solo on "Dream For Me," which was incidental music for the play "Peter Pan." Jay Ashby's arrangement makes use of flutes, clarinet, and bass clarinet to surround the melody. Among the most imaginative arrangements is Steve Williams' one for "Waltz." This is based on a movement from Bernstein's 'Divertimento For Orchestra", in which the groove is transformed into a reggae one with steel pans used to state the melody. Victor Prevost is the marvelous steel pan player here. Darryl Brenzel's arrangement for "Chichester Psalms I" provides a high-spirited setting with an outstanding Luis Hernandez's tenor sax solo.

Leonard Bernstein was not a jazz composer, although there is a jazzy quality to much of his compositions that have been developed in many memorable jazz performances. SMJO has added to the body of jazz performance and recording of Bernstein's music in this enlightening and engaging album.

I received my review copy from a publicist. Here the Smithsonian Jazz Orchestra performs Times Square Ballet." 

Peter Leitch New Life Orchestra New Life

Peter Leitch New Life Orchestra
New Life
Jazz House

This two-CD collection of big band performances highlights the composing and arranging skills of Peter Leitch, who continues to create music when no longer able to play. Leitch was a guitarist who lost the use of an arm as a result of life-saving treatment for lung cancer. Leitch says, "At my age [74], I considered myself retired from the music business. I couldn't play anymore. But I couldn't get rid of this urge to be involved in music and it seemed to me that the only way I could do it was to start writing. I wrote a few things and wanted to hear what they sounded like, set up a rehearsal and it went from there. Suddenly I found myself being a bandleader, which I didn't expect to happen." The title 'New Life' in his orchestra's name, and this recording refers both to his odyssey and the music itself.

For this recording, he has assembled quite a line-up for his orchestra. Members of the band include Duane Eubanks trumpet,  Bill Mobley on trumpet, flugelhorn, Tim Harrison on flute, Jed Levy on tenor sax, flute, and alto flute, Steve Wilson on alto & soprano sax, Dave Pietro on alto & soprano sax, Carl Maraghi on baritone sax, bass clarinet,  Matt Haviland on trombone, Max Siegel on bass trombone,  Phil Robson on electric guitar, Chad Coe on acoustic guitar; Peter Zak on piano, Dennis James on arco bass, Yoshi Waki on bass, and Joe Strasser on drums.

Leitch spent two years composing, arranging, and orchestrating the 17 pieces that comprise this project. In search of a personal voice in writing for a medium-sized ensemble, he was looking for something that sounded like a bigger band and also had the freedom and looseness of a small group. Additionally, he wanted to combine the written and the improvised seamlessly. In the liner notes, Leitch also writes about avoiding the traditional groupings of sections in favor of other instrumental combinations that result in different sonic textures. The program on the two discs correspond to 2 sets of music in a concert or club, and there is a little over two hours of music heard.

There is plenty of interest provided by Leitch's compositions starting with "Mood For Max" that was written for his oncologist. It is a bright, breezy performance with the flutes adding an unusual flavor to the ensembles and a solid trumpet solo. "Portrait For Sylvia," dedicated to his wife, is a lovely ballad taken at a marvelous tempo with another exquisite trumpet solo and some superb guitar from Phil Robson. There are also performances dedicated to Clifford Jordan and Charles Davis. "Clifford Jordan" is a swinging salute to the great tenor saxophonist set against a crisp Latin groove with inspired tenor sax from Jed Levy and rousing baritone sax by Carl Maraghi. "Ballad For Charles Davis" has outstanding ensemble work and short, notable solos from several players.

For some reason, listening to several of the performances suggest the late, great Oliver Nelson, whose most famous recordings involved a sextet or septet, but also wrote some rousing big band charts. "Sorta Kinda" and "Penumbra" are both performances that evoke the groove of some of Nelson's recordings and shows how successful Leitch was in achieving his goal of having his orchestra sound like a bigger band but had the freedom and looseness of a small group. After "Monk's Circle," written to commemorate the official renaming of the cul-de-sac in Manhattan where the Monk family resided for years, the orchestra performs the classic "'Round Midnight." Guitarist Robson first sets out the melody before the ensemble with Leitch's judicious employment of flutes in setting the atmosphere. Flutes also help set the mood for the bright, brisk "Exhilaration." Jed Levy wrote "The Minister's Son" in honor of the late jazz pianist John Hicks. Levy solos at length, followed by Peter Zak's thoughtful, fluid piano.

A lengthy blues "The Long Walk Home" brings this recording to a close opening with fine blues playing from Zak before the full horns come in, and the members all get a chance to solo. Acoustic guitarist Chad Coe channels Freddie Green on this superb cut. It is an excellent close to a first-class straight-ahead big band recording with outstanding compositions, a top-notch ensemble, and terrific soloists.

I received my review copy from a publicist.

Jim Waller Big Band Bucket List

Jim Waller Big Band
Bucket List
Self-produced

A multi-instrumentalist (saxophones, trombone, piano, organ, guitar), arranger, record producer, and educator Jim Waller, fulfills an item on his personal bucket list with this big band album recording. Originally from California, his music career included playing in a surf group, The Deltas. Then he was part of a Las Vegas jazz-rock octet, Los Blues. He has been based in San Antonio since 1977 and worked with many prominent names. On this recording, Waller leads a 21-piece big band for which he wrote the arrangements and seven of the 14 tunes. Additionally, Waller solos formidably on tenor sax while also playing soprano sax and organ. Then there is a string section for his arrangement of "Rhapsody in Blue." Among notable persons on this album is drummer Will Kennedy from the Yellow Jackets and vocalist Jacqueline Soleto who is heard on five songs.

Waller's Big Band is a strong, swinging aggregation that opens with the spirited Brazilian groove of "Samba For Suzell," with first-rate solos from Waller, pianist Chris Villaneuva, and drummer Kennedy, who is particularly dynamic. Soleto is a singer I would not mind hearing more from starting from her ebullient take on Peggy Lee's "I Love Being Here With You." Her phrasing, pitch, and phrasing are right on along with her marvelous scatting. Waller's arrangement provides a Count Basie feel to it. She is a bit more sultry in a Peggy Lee manner on the interpretation of "Why Don't You Do Right." There are heartfelt renditions of "Georgia on My Mind," and "God Bless the Child." On this last song, the middle of the performance surprises with an animated Latin groove and Adam Carillo's terrific alto sax solo.

Waller's "Blues For Los Blues," a relaxed swinger with rousing solos by Jason Galbraith's on tenor sax solo and Dr. Joey Colarusso on baritone sax. The animated "Waltz For Laura" showcases Waller's robust tenor sax, followed by Lee Sparky Thomason's fiery trump. Waller's arrangement for "Rhapsody in Blue" is a brief performance marked by a quicker pace and a swing-based groove as Waller solos backed by a band augmented by a swing section. "A Ballad For Bob" showcases the warmth and melodic qualities Waller invests in his ballad playing. An unusual surprise is the swinging rendition of Bill Doggett's "Honky Tonk" dedicated to San Antonio native saxophonist Clifford Scott and guitarist Billy Butler who played on the hit recording. Juan Valdez evokes Butler's guitar solo on his solo before Waller salutes Scott with his own raucous solo that incorporates the trills characteristic of Scott's playing.

Those wanting a straight-ahead, swinging big band room recording need look no further than "Bucket List." Jim Waller has not fulfilled merely a personal goal but produced a wonderfully performed and thoroughly engaging recording.

I received my review copy from a publicist.

Bill Warfield and the Hell's Kitchen Funk Orchestra Smile

Bill Warfield and the Hell's Kitchen Funk Orchestra
Smile
Planet Arts

 Jazz trumpeter, composer, arranger, bandleader, and educator, Bill Warfield, was a student of the late Lew Soloff. After Warfield gave up the trumpet when he lost his front teeth after an auto accident, Soloff became an inspiration. After he heard Soloff's solo on Blood Sweat & Tears recording "Spinning Wheel," Warfield regained the desire to play trumpet again. In addition to playing in various bands, the Baltimore native studied for four years at Towson State with Hank Levy, an arranger for Don Ellis and Stan Kenton.

Moving to New York in 1980, he began subbing in the Mel Lewis Jazz Orchestra, playing and arranging for the Bill Kirchner Nonet, and copying music for Lester Bowie, Joseph Jarman, and others, as well as earning a master's degree from the Manhattan School of Music. He has been teaching since 1987, including stints at Brooklyn College, Towson State University, and the University of North Florida. He joined the faculty at Lehigh University in Bethlehem, Pennsylvania, in 1996.

Warfield is currently involved in several bands, including the Hell's Kitchen Funk Orchestra, a little big band. Besides Warfield (leader, arranger, trumpet, and flugelhorn), players on this recording are John Eckert (trumpet and flugelhorn), Andrew Gould (alto sax and flute), David Rickenberg (tenor sax, baritone sax, flute, and clarinet), Matt Hong (baritone sax, alto sax, and flute), Blue Lou Marini (tenor sax, soprano sax, flute, and clarinet), Matt Chertkoff (guitar), Cecilia Coleman (piano), Paul Shaffer (Hammond B-3, Fender Rhodes piano), Steve Count (acoustic and electric bass), and Scott Neumann (drums). Jane Stuart is the band's vocalist, with singers Julie Michels and Carolyn Leonhardt, each guesting on one song. Marini and Shaffer are special guests on this recording.

With a mix of what Dave Stryker might call 8-track classics, assorted other songs, and the leader's intriguing originals, Warfield leads a band on a thoroughly engaging and funky program. [The recording is bookended by two versions of “Smile,” one featuring vocalist Michels and the closing one a duet with Shaffer's airy electric piano providing a setting for Warfield's lovely trumpet. ]While there is a superb cover of a Weather Report recording, "Cucumber Summer," Warfield's original "Mad Dog 245" will also evoke the legendary band with its mesmerizing bass riff and Rickenberg's riveting tenor sax solo." Then there is a stone-cold funky rendition of Booker T & the MG's "Hip-Hug-Her," with Hong's down-in-the-alley baritone sax solo, the leader's fiery trumpet, and Shaffer's chicken-fried organ.

Bobby Gentry's "Ode to Billie Joe" is taken uptown with a marvelous vocal from Stuart and Marini's fervent tenor sax. Stuart also is featured on a cover of the Gladys Knight hit, "I've Got to Use My Imagination." John Eckert contributes the blistering trumpet on this last tune. Carolyn Leonhardt is heard on "Rainbow Connection' from "The Muppet Movie." Pianist Coleman's delicate solo intro leads to a lush horn setting for her captivating vocal.

Arguably the standout track is Warfield's reharmonization of "Theme From Law and Order," with a guitar chorus before Marini's Coltrane-ish soprano sax solo as the band sings a chant based on the "Acknowledgment" section of "A Love Supreme." The chant segues into the band's accompaniment to the climax of Marini's solo before the group restates the theme. It is a sterling performance among the imaginative, first-rate performances heard on "Smile." "Smile" is a superb recording of straight-ahead jazz that should also have considerable appeal to a general listening audience.

I received a review copy from a publicist. Here Bill Warfield and the Hell's Kitchen Funk Orchestra perform "Hip-Hug-Her."

Jazz at Lincoln Center Orchestra with Wynton Marsalis Black, Brown & Beige

Jazz at Lincoln Center Orchestra with Wynton Marsalis
Black, Brown & Beige
Blue Engine records

Blue Engine Records, the label of Jazz at Lincoln Center, has been quite active recently. Among its latest releases is from 2018 performances of the Duke Ellington work that Ellington debuted at his 1943 Carnegie Hall concert. "Black, Brown & Beige" is one of the few performances of a work that initially received mixed reactions. It has become recognized as one of Ellington's most significant works. Wynton Marsalis says this suite "sits alone in the history of jazz," and "covers a mosaic of not just Afro-American but of American styles of music… ."

Joe Alterman writes in the liner booklet for this release, "Black, Brown and Beige" is a great and important piece, one that inspires me as both a musician and a human being. As a musician, I experience an exciting and rich universe, a multi-faceted and superbly crafted voyage through a large and important cross-section of the American vernacular: work songs, spirituals, the blues, early New Orleans-style jazz, the circus, the swing era, ballroom dancing, and even the Caribbean-influenced Habanera."

Chris Crenshaw, who transcribed and conducted this performance, states that "It was my intention as a transcriber and conductor to be true to the spirit of Ellington. We sought to make every performance sing and dance with the spark of invention and play with love, respect, and dedication. That's what Duke's achievements demand and it's what he deserves. Hallelujah!"

The personnel that evening of the Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) were Reeds: Sherman Irby (alto saxophone), Ted Nash (alto saxophone), Victor Goines (tenor saxophone, clarinet), Walter Blanding or Julian Lee (tenor saxophone), and Paul Nedzela (baritone saxophone); Trumpets: Ryan Kisor, Marcus Printup, Kenny Rampton, Wynton Marsalis (music director), and Jonah Moss; Trombones: Vincent Gardner or Kasperi Sarikoski, Chris Crenshaw or Sam Chess, and Elliot Mason; and Rhythm Section: Dan Nimmer (piano, bells), Carlos Henriquez (bass), Marion Felder (drums), and James Chirillo (guitar). Also, there are special guests, Eli Bishop (violin) and Brianna Thomas (vocals).

The three-part "Black, Brown & Beige" is divided into nine segments, 3 for each part: "Work Song," "Come Sunday," "Light," "West Indian Dance," "Emancipation Celebration," "Blues Theme Mauve," "Various Themes," "Sugar Hill Playhouse," and "Finale." JLCO impresses in capturing the flavor of the original Ellington performance yet its members display their distinctive voices. For example, Marion Felder captures the feel of Sonny Greer. On "Work Song," Paul Nedzela has a robust, earthy tone evocative of Harry Carney, while Sam Chess' growling trombone is in the manner of Sam Nanton. Standing out on a gorgeous rendition of "Come Sunday" is trombonist Kasperi Sarikoski who captures the warmth that Juan Tizol's playing possessed while Eli Bishop takes the Ray Nance solo. Marsalis himself is sterling, such as opening the third segment 'Light" including employing half-valve effects in a fashion of Rex Stewart, while bassist Henriquez shines here as well.

Among other highpoint is Briana Thomas' vocal on "Blues Theme Mauve." While selecting a few highpoints, the whole recording is an outstanding marvelous recording that brings this 1943 composition to 21st Century life. Currently available only as a download, it is available at https://store.jazz.org/collections/frontpage/products/black-brown-and-beige.

A publicist provided me with a download of this recording. Here is a brief excerpt from JLCO's performance of "Black, Brown & Beige."

Take 5 With Thad Jones & Mel Lewis

What is now known as the Vanguard Jazz Orchestra started decades ago as the Thad Jones & Mel Lewis Orchestra. For five decades, until interrupted by the COVID-19 pandemic, they were featured every Monday Night at the Village Vanguard. Today I salute this great big band with this short playlist.

We start with a performance that was televised in 19668, "Just Blues."

 Next is a selection from their 1970 album "Consummation," "A Child Is Born."

From a 1969 performance in Denmark, we hear "Central Park North."

From the 1976 album "New Life" we hear "Cherry Juice."

Finally from the "Central Parl North" album, they perform "Jive Samba."

As a bonus, we view a mini-documentary that was prepared in conjunction with the Resonance Records release of "All My Yesterdays," documenting the initial performances of this historic band.

The Seth Weaver Big Band Truth

The Seth Weaver Big Band
Truth
Outside In Music

Seth Weaver, originally from Franklin, Tennessee, has established himself as a trombonist, composer, arranger, vocalist, and education in New York City. He has been leading a 17 piece big band which has shined in a variety of New York venues including Iridium, St. Peter's Church, Birdland, and the Zinc Bar. On this album, he leads his big band on five originals and three standards. In addition to Weaver's trombone and vocals, band members include: Reeds- Lucas Dodd, Alex LoRe, Sam Dillon, Lukas Gabric, and Eitan Gofman; Trombones- Nick Grinder, Corey Wallace, Peter Nelson, and James Borowski; Trumpets- John Lake, Nolan Tsang, Andrew Neesley, and Oskar Stenmark; and Rhythm Section- Aleksi Glick (guitar), Addison Frei (piano), Marty Kenney (bass) and Nolan Byrd (drums).

This is a big band with a modern flair in the vein of Thad Jones-Mel Lewis, and Clark Terry's Big Bad Band, with a touch of Basie. There is plenty to appreciate starting with the opening track, "The Hudson," where Weaver's scoring that employs a deep bottom for the trumpets to riff against stands out. His own robust trombone gets featured with its burly sound. 'Frost," which debuted at Carnegie Hall in 2018, hints at Miles' second quintet with its opening before showcasing Weaver's gruff cotton ball sound. Sam Dillon's down-in-the-alley tenor sax is showcased against the mellifluous horns, and guitarist Glick's single-note runs. Drummer Byrd takes a drum solo set against a crisply played riff. "Red" has an engaging, prancing tempo led off by Kenney's walking bass before Weaver takes flight. Alto saxophonist Lucas Dodd exhibits a bluesy tone before some clean, imaginative single-note lines by Glick. Weaver is a very amiable crooner with his rendition of "On a Clear Day," standing out among his three very alluring vocals.

The rhythm section is first-rate, and the horns are wonderful. Showcasing Weaver's abilities and with a first-rate group of musicians, "Truth", simply stated, is a marvelous, straight-ahead, swinging big band recording.

I received my review copy from a publicist. Here the Seth Weaver Big Band perform "On a Clear Day."

Jazz at Lincoln Center Orchestra with Wynton Marsalis The Music of Wayne Shorter

Jazz at Lincoln Center Orchestra with Wynton Marsalis
The Music of Wayne Shorter
Blue Engine Records

In the booklet accompanying this new recording devoted to the music of Wayne Shorter from the Jazz at Lincoln Center Orchestra (JLCO), Christian McBride writes, "How would I describe Wayne Shorter? It would be way too easy to call him something like a "legend" or a "genius." Those are words that get thrown around much too easily in today's 140-character culture. Wayne's career is well-known and widely celebrated by not only the jazz community, but by music lovers all over the world. Simply put, he helped to expand the language of modern American music as both a composer and a saxophonist."

This recording memorializes performances by Shorter with JLCO from Mat 2015. It is one of several recordings celebrating Shorter's music joining those by the San Francisco Jazz Ensemble, David Weiss, Antonio Adolfo, and others. Shorter appears on tenor and soprano saxophones with JCLO. The members of JLCO at these performances included: Reeds - Sherman Irby: Alto & Soprano Saxophones, Flute, Piccolo, Bb Clarinet, Ted Nash: Alto & Tenor Saxophones, C And Alto Flutes, Piccolo, Bb Clarinet, Victor Goines: Tenor Saxophone, Bb & Eb Clarinets; Walter Blanding: Tenor & Soprano Saxophones, Bb Clarinet, and Paul Nedzela: Baritone & Alto Saxophones, Bass Clarinet; Trumpets -Ryan Kisor, Kenny Rampton, Marcus Printup, and Wynton Marsalis, Trombones - Vincent Gardner, Chris Crenshaw, and Elliot Mason, and a rhythm section of Dan Nimmer, Piano, Carlos Henriquez, Bass and Ali Jackson, Drums.

The Shorter compositions performed are: "Yes or No," "Diana," "Hammer Head," "Contemplation," "Endangered Species," "Lost," "Armageddon," "The Three Marias," "Teru," and "Mama 'G'." Most of the compositions date from 1959-1966, but a couple are from his Columbia album "Atlantis." Members of the JCLO wrote the arrangements to these compositions that were generally performed by smaller ensembles.

There is some marvelous music here starting with Victor Goines sterling arrangement of "Yes or No" that opens with Shorter on tenor sax. Goines' rich orchestration of the horns frames some terrific solos from Shorter, Wynton Marsalis, and pianist Dan Nimmer. One thing that also is readily noticeable is the superb rhythm section of Nimmer, Henriquez, and Jackson. Ted Nash's arrangement on "Diana" provides a lush, serene setting for Shorter's soprano sax and the trumpets of Marsalis and Printup." Sherman Irby put together as bouncy big band setting for "Hammer Head," a classic from Shorter's time with Art Blakey. Irby on alto sax and trombonist Vincent Gardner solo in addition to Shorter while rhythm trio keeps a tight groove.

Other notable selections include "Endangered Species" with one of Shorter's best soprano sax solos on this date and one of Ali Jackson's drum solos set against Gardner's imaginative arrangement. There is a bit of organized chaos at the opening of Marcus Printup's arrangement of "Armageddon," with Nimmer's block chords lending a roomy ambiance here. Shorter's swirling soprano sax is spotlighted in Carlos Henriquez's arrangement of "The Three Marias." At the center of this performance though is Shorter's soprano sax set against just the rhythm section. Jackson's accompaniment is especially noteworthy. All three members of the rhythm section get to solo on the vibrant "Mama 'G'," with fiery playing from Shorter. Jackson's volcanic drum solo that brings this performance (and this recording) to a highly charged close.

The Jazz at Lincoln Center Orchestra under Wynton Marsalis' direction has a well-deserved reputation for the quality of its music. The concerts with Wayne Shorter resulted in this vibrant superlative collaboration with Wayne Shorter.

I received my review download from a publicist. Here the JLCO perform "Hammerhead."

J.C. Hopkins Biggish Band Has A New York Moment

J.C. Hopkins Biggish Band
New York Moment
Twee-Jazz Records

The J.C. Hopkins Biggish Band is a Big Little Band that has a regular Saturday Night engagement at the legendary Minton's playhouse. Led by pianist-composer Hopkins, this band has had several vocalists over the years, including Norah Jones, Madeleine Peyroux, Queen Esther, Jazzmeia Horn, Alicia Olatuja, and Brianna Thomas. On the present recording, the band supports vocalists Joy Hanson, Nico Sarbanes, Vanisha Gould, Shawn Whitehorn, and Alicyn Yaffee. The rest of the band consists of Nico Sarbanes - trumpet solos, Drew Vandewinckle - tenor sax, Jason Marshall - Baritone sax, Julian Pressley - alto sax, Beserat Taffesse - trombone, Walter Cano - trumpet, Evan Hyde - drums, and Kaisa Maenshivu - upright bass.

Except for Charles Mingus' "Better Git It In Your Soul," Hopkins wrote all of the songs (3 are collaborations) while Drew Vandewinkle arranged all of the tunes. The music here is handsome, Neil Hefty styled big band backed singing starting with the duet between Nico Sarbanes and Joy Hanson on the opening "Beguiled. While these are originals, Hopkins has created pastiches of classic big band songs starting with a brisk swinging original. Their other duet, "We Can Change The World,' is a relaxed swinger. Joy Hanson has an alluring, feathery vocal on "The Wonderful Things To Come," which has a sensual Vandewinkle tenor saxophone. Then there is her affective vocal on the lovely ballad, "Close Your Eyes," with nice muted trumpet. Sarbanes is an attractive crooner on the peppy "Lulu," where he also adds a bit of heat with his trumpet.

Vanisha Gould is a striking, soulful singer on the celebratory "One of These Days," with a groove that hints at "New York, New York." She also delivers an alluring vocal on the ballad "Sublime Beauty." Vandewinkle's arrangement includes an attractive unison horn break. a love song, "Oh Kitty," showcases Shawn Whitehorn vocal and Sarbanes bright, melodic trumpet, while Alicyn Yaffee handles the vocal on the closing blues, "The Children Will Lead Us." If this number has the least alluring horn arrangement, it sports choice jazz-blues guitar by an unidentified guitarist. In addition to these quite enjoyable vocal performances, there is a solid rendition of "Better Git It In Your Soul" that allows band members to stretch out.

With five engaging singers, intriguing idiomatic originals, and an excellent big little band, J.C. Hopkins Biggish Band provides some very memorable musical moments here.

I received my review copy from a publicist.  Here is a video of the J.C. Hopkins Biggish Band with vocalist Queen Esther at Minton's in Harlem.

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.

The Django Orchestra

The Django Orchestra
The Django Orchestra
Self-Produced

When browsing at Bandcamp's website, this seemed to be an interesting recording, and indeed it is. Albert Bello (solo guitar) is the artistic director and co-producer of this excellent big band album from Barcelona. Musically, this is big band jazz mixed with Quintette du Hot Club de France renditions of mostly Django Reinhardt's music (the one exception being "Tea For Two"). Sort of like Django meets the Dizzy Gillespie Big Band. The lengthy "Blues en Mineur Suite" is a tour de force with a terrific big band exploration of the theme with a brief segment played by a small group in the vein of the Hot Club of France. Vocalist Elisenda Julià is featured on a delightful "Tea For Two," with Oriol Saña's violin providing obligatos under her vocal, which is followed by some fine muted trumpet. This is a captivating selection in a fascinating, engrossing album.

A fabulous "Minor Swing" closes this CD, with an exhilarating acoustic quintet segueing into an explosive big band close. The Django Orchestra is a first-rate big band, and the arrangements and engineering allow the acoustic guitar of Bello and the violin of Saña to be front and center. Kudos to Sergi Vergés, who provided all of the arrangements and was co-producer of this recording that is a celebration of the legacy of Django Reinhardt and Stéphane Grappelli.

I purchased this from bandcamp.com from which one can buy this as a download or CD (which includes a download. One also gets unlimited streaming of one's Bandcamp purchases. Here is the Bandcamp link, https://thedjangoorchestra.bandcamp.com/album/the-django-orchestra. Here is a video of The Django Orchestra performing "Viper's Dream," one of the tunes on the CD.

The DIVA Jazz Orchestra & the Boys

The DIVA Jazz Orchestra
DIVA & the Boys
MCG Jazz

This latest album by The DIVA Jazz Orchestra is part of a celebration of 3 years of MCG Jazz, a label with which they have been associated with for over 25 years. This recording memorializes performances by the DIVA Jazz Orchestra at the Manchester Craftsman's Guild on March 10 and 11, 2017. These evenings they were joined by special guests clarinetist, Ken Peplowski, trumpeter Claudio Rodoti, trombonist Jay Ashby and guitarist Marty Ashby. Under the leadership of drummer Sherrie Maricle, the members of the Orchestra were Alexa Tarantino- alto sax, soprano sax, flute, and clarinet; Scheila Gonzales - alto sax, flute, and clarinet; Janelle Reichman tenor sax and clarinet; Roxy Cross, tenor sax, flute, and clarinet; Leigh Pilzer - baritone sax and bass clarinet; Tanya Darby - lead trumpet & flugelhorn; Jami Dauber - trumpet & flugelhorn; Rachel Therrien - trumpet & flugelhorn; Barbara Laronga- trumpet & flugelhorn; Jennifer Krupa - lead trombone; Linda Landis - trombone; Leslie Havens - bass trombone; Tomoko Ohno - piano; and Noriko Ueda - bass.

About the Diva Jazz Orchestra I commented in a review of their last CD, "25th Anniversary Project," that "Certain things should be taken for granted about this recording including the excellent playing, ensemble work, and a first-rate rhythm section, along with marvelous arrangements and orchestrations resulting in a terrific modern big band recording." The same applies here to the eight compositions, and their solos are of equal quality to their famous guests. This is evident during the first selection, Noriko Ueda's arrangement of Benny Goodman's "Slipped Disc," which features Ken Peplowski and Janelle Reichman on clarinet. The two who swap lines while the rhythm section briskly propels them, and the full band joins in, and the orchestra trades four with Marcie before the tempo rockets to the close. Jobim's "A Felicidade" is one of three bossa nova compositions heard here. Besides Rodoti's mellifluous trumpet, Roxy Cross's lyrical tenor saxophone is spotlighted along with bassist Ueda. Jay Ashby contributed "Deference to Diz," a relaxed big band bop-flavored number that incorporates phrases from some Gillespie classics. Peplowski, Roditi, and Jay Ashby solo along with pianist Ohno with the full band riffing in support.

Jay Ashby also arranged the Ivan Lins-Vitor Martins' composition "Noturna" with Jay's melodic trombone in focus while Marty Ashby plays chords on acoustic guitar. It is a beautiful performance. Peplowski opens "The One I Love Belongs to Someone Else." Trumpeter Jamie Dauber is showcased playing with a mute and pianist Ohno displaying her fluid approach while the arrangement allows the intensity to build to an explosive close. Roditi takes up the piccolo trumpet his "Piccolo Blues," a performance on which The DIVA Jazz Orchestra evokes the later Count Basie Band. Besides Roditi, Jennifer Krupa's trombone and Alexa Tarantino's soprano saxophone are featured on this.

Closing this recording, there is an elegant rendition of "Estate," featuring Peplowski's clarinet, and a rousing rendition of Plas Johnson's "Bucket O' Blues." The latter number showcases all the members of the saxophone section who trade fours with each other before pianist Ohno channels Junior Mance and Harold Mabern for her solo. The full band takes out "Bucket O' Blues" in a highly animated fashion. It caps another exceptional recording by The DIVA Jazz Orchestra.

I received my review copy from a publicist. Here is a recent performance by The DIVA Jazz Orchestra.

 
 

Take 5 with Fletcher Henderson

Today's edition of Take 5 is a short playlist of Fletcher Henderson's Big Band. There are so many excellent tunes one might select, but I just want to give a brief sense of how great this band was. To delve more deeply you might want to check out "A Study in Frustration," an import CD set of the original 4 LP reissue. 

While Louis Armstrong's time with Fletcher Henderson was a brief one, it had a definite impact on not only the musicians in Henderson's Band and others. Here is the Fletcher Henderson Band when Armstrong was a member performing "Sugarfoot Stomp." This is an orchestral arrangement of King Oliver's "Dippermouth Blues" that King Oliver's Creole Jazz Band recorded with Armstrong on second cornet." The arranger was Don Redman who also played alto sax in the band at the time. Redman would be a very influential bandleader and arranger.

Next up is a rendition of "The Stampede," which was recorded shortly after Armstrong had left Henderson. The cornetist on this is Rex Stewart who was with Henderson for several years. Stewart is best remembered for his time with Duke Ellington, starting in 1934. also in the band from the 1920s is Coleman Hawkins (he is on "Sugarfoot Stomp").

One of Henderson's most famous recordings was "New King Porter's Stomp." Rex Stewart opens up with his muted cornet with Coleman Hawkins also featured. Henderson's arrangement would reach even more ears when Benny Goodman used it.

Later, Henry 'Red' Allen' joined Henderson's Band. Among the numbers Henderson recorded while Allen was in the band, was the futuristic sounding "Queer Notions," with solos by Coleman Hawkins and Allen

For the last Henderson recording, we will listen to a selection after Hawkins and Allen had left the band. Among their replacements were Roy Eldridge and Chu Berry. Here the band performs a favorite during the swing era, "Blue Lou."

The Flying Horse Big Band Good News!

The Flying Horse Big Band
Good News!
Flying Horse Records

The Flying Horse Big Band is a big band out of the University of Central Florida's Jazz Program under the direction of tenor saxophonist Jeff Rupert. "Good News!" is the sixth album by what is becoming a very highly regarded university big band. On this album, they are joined on several selections by the UCF Studio Orchestra, and on one selection, The Jazz Professors are heard. The music heard are from such jazz masters as Miles Davis, John Coltrane, Thelonious Monk, Antonio Carlos Jobim, Bob Mintzer, and Michael Phillip Mossman. Mossman, a former member of Machito's legendary big band provided and Rupert, each provided several arrangements to this recording.

This is one hard-swinging aggregation starting with the heated rendition of Miles Davis' "The Serpents' Tooth" with some raucous baritone sax from Saul Dautch. This performance also has robust trombone solos from Jeremiah St. John and Christian Herrera while the band roars behind them. If this does not get the temperature rising, call an ambulance. While Miles Davis is credited with "Vierd Blues," it is likely a John Coltrane composition. Trombonist Herrera and guitarist Chris Medina solo against the unusual Mossman arrangement. Mossman also provided the handsome arrangement for Jobim's "Aqua de Beber," one of the three compositions the UCF Studio Orchestra play on to great effect. St. John takes a serpentine-shaped trombone solo followed by Dautch on alto saxophone with a somewhat dry tone.

Mossman provided the ingenious, inspired arrangement of Monk's "Tinkle, Tinkle," with the sections playing off each other. Dautch plays impressively on baritone sax while bassist Zach Greene provides a motif to anchor this performance. This is followed by The Jazz Professors and the UCF Studio Orchestra interpreting Monk's "Round Midnight." Jeff Rupert provided the arrangement as well as tenor sax on a performance opening with the Orchestra providing the setting for Rupert's statement of theme and solo. It segues into The Jazz Professors playing this theme with solos from pianist Per Danielsson, guitarist Bobby Koelble, and bassist Richard Drexler. John Lennon's "Imagine" is heard in two mixes, one a shorter radio mix and also an extended mix with Rupert's arrangement and the Orchestra. Jeff "T-Bone" Gerard provides narration and a moving vocal with some strong tenor sax from Rupert.

We should not forget the keyboards of Mikal Mancini and the drums of Devon Costanza who with bassist Greene and guitarist Medina make a superb rhythm section. They help drive this terrific big band on an excellent recording.

I received a download from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386).

Peter Hand Big Band Out of Hand

Peter Hand Big Band
Out of Hand
Savant

A few years ago, guitarist Peter Hand led a big band, featuring tenor saxophonist Houston Person on a wonderful live recording on Savant “The Wizard of Jazz: A Tribute to Harold Arlen.” The Peter Hand Big Band returns with a new studio recording, also on Savant, “Out of Hand.” Again, Person is present (on three selections), and a number of top-notch players are heard here including saxophonists Bruce Williams, Kenny Berger, Don Braden, and Ralph LaLama; trumpeters Eddie Allen, John Bailey and Valery Ponomarev; trombonists John Mosca and Vincent Gardner; and a terrific rhythm section of pianist James Weidman, bassist Harvie S and drummer Steve Johns.

Person is featured on three selections, a swinging rendition of Bobby Hebb’s “Sunny”; the classic Harold Arlen torch song “Blues in the Night”; and the Strayhorn/Ellington classic “Day Dream.” Person brings his warm, rich tone and the melodic quality of his improvisations set against Hand’s wonderful arrangements as well as Hand's own clean, crisp guitar. On the opening Sunny,” trumpeter Ponomarev takes one of several sharp-toned solos that exhibit an authority similar to that of Person. Selections like these evoke a classic Oliver Nelson Big Band album “Live in Los Angeles” that featured guitarist Mel Brown on a couple selections as well as Nelson’s arrangements for some of Wes Montgomery’s Verve recordings.

Hand is a wonderful guitarist in the vein of a Montgomery, Kenny Burrell, Grant Green and the like with a definite blues sensibility. Hand’s original “Out of Print Blues” (called Out of Hand Blues” in Donald Elfman’s liner notes) is a nice swinging blues with strong solos from Bruce Williams, Harvie S and Vincent Gardner in addition to the leader. Another Hand original is the waltz “Listen to Your Heart” with its effective use of muted brass, flute, flugelhorn and soprano saxophone with Braden taking a nice soprano sax solo set against the riffing horns while Ponomarev is in more melodic vein.

Hand displays a romantic sensibility of a lovely ballad “Barbara Rose,” while the up-tempo “The Elevator” is a feature for LaLama’s robust and forceful playing and will evoke the Ellington classic “Cottontail.” After the light Latin groove of “Night Echo” (Hand, Bailey, and Weidman stand out here); we are treated the splendid “Day Dream,” before Hand enlivens “Summertime” with his arrangement in 6/4 and employment of flute, clarinet, bass clarinet and muted brass to provide musical colors for Allen’s vibrant trumpet and Weidman’s piano. It is a superb close to this splendid big band recording.

I received my review copy as a download from a publicist. This review originally appeared in the March-April 2015 Jazz & Blues Report (Issue 359). Peter Hand Big Band has a new CD out that I will be reviewing shortly. Here is "Sunny" from "Out of Hand."

Greg Diaz & The Art Of Imagination Jazz Orchestra Begin the Agora

Greg Diaz & The Art Of Imagination Jazz Orchestra
Begin the Agora
AOI Group

An institution on South Florida's music scene Diaz plays reeds and is a vocalist, composer, and arranger. He has toured with pop and jazz legends like Ben E. King, Nicole Henry, Phil Woods, Ira Sullivan, the Temptations, The Lettermen and Tito Puente amongst many. This recording allowed him to document this Orchestra with a short disc containing 5 songs. Diaz is on tenor sax, clarinet and sings on this recording.

It opens with a percolating groove on Kevin Eubanks "The Navigator" with his orchestration contrasting a deep bass tone against fiery brass. Guitarist Christian Davis fleet, spiraling single note solo is followed by the rolling bop-flavored piano of Eero Turunen with the horns adding heat before Diaz himself takes a robust, surging tenor sax solo. Davis and Diaz both are featured again against the strolling tempo of "Circadia" with its intricate rhythmic melody.

A centerpiece here is a lively exploration of New Orleans grooves in a medley of The Nevilles' "Brother John," Diaz's "2nd Line Strut," and Sugarboy Crawford and the Cane Cutters' "Iko Iko." Diaz is no slouch as a singer (he is a Professor of Jazz Voice at Miami Dade College) and takes the lead with bassist James McCoy adding backing voices as the horns punch riffs against the second line groove. It transitions to the "2nd Line Strut" with drummer Matt Calderin parade rhythms trading off with tenor saxophonist Scott Klarman, guitarist and others including Mike Brignola on baritone sax, and Turunen on electric piano. The performance transitions into a jubilant rendition of the Mardi Gras Indian chant "Iko Iko," with Diaz singing over a fresh horn arrangement that likely would have impressed the legendary Wardell Quezergue.

Also heard here is the brisk, bop minor-toned blues "Frank Blank" that has several notable solos with the rumbling, rambunctious trombonist Russell Freeland and trumpeter Kevin Wilde (blistering high note specialist) standing out before drummer Calderin takes a furious solo. Turunen on electric piano and Calderin's stick work introduce the moody title track. Plenty of color and interest are provided not merely by some strong solos from Klarman on tenor sax, but by Turunen on electric piano who lends a floating feel under his wholehearted playing including a fascinating electric piano solo. Also, there is sizzling high-energy guitar shredding from Davis that starts in a contemplative manner while building up in intensity.

As indicated, this recording represented Greg Diaz's desire to document this big band, and the solid performances here make this a band well worth documenting.

I received a review copy from a publicist. I have made stylistic changes to this review which first appeared in the November-December 2018 Jazz & Blues Report (Issue 381).