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.

Janiva Magness Sings John Fogerty

Janiva Magness
Change in the Weather - Janiva Magness Sings John Fogerty
BlueElan Records

This latest release from roots-blues diva Janiva Magness is a change of pace from her recent releases that leaned on her own songwriting. Here she interprets some of John Fogerty's most remembered songs, and for some of them lending a different view as sung by a woman. Supporting musicians include drummer Steve Wilson; guitarists David Darling (who produced this CD) and Zachery Ross; bassist Gary Davenport; and keyboardist Arlan Oscar. On one track Rusty Young adds dobro and guitar, and Aubrey Richard plays fiddle. There are guest vocals from Sam Morrow and Taj Mahal.

If I have any reservations it is what sounds like generic rock accompaniments to a couple of the songs such as the opening "Change in the Weather," with a freak-out blues-rock guitar solo. There are no complaints with Janiva Magness' singing. She has become one of the foremost blues and roots vocalists around. Mavis Staples is quoted in the press material that when Janiva sings "Soul music is alive and kicking," Her delivery of the songs is impeccable, bringing out some of the nuances of the lyrics.

Sam Newton (whose voice is suggestive of Fogerty) joins her for a spirited "Lodi." Her renditions of "Someday Never Comes" and "Have You Seen the Rain" displays her expressive range and are amongst her most powerful, and subtly passionate singing here. The more understated backing on the latter number enhances the mood as well. On "Don't You Wish It Were True," Taj Mahal adds his banjo and vocal. There is also slide guitar and a ragged groove as the two sing, wishing for a world with no more sorrow and hate. Slide guitar and a swampy groove underlie the cover of "Bad Moon Rising," while the rendition of "Fortunate Son" hews close to the Credence original with Magness singing with controlled anger fitting for the protest lyrics.

I am not familiar with all of the originals here, but particularly powerful is the performance of the less familiar "A Hundred and Ten in the Shade." It stands out with the stark simplicity of the music as Magness sings about "Bottomland hard as a gravestone… ." "Looking Out My Back Door," closes this album with a down-home, country feel with Rusty Young's dobro and Aubrey Richmond's fiddle adding to this tone. A few musical blemishes notwithstanding, Janiva Magness has certainly provided a superlative tribute to the music of John Fogerty.

I received my review copy from a publicist. This review originally appeared in the November-December 2019 Jazz & Blues Report (Issue 387). Here she performs "Have You Seen the Rain."