GIL EVANS

GIL EVANS 

Stone Free Live in Lugano 1983 

(the guru of arrangers)

Live in Lugano,1983

Personnel;

Gil Evans (piano), Billy Cobham (drums), Tim Landers (bass), Dean Brown (guitar), 

Gil Goldstein (keyboards),Mike Mainieri (vibes)

John Clark (French horn)

Howard Johnson (tuba)

Michael Brecker,Thomas Gruenwald (tenorsaxes),

Herb Geller (altosax)

Tom Malone, Jiggs Whigham, Hermann Breuer, Rudi Fuessers (trombones)

Randy Brecker, Lew Soloff, Benny Bailey, Ack van Rooyen (trumpets)

GENE HARRIS

GENE HARRIS ALL  STAR BIG BAND

Tribute to Count Basie

AllMusic Review by Scott Yanow

A big-band date that slightly predated pianist Gene Harris' association with the Philip Morris Superband, this CD is ostensibly a tribute to the recently deceased Count Basie, but surprisingly, only two of the eight songs ("Swingin' the Blues" and "Blue and Sentimental") were played by Basie, although one original ("Captain Bill") was written in homage of the bandleader. Harris' 16-piece orchestra does bring back the spirit of Basie's band in spots, with a lightly but steadily swinging rhythm section and such soloists as trumpeters Conte Candoli and Jon Faddis and tenors Plas Johnson and Bob Cooper. But in reality, Harris dominates the solo spotlight, and the music (which includes a memorable version of "When Did You Leave Heaven") is a bit predictable.

Ray Brown

Bass, Composer, Guest Artist

James Leary

Bass

Herb Ellis

Composer, Guest Artist, Guitar

Jeff Hamilton

Drums, Guest Artist

Phil Edwards

Guest Artist, Sax (Tenor)

Bill Watrous

Guest Artist, Trombone

Conte Candoli

Guest Artist, Trumpet

Jon Faddis

Guest Artist, Trumpet

Snooky Young

Guest Artist, Trumpet

Gene Harris

Performer, Piano, Primary Artist

Bill Green

Sax (Alto)

Marshall Royal

Sax (Alto)

Jack Nimitz

Sax (Baritone)

Bob Cooper

Sax (Tenor)

Garnett Brown

Trombone

Thurman Green

Trombone

Charles Loper

Trombone

William Frank "Bill" Reichenbach Jr.

Trombone

Bill Waltrous

Trombone

Bobby Bryant

Trumpet

Frank Szabo

Trumpet

NSJO

NSJO 
New Standard Jazz Orchestra

Joy Spring

Featuring BJ Cord

Any orchestra that professes to establish a new standard had better be able to back that up. Happily for the listener, on its debut recording, Waltz About Nothing, Chicago's New Standard Jazz Orchestra can—and does. In a little more than two years, the NSJO has arisen as a worthy successor to one of the more exemplary ensembles ever to grace the Windy City, trumpeter Rob Parton's JazzTech Big Band. The equivalence seems predestined when one notes that no less than nine members of the NSJO—including co-leaders Ken Partyka and Andy Baker —are former members of Parton's cutting-edge ensemble. 

Seven of the album's eleven numbers were written by NSJO members, and they are admirable in every respect, as are the others—Ellington / Strayhorn's "Star Crossed Lovers," Mike Plog's "Bu's Groove," Burt Bacharach's "Close to You" (arranged by Chris Madsen) and Miles Davis' "Milestones" (by Tom Garling). Baker composed the seductive "Waltz About Nothing" and "Samba for Someone," Garling "Metamorphosis," "This One's for Sturm" and "Sedentary Motion." Alto Madsen is showcased on his composition "Spring and Fall," tenor John Wojciechowski on his "Lexicon," fellow tenor Mark Colby on "Sturm." Partyka solos on "Samba for Someone" and "Sedentary Motion," Baker on "Samba" and "Waltz." Mention should also be made of Tom Matta's splendid charts, "Star Crossed Lovers" and "Bu's Groove" (on which trumpeter Marquis Hill and pianist Dan Murphy shine). 

Other world-class improvisers who live up to the name are trombonists Garling and Tim Coffman, baritone Mark Hiebert and trumpeter BJ Cord. Murphy, bassist Tim Fox and drummer Todd Howell comprise the orchestra's hard-working rhythm section. Brass and reeds are sharp, assertive and tight as a drum, all the more impressive as Waltz About Nothing was recorded in a studio, without headphones or electronic enhancement, in a single day. As big bands continue to fade into the woodwork, it is comforting to know that Chicago remains home to one of the best, a forward-looking orchestra that gives rise to a new standard for those who follow.

By JACK BOWERS

New Standard Jazz Orchestra

Recorded live at The Jazz Showcase, Chicago. 8/11/14

Trumpets:

Chuck Parrish

BJ Cord

Chad McCullough

Marquis Hill

Trombones:

Andy Baker

Tom Garling

Tim Coffman

Tom Matta

Saxes

Ken Partyka

Chris Madsen

Mark Colby

Dan Nicholson

Scott Burns

Dan Murphy, Piano

Tim Fox, Bass

Todd Howell, Drums

CHARLES MINGUS

CHARLES MINGUS

Boogie Stop Shuffle

(kinda' big band)

Charles Mingus' debut for Columbia, Mingus Ah Um is a stunning summation of the bassist's talents and probably the best reference point for beginners. While there's also a strong case for The Black Saint and the Sinner Lady as his best work overall, it lacks Ah Um's immediate accessibility and brilliantly sculpted individual tunes. Mingus' compositions and arrangements were always extremely focused, assimilating individual spontaneity into a firm consistency of mood, and that approach reaches an ultra-tight zenith on Mingus Ah Um. The band includes longtime Mingus stalwarts already well versed in his music, like saxophonists John Handy, Shafi Hadi, and Booker Ervin; trombonists Jimmy Knepper and Willie Dennis; pianist Horace Parlan; and drummer Dannie Richmond. Their razor-sharp performances tie together what may well be Mingus' greatest, most emotionally varied set of compositions. At least three became instant classics, starting with the irrepressible spiritual exuberance of signature tune "Better Get It in Your Soul," taken in a hard-charging 6/8 and punctuated by joyous gospel shouts. "Goodbye Pork Pie Hat" is a slow, graceful elegy for Lester Young, who died not long before the sessions. The sharply contrasting "Fables of Faubus" is a savage mockery of segregationist Arkansas governor Orval Faubus, portrayed musically as a bumbling vaudeville clown (the scathing lyrics, censored by skittish executives, can be heard on Charles Mingus Presents Charles Mingus). The underrated "Boogie Stop Shuffle" is bursting with aggressive swing, and elsewhere there are tributes to Mingus' most revered influences: "Open Letter to Duke" is inspired by Duke Ellington and "Jelly Roll" is an idiosyncratic yet affectionate nod to jazz's first great composer, Jelly Roll Morton. It simply isn't possible to single out one Mingus album as definitive, but Mingus Ah Um comes the closest.

Charles Mingus

Bass, Composer, Piano, Primary Artist

"Captain" John Handy

Clarinet, Sax (Alto), Sax (Tenor)

John Handy

Clarinet, Sax (Alto), Saxophone

Dannie Richmond

Drums, Guest Artist

Booker Ervin

Guest Artist, Sax (Tenor), Saxophone

Shafi Hadi

Sax (Alto), Sax (Tenor)

Willie Dennis

Trombone

Jimmy Knepper

Trombone

BOB MINTZER, KURT ELLING

BOB MINTZER, KURT ELLING

My Foolish Heart

AllMusic Review by Thom Jurek  [-]

Interestingly, Live at MCG is the very first live recording by Bob Mintzer's big band, a group that has been together for over a decade. Recorded at the Manchester Craftsman's Guild in Pittsburgh, this date is also the first pairing of vocalist Kurt Elling with the band, and it's a doozy of a gig. The players include bassist Rufus Reid, pianist Phil Markowitz, and trumpeter Michael Philip Mossman, just to name a few of its 16 members. Mintzer's charts are high on drama, rich in rhythmic interplay, and very, very tight. There is nothing extraneous, because the excitement is what he draws out of the music itself. While everything here is exciting, deftly executed, and wonderfully lyrical, the three vocal tunes are clearly the set's highlights, including "My Foolish Heart," a tune that has become one of Elling's signature vehicles, and the Elling-Mintzer collaboration "All Is Quiet," on which Mintzer scales the band back to a quartet. But it is on a brand new chart for Herbie Hancock's "Eye of the Hurricane" that everything here takes off. Mintzer's own solo is one of his most inspired, and Markowitz's modulations are startling. But Elling moves his own truly original practice of vocalese into the stratosphere somewhere, making this the album's most inspired performance. Any way you cut it, this is a winner.

Kurt Elling

Additional Personnel, Composer, Guest Artist, Primary Artist, Soloist, Vocals

Bob Mintzer

Arranger, Composer, Liner Notes, Member of Attributed Artist, Primary Artist, Sax (Tenor), Soloist

Roger Rosenberg

Baritone (Vocal), Member of Attributed Artist, Sax (Baritone), Saxophone, Soloist

Rufus Reid

Bass, Bass Instrument, Member of Attributed Artist

Jeff O.Brien Myers

Drums, Member of Attributed Artist, Soloist

Phil Markowitz

Member of Attributed Artist, Piano, Soloist

Pete Yellin

Member of Attributed Artist, Sax (Alto), Soloist

Bob Malach

Member of Attributed Artist, Sax (Tenor)

Lawrence Feldman

Member of Attributed Artist, Saxophone

Michael Davis

Member of Attributed Artist, Soloist, Trombone

Larry Farrell

Member of Attributed Artist, Soloist, Trombone

Keith O'Quinn

Member of Attributed Artist, Soloist, Trombone

Michael Philip Mossman

Member of Attributed Artist, Soloist, Trumpet

Scott Wendholt

Member of Attributed Artist, Soloist, Trumpet

David Taylor

Member of Attributed Artist, Trombone

Frank Greene

Member of Attributed Artist, Trumpet

Bob Millikan

Member of Attributed Artist, Trumpet

Roger M. Rosenburg

Sax (Baritone), Soloist

Bobby Mallach

Sax (Tenor), Soloist

David Earl Taylor

Trombone (Bass)

DIVA

SHERRIE MARICLE 

& The DIVA Jazz Orchestra

76 Trombones

Hard-charging. Powerful. Immersed in the history of their craft and in total command of their instruments. That’s DIVA – an ensemble of 15 extremely talented and versatile musicians who just happen to be women. They can’t help it – they were born that way.

Headed by swinging drummer Sherrie Maricle, DIVA exudes the excitement and force found in the tradition of the historic big bands but with an eye towards today’s progressive sound of originality and verve. With New York as their home base, DIVA performs all over the world playing contemporary, mainstream big band jazz composed and arranged to fit the individual personalities and styles of the musicians themselves. Audiences can expect to hear high-energy performances packed with unique improvisation, spontaneity and fun.

The inspiration for DIVA came from Stanley Kay, one-time manager and relief drummer for Buddy Rich. In 1990, Kay was conducting a band in which Sherrie Maricle was playing the drums. Stanley immediately picked up on her extraordinary talent and began to wonder if there were other women players who could perform at the same level. The search was on and through nationwide auditions, the foundation for DIVA was poured in 1992 and what emerged is the dynamic musical force that holds forth to the present day.

Since their premiere performance over 21 years ago, DIVA has toured the world to critical and popular acclaim. To fully grasp how wide the appeal is of this incredibly gifted ensemble, one has only to read the catalog of prestigious venues in which the band has performed. In fact, it’s almost easier to ask the question: Where haven’t they played? Here is but a partial list: Carnegie Hall with the New York Pops Orchestra, John F. Kennedy Center for the Performing Arts in Washington, DC, Verizon Jazz Festival at Lincoln Center, Blue Note, Dizzy’s Club Coca-Cola at Jazz at Lincoln Center, Birdland and the Apollo Theater in New York. Add to that the Jazz Showcase in Chicago, Manchester Craftsmen’s Guild in Pittsburgh, and Symphony Halls in St. Louis, Philadelphia and Cleveland, plus the Playboy Jazz Festival at the Hollywood Bowl and Cinegrill in Hollywood. International appearances include Le Meridien Hotel in Paris, France; Teatro de Sistina in Rome, Italy; Berlin Jazz Festival in Germany; Salzburg Music Festival in Austria; Bern Jazz Festival in Switzerland; Montreal and Ottawa International Jazz Festivals in Canada; Bogota International Jazz Festival in Colombia; Jamaica Jazz Festival; Zagreb Jazz Festival in Croatia; and the Pori Jazz Festival in Finland.

As if the list of settings in which DIVA has performed isn’t impressive enough, from 2013 to the present day the band is featured in Maurice Hines’s autobiographical musical Tappin’ Through Life, performing extended runs at New World Stages in New York City; Arena Stage in Washington, DC; the Alliance Theater in Atlanta; the Wallis Performing Art Center in Los Angeles; Cleveland Playhouse; and Delaware Theatre Company. DIVA has also shared the stage with Nancy Wilson, Joe Williams, Diane Schuur, Carmen Bradford, Marlena Shaw, Dee Daniels, DeeDee Bridgewater, Rosemary Clooney, Ann Hampton Callaway, Jack Jones, Clark Terry, Dr. Billy Taylor, Terry Gibbs, Tommy Newsom, Randy Brecker and Dave Brubec

As if the list of settings in which DIVA has performed isn’t impressive enough, from 2013 to the present day the band is featured in Maurice Hines’s autobiographical musical Tappin’ Through Life, performing extended runs at New World Stages in New York City; Arena Stage in Washington, DC; the Alliance Theater in Atlanta; the Wallis Performing Art Center in Los Angeles; Cleveland Playhouse; and Delaware Theatre Company. DIVA has also shared the stage with Nancy Wilson, Joe Williams, Diane Schuur, Carmen Bradford, Marlena Shaw, Dee Daniels, DeeDee Bridgewater, Rosemary Clooney, Ann Hampton Callaway, Jack Jones, Clark Terry, Dr. Billy Taylor, Terry Gibbs, Tommy Newsom, Randy Brecker and Dave Brubeck.

The band has also made several notable television and film appearances including performing the soundtrack for the 2014 NBC/Macy’s Firework Spectacular, a feature in the award-winning documentary film, The Girls in the Band, multiple appearances on CNN Arts Break, a dedicated segment on CBS Sunday Morning, and musical features as part of The Kennedy Center’s 25th Anniversary Special, the Japanese television network NHK, and Metropol TV in Germany. 

-divajazz.com/-

DON ELLIS

HAPPY BIRTHDAY

DON ELLIS

Pussy Wiggle Stomp

From his appearance at the Montreux Jazz Festival on July 8, 1977. 

Don Ellis - Trumpet, Composer, Arranger

Reeds - Ann Patterson, Ted Nash, James Coile, Jim Snodgrass

Trumpets - Glenn Stuart, Gil Rather, Jack Coan

French Horn - Sidney Muldrow

Trombone - Alan Kaplan

Bass Trombone - Richard Bullock

Tuba - Jim Self

Keyboards - Randy Kerber

Bass - Leon Gaer, Darrell Clayborn

Drums - David Crigger

Congas - Chino Valdes

Percussion, Drums and Mallets - Michael Englander

Percussion, Mallets and Timpani - Ruth Ritchie

Violins - Pam Tompkins, Lori Badessa

Viola - Jimbo Ross

Cello - Paula Hochhalter

JOHN FEDCHOCK

JOHN FEDCHOCK

Limehouse Blues

John Fedchock - leader, arranger, trombone

Mark Vinci - Alto Sax

Jon Gordon - Alto Sax, Soprano Sax

Rich Perry - Tenor Sax

Rick Margitza - Tenor Sax

Scott Robinson - Baritone Sax

Tony Kadleck - Trumpet, Fluegelhorn

Greg Gisbert - Trumpet, Fluegelhorn

Barry Ries - Trumpet, Fluegelhorn

Tim Hagens - Trumpet, Fluegelhorn

John Fedchock - Trombone

Keith O'Quinn - Trombone

Clark Gayton - Trombone

George Flynn - Trombone

Joel Weiskopf - Piano

Lynn Seaton - Bass

Dave Ratajczak - Drums

Jerry Gonzalez - Percussion

ASHLEY ALEXANDER

ASHLEY ALEXANDER BIG BAND 

 Plays Frank Mantooth 

Ashley Alexander, Big Band trombonist, music educator and recording artist

In August 1988, trombonist and educator Ashley Alexander went for a walk in the woods at a jazz camp in Saskatchewan, Canada and never returned. When camp officials searched for him, they found Alexander's body nearby. The 52-year-old music professor at Mt. San Antonio College in Walnut, Calif. reportedly had a history of heart trouble.

While in Los Angeles seven years earlier, Alexander and his big band recorded Secret Love for AM-PM Records, a venture of producer Albert Marx's. The album remains a document of how top clinic bands of the period sounded and it captures a lost light at the top of his game. Alexander was probably most famous for playing the double trombone—one valve, two slides and bells—which the Holton Company designed for him.

Born in Oklahoma, Alexander's father played organ in the local church and jazz piano on Saturday nights. Alexander picked up the trombone in school and played in Western swing bands in his teens, even working ofr a year in band of the Barnum & Bailey Circus.

After graduating from college, Alexander worked in the big bands of Teddy Phillips, Ralph Marteri, Tex Beneke and Glenn Miller. He soon began teaching high school in Oklahoma and then enrolled at North Texas State for an advanced degree in trombone performance.

Frank Mantooth (April 11, 1947, Tulsa, Oklahoma – January 30, 2004, Garden City, Kansas) was an American jazz pianist and arranger.

Mantooth attended University of North Texas College of Music, graduating in 1969, then played in and arranged for the Air Force Academy Falconaires from 1969 to 1973. He spent the rest of the 1970s living in Austria, where he published big band and small ensemble arrangements.

After his return to the U.S. in 1980, Mantooth worked extensively as a pedagogue, arranger, and publisher in addition to performance. He taught at DePaul University and recorded with Phil Wilson, Ashley Alexander, and Kirsten Gustafson. He wrote music for Louie Bellson, Art Farmer, and Carla Helmbrecht among others. He died in 2004 from a heart attack at his home in Garden City, Kansas, aged 56.

After graduation, Alexander took a job as a jazz instructor at the University of Northern Iowa and soon joined the National Stage Band Camps, where he eventually became its director.

Jim Linahon, John Harbaugh, Tom Gause, David Alexander, John Thomas (tp) Bill Yeager, Charles Stolfus, Jeff Tower, Lee Gause (tb) Ashley Alexander (tb,ldr) Matt Catingub, Keith Squires, Gordon Goodwin, Matt Datillo, Dan Barilone (saxes) Frank Mantooth (p) Les Johnson (g) Bob Bowman (b) Nick Ceroli (d) Tony Villa, Mark Villa (perc)

ROB MCCONNELL

ROB MCCONNELL
Even Canadians Get The Blues

Rob McConnell & the Boss Brass tackle a mostly blues-oriented program for these 1996 sessions, with five originals by the leader, in addition to tunes by others. "Even Canadians Get the Blues" is a lively shout-type tune in the mold of Woody Herman's big band showcasing trumpeter Steve McDade and tenor saxophonist Alex Dean. While "The Clarinet Is Black and Blue" isn't technically a blues, it has a bluesy air, with Moe Koffman's melancholy clarinet backed by the lush ensembles, which often include a choir of four additional clarinets. Boss Brass alum Ian McDougall contributed the breezy blues "Do You Mean It?," which puts the spotlight on pianist Dave Restivo, flügelhornist John McLeod, and alto saxophonist John Johnson. The upbeat "The Shuffle Boogie Swamp Groove Blue" adds guest Doug Riley on organ, while the date closes with a brief, lush rendition of the Canadian National Anthem, "O Canada." McConnell's liner notes are often amusing, as is his cover photo pose as a drunken Canadian Mountie passed out draped over a piano.

Rick Wilkins

Arranger, Clarinet, Composer, Sax (Tenor)

Rob McConnell

Arranger, Composer, Primary Artist, Producer, Trombone, Trombone (Valve)

Jim Vivian

Bass

Bob Leonard

Clarinet, Clarinet (Bass), Flute, Sax (Baritone)

Moe Koffman

Clarinet, Flute, Guest Artist, Piccolo, Sax (Alto), Sax (Soprano)

Alex Dean

Clarinet, Flute, Guest Artist, Sax (Tenor)

John Johnson

Clarinet, Flute, Piccolo, Sax (Alto), Sax (Soprano)

Ted Warren

Drums

Phil Edwards

Engineer, Mixing, Producer

John Burk

Executive Producer

Guido Basso

Flugelhorn, Guest Artist, Trumpet

Arnie Chycoski

Flugelhorn, Trumpet

Steve McDade

Flugelhorn, Trumpet

John B. McLeod

Flugelhorn, Trumpet

Kevin Turcotte

Flugelhorn, Trumpet

James MacDonald

French Horn

Gary Pattison

French Horn

Ed Bickert

Guest Artist, Guitar

Dave Restivo

Piano

Ernie Pattison

Trombone, Trombone (Bass)

Alastair Kay

Trombone

Bob Livingston

Trombone