WDR BIG BAND

BOB MINTZER

WDR BIG BAND 

And here is another 

Big Band aus Deutschland

The origin of the today's WDR Big Band Cologne lies with the "Cologne Broadcasting Dance Orchestra" active in August 1946 at the then NWDR Cologne (the predecessor of today's WDR), which was under the direction of Otto Gerdes and in alternation with the Radio-Tanzorchester Hamburg under Kurt Wege in the only program of the NWDR occurred.

Already in the autumn of 1947, Otto Gerdes joined as conductor to an orchestra of the Südwestfunk (SWF). It was replaced by Adalbert Luczkowski , who had been active in the string section of the "German Dance and Entertainment Orchestra" founded in the war and possibly wanted to continue the tradition of this band in Cologne. At least the existing orchestra was called "Kölner Tanz- und Unterhaltungsorchester" (KTUO). Soloists of this orchestra included Heinz Schachtner (trumpet), Erich Well (trombone) and saxophonists Eddie Raisner and Paul Peuker.

Adalbert Luczkowski conducts the Dance and Entertainment Orchestra (1954)

At the end of the 1950s, WDR discovered a love of jazz . Since the existing KTUO was not designed for this, Kurt Edelhagen was commissioned to set up a jazz big band . In 1957, Kurt Edelhagen moved from the SWF to the WDR and brought three musicians from his previous band to Cologne. All the others he sought all over Europe together, and with musicians from eight nations, the band was complete. However, the composition changed constantly, as Edelhagen was known for a strong "wear" of musicians. The new "Kurt Edelhagen Orchestra", however, remained an independent band under the name of its director and was not a "broadcasting orchestra". Only Edelhagen had a work contract with the WDR, which had to be renewed annually. In this respect, he can only be considered in a broader sense as the forerunner of the "WDR Big Band". Only after the dissolution of his contract by the WDR in late 1972 and the associated end of his own big band Edelhagen recorded between 1976 and 1980 recordings with the "WDR Dance Orchestra". ^[1]

Adalbert Luczkowski retired on 1 January 1966. His successor was in 1967 the former head of the RIAS Tanzorchester Berlin, Werner Müller. The Cologne Dance and Entertainment Orchestra under the direction of Adalbert Luczkowski and then Werner Müller played for a time parallel with the Edelhagen band at WDR. At times, Werner Müller combined the musicians of his band with the strings of the WDR Radio Orchestra to form the "Great Entertainment Orchestra of the WDR". With him came the name "WDR Dance Orchestra" and later "WDR Big Band". In September 1987 Wolfgang Hirschmann became the first sound engineer and producer of the WDR Big Band Cologne; From 1996 to January 2002 Hirschmann was her orchestra manager, whose repertoire he constantly expanded. Lucas Schmid followed him on this course.

Chief Conductor since 2016 is Bob Mintzer . At the same time, Vince Mendoza was introduced to the band as the composer in residence.

Since 2004, Karolina Strassmayer (alto saxophone) is the first female member of the orchestra. Since 2014, the orchestra has also had a brass player with Shannon Barnett . The WDR Big Band Cologne has received several awards.

CHARLES MINGUS

CHARLES MINGUS BIG BAND

JAZZALDIA

Conciertos De Cerano

The Mingus Big Band celebrates the music of composer/bassist Charles Mingus, who died in 1979. Under the artistic direction of Sue Mingus, this 14-piece band performed Thursday

Nights from 1991 to 2004 at Fez under Time Cafe in New York City. It maintained weekly residencies in the city from May 2004 until October 2008, when it began “Mingus Mondays” at Jazz Standard where it alternates with the Mingus Orchestra and Mingus Dynasty.

The Mingus Big Band tours extensively in the United States and abroad, and has ten recordings to its credit, seven of which have been nominated for Grammys.

The Critics say:

The hippest big band in the universe – robust, earthy, sanctified.”

-Time Out New York

“The Mingus Big Band – musician for musician – is one of the most spirited

and technically gifted bands in the country.”

-Seattle Examiner, 2009

“The weekly Monday Mingus show at the Jazz Standard is New York’s most transcendent weekly residency. It’s probably the best in the entire world.”

-Lucid Culture, 2009

“A better band than ever today…plenty of meaty, memorable solos… but the real star is this world-class band, swinging through Mingus’ music with an ease that masks the pieces’ difficulty.”

-Tony Scherman in People

“The most inspired, exciting ensemble jazz performance I’ve attended since the New York night I heard a somewhat different Mingus Big Band in the Fez….”

-Philip Elwood The San Francisco Examiner

“The Mingus Big Band is a wonder and an anomaly…the Mingus Band has taken a musical legacy and transformed it into a creative force that generates a contemporary originality and vitality all its own. They are an important part of the current jazz scene and a constant reminder that jazz—big band jazz, at that—is not merely entertainment but a powerful art form and means of expression.”

-All About Jazz

“..revived Charles Mingus’s repertory and the brawling, muscular, hard-swinging, bluesy way he wanted it played.”

– Jon Pareles of The New York Times

“Mingus’s music doesn’t merely deserve to be heard; jazz needs it.”

– The New York Times

“A spirited blend of the lush harmonies and boisterous blues sections, interwoven ensemble passages and sudden tempo shifts that made the late bassist Charles Mingus one of the most challenging and celebrated artists in jazz.”

– Los Angeles Times

“Succeeds triumphantly where others [repertory bands] have failed.”

– The London Times

“An astonishingly telepathic ensemble.”

– New York Daily News

“The jazz repertory event of the season. . . [the Big Band] is digging into the repertoire of Charles Mingus, playing old and new arrangements that capture the best parts of the Mingus legacy: the muscle, the affection for history, the willingness to take chances, the guts and soulfulness.”

– The New York Times

The best jazz orchestra in the world bears the name of the Mingus Big Band. . .a remarkable high standard of musicianship, energy and consistency.”

– Geoffrey Himes of The Washington Post

“Unlike some, this repertory band doesn’t grow stale or ossified — the reasons are threefold. One, the touring personnel is constantly shifting, bringing in fresh approaches. Two, the repertory of Mingus is so vast, varied and unpredictable that it might always be a renewable resource. Three, founder/guiding light Sue Mingus won’t let the spirit wither.”

– Daily Variety

“The Mingus Big Band is a wonder and an anomaly…the Mingus Band has taken a musical legacy and transformed it into a creative force that generates a contemporary originality and vitality all its own. They are an important part of the current jazz scene and a constant reminder that jazz—big band jazz, at that—is not merely entertainment but a powerful art form and means of expression.” ;An astonishingly telepathic ensemble.”
– New York Daily News

Regulars currently appearing in the 14-piece band:

3 Trumpets: Randy Brecker, Earl Gardner, Alex Sipiagin, Lew Soloff, Tatum Greenblatt, Ryan Kisor, Kenny Rampton, Jack Walrath, Sean Jones, Alex Norris, Philip Harper

3 Trombones: Conrad Herwig, Andy Hunter, Ku-umba Frank Lacy, Earl McIntyre, Dave Taylor, Robin Eubanks, Joe Fiedler, Clark Gayton

5 Saxophones: Vincent Herring, Seamus Blake, Abraham Burton, Wayne Escoffery, Donny McCaslin, Mark Gross, Craig Handy, Scott Robinson, Jason Marshall, Lauren Sevian, Jaleel Shaw, Steve Slagle, Ronnie Cuber, David Lee Jones, Coleman Hughes

Piano: Orrin Evans, David Kikoski, Helen Sung, George Colligan, Kenny Drew Jr., Jim Ridl

Bass: Boris Kozlov, Hans Glawischnig, Andy McKee, Joe Martin, Ugonna Okegwo, Dwayne Burno, Mike Richmond

Drums: Donald Edwards, Gene Jackson, Victor Lewis, Jeff “Tain” Watts, Adam Cruz, Tommy Campbell

WERNER BAUMGART

Werner Baumgart's Big Band Baden-Baden

Manhattan Skyline ·

Mike McGowan had asked about German Big bands and in particular bands from or around asked about big bands in Kuppenheim. Well, as I thought Kuppenheim is only a short way from Baden-Baden, about 6 miles. A quick search gave me this. There may well be more. This is not typical of other German big bands I have herd but certainly interesting.

Alto Saxophone – Ludwig Papp, Rudolf Heidler, Werner Baumgart

Arranged By – Werner Baumgart

Baritone Saxophone – Bernd Bastian

Composed By, Arranged By – Werner Baumgart

Directed By [Recording Director] – Willi Fruth

Drums – Harald Lang (2)

Electric Bass – Thomas Fritz (2)

Electric Piano [Fender] – Lothar Fritz

Guitar – Dietmar Köhl

Tenor Saxophone – Wolfgang Witte

Tenor Saxophone, Flute – Lazi Wolpert

Trombone – Erwin Kölmel, Herbert Kühn, Manfred Belzer, Otto Bredl, Roland Mayer, Thomas Paha

Trumpet – Bernhard Westermann, Dietmar Michel, Ference Aszodi*, Marcus Mitschele, Reinar Krennrich

Trumpet, Flugelhorn – Ack Van Rooyen

Tuba – Gerhard Georgi

PHIL KELLY

PHIL KELLY

Zip Code 2005
My Museum

Ever so often one comes across an album that sparkles all over, leaving quite an impression, and such is the case with this recording led by composer/arranger Phil Kelly. My Museum is a cleverly crafted album of sensational big band charts, featuring five original compositions wrapped around several classic jazz standards, making for a muscular performance by an elite world-class orchestra. Kelly is no stranger to leading prime-time big band performances; this recording is a followup to his previous Grammy-nominated big band album, Convergence Zone (Origin, 2003).

One major difference between this release and the previous is the band. The NW Prevailing Winds big band, comprised of the finest musicians in the Seattle area, delivered the last release, but this time Kelly surrounds himself with a lineup of all-stars from LA. The SW Santa Ana Winds band is an LA-based group of jazz luminaries, including Gary Foster (alto), Lanny Morgan (alto), Pete Christlieb (tenor), Brian Scanlon (tenor), Bill Ramsey (baritone), Wayne Bergeron (trumpet), Andy Martin and Chris Morillas (trombones), and Bill Cunliffe (piano).

The beautiful title tune is by far the exception here. This very nice, slow ballad contains the only vocals on the disc, provided by Greta Matassa, recorded with a full string section. The majority of the selections can be categorized as smoking! Setting the pace for the superlative big band charts that Kelly has put together, "Jennine, a fiery, red-hot number, opens up the album in a grand big band style. The band continues playing hard and tight on the famous Ellington/Strayhorn composition "Daydream, featuring standout solo performances by Bob Summers (trumpet) and Christlieb (tenor).

Almost all jazz fans are familiar with the Johnny Green/Heyman & Sour classic "Body and Soul, forever known as a tenor ballad ever since Coleman Hawkins recorded it in 1939. But this rendition features the raspy baritone of Bill Ramsey in the lead—and it's one of the best versions I've ever heard. In fact, I still find myself clapping after every time I hear it. Kelly includes a bit of blues with "Bluelonius, a nine-minute original. Other exciting and notable scores include "Pleading Dim Cap, highlighting a sensational solo by tenor player Brian Scanlon, "It's A Lazy Afternoon, and the outlandish, upbeat "Zip Code 2005. 

As big band recordings go, this is simply a superb session. The powerful jazzy winds that Phil Kelly has once again managed to harness are virtually guaranteed to blow you away.

Personnel: Phil Kelly: Director; Wayne Bergeron, Don Fornero, Pete De Sienna, Bob Summers, Jay Thomas: trumpets/flugelhorn; Andy Martin, Charlie Morillas, Dave Ryan, Michael Millar: trombones; Lanny Morgan, Gary Foster: alto saxophone; Pete Christlieb, Brian Scanlon: tenor saxophone; Bill Ramsey: baritone saxophone; Bill Cunliffe: piano; Darin Clendenin: piano (5); Grant Greissman: guitar; Tom Warrington: bass; Gerald Stockton: bass (6), Clipper Anderson: bass (5); Steve Houghton: drums; Dan Wojciechowski: drums (6);Brian Kilgore:percussion; Greta Matassa : vocals (5); Diane Kitzman, Maria Schleuning, Sho-Mei Pelletier, Bing Wang, Dawn Stahler, Lauren Charbonneau, Michelle De Shazo: violins; Tom Demer, Mitta Angell: violas; Peter Steffens, Mitch Maxwell: cellos.

BILL WATROUS

Bill Watrous, Manhattan Wildlife Refuge
Zip City

1974

AllMusic Review by Scott Yanow

Manhattan Wildlife Refuge and its follow-up, The Tiger of San Pedro, are the only two recordings of trombonist Bill Watrous' impressive big band of the mid-'70s. Watrous, who takes an uncharacteristically crazy cadenza on "Fourth Floor Walk-Up," is in top form on such numbers as Chick Corea's "Spain," "Dichotomy," and "Zip City." Among his more notable sidemen are trumpeter Danny Stiles, guitarist Joe Beck, and pianist Dick Hyman. Available on CD as of July 2007, this reissue has been well worth waiting for.

Credit

Bill Watrous

Arranger, Composer, Primary Artist, Producer, Trombone

John Miller

Bass, Bass (Electric)

Frank Perowsky

Clarinet, Flute, Sax (Soprano), Sax (Tenor)

Charles Lagond

Clarinet, Flute, Sax (Tenor)

Ed Soph

Drums, Percussion

Dick Hyman

Fender Rhodes, Moog Synthesizer, Piano, Piano (Electric), Synthesizer

Danny Stiles

Flugelhorn, Soloist, Trumpet

Dean Pratt

Flugelhorn, Trumpet

George Triffon

Flugelhorn, Trumpet

Alan Gauvin

Flute, Flute (Alto), Sax (Soprano)

Ed Xiques

Flute, Sax (Alto), Sax (Soprano)

Joe Beck

Guitar

Dan Morgenstern

Joe Randazzo

Trombone, Trombone (Bass)

Wayne Andre

Trombone

Joe Petrizzo

Trombone

Charles Small

Trombone

John Gatchell

Trumpet

WOODY HERMAN

Woody Herman

“Pavane"

La Fiesta : Woody Herman And His Orchestra : Tim Burke (tp) Bill Byrne, Glenn Drewes, Dave Kennedy, Jim Powell (tp,flhrn) B. Johnson, Nelson Hinds (tb) Larry Shunk (b-tb) Woody Herman (cl,sop,as,vcl) Billy Ross (ts,fl) Frank Tiberi (ts,fl,bassoon) Joe Lovano (ts,fl) Gary Smulyan (bar) Dave Lalama (p) Jay Anderson (b) John Riley (d)

MONTCLAIR WOMEN'S BIG BAND

Montclair Women's Big Band

Sugar

The Montclair Women's Big Band was founded in 1997 by veteran trumpeter and bandleader Ellen Seeling, with producer Barbara Price. With a vivid cast of some of the best jazzwomen in the San Francisco Bay Area, the MWBB combines an audacious sense of swing, tight ensemble work, and inspired solos. All About Jazz claims "the Montclair Women's Big Band is one of the most formidable jazz ensembles on the West Coast....this is premium-grade big band jazz, rigorously blended for high mileage and maximum pleasure."

The MWBB cemented its status as a world-class ensemble with the release of its self-named debut CD, which was recorded at George Lucas's state-of-the-art Skywalker Sound in Marin County. Engineered by three-time Grammy winner Leslie Ann Jones, the studio's legendary scoring department manager, the recording has become a best-seller on CDBaby. Jazziz Magazine labeled the recording "a blues-drenched gem that swings with dazzling aplomb."

Seeling is a pioneering trumpeter who was the first woman to graduate with a degree from Indiana University's prestigious Jazz Studies Program. By the late 1970s she was well established on the New York scene as an eminently versatile player who moved seamlessly among gigs with top rock, salsa, R&B, and disco acts, and has earned three platinum RIAA record awards among her 30+ album credits. It was while performing with the progressive women's rock band Isis that she met Jean Fineberg, who became her inseparable collaborator, and currently serves as the big band's solo tenor and assistant director.

In its eighteen years, the MWBB has gained visibility through a series of high-profile gigs. The band performed for the Grammy Foundation in LA to a sold-out event "Mavericks in Music: Celebrating the Contributions of Trailblazing Women." Major festivals have also come calling, with gigs at Washington DC's Kennedy Center, the San Francisco Jazz Festival, the San Jose Jazz Festival, among others. A favorite ensemble among social and political organizations, the band has performed for Hillary Clinton, Ron Dellums, the Human Rights Campaign, Girls Inc., and the Eden Medical Foundation. The group has also been featured on Marian McPartland's "Piano Jazz," NPR's most popular syndicated show.

Ellen Seeling, Founder and Director, trumpet 

SAXOPHONES/REEDS

Kasey Knudsen 

Mad Duran 

Jean Fineberg 

Yvonne Lin

Carolyn Walter 

TRUMPETS/FLUGELHORNS

Ellen Seeling

Marina Garza 

Sarah Wilson

Tiffany Carrico

TROMBONES

Mara Fox

Sarah Cline

Crystal Bryant

Becca Burrington

RHYTHM

Erika Oba (piano)

Ruth Davies (bass)

Michaelle Goerlitz (Latin Percussion)

Alan Hall (drums)

SYDNEY JAZZ ORCHESTRA

Sydney Jazz Orchestra

Take the A Train-Arranged by Alan Baylock

THE SYDNEY JAZZ ORCHESTRA PERSONIFIES THE QUINTESSENTIAL BIG BAND.

In full seventeen piece flight, the band swings with ease and precision.

Switches musical gears without a hitch. Fuses jazz with pop, rock and blues.

Shrinks to a small group (New Orleans/Brass Band) – whatever is required for an event or private/corporate function.

Performs music made popular by some of the world's greatest artists... think Ella Fitzgerald, Frank Sinatra, Diana Krall, Ray Charles, Nelson Riddle.

Saxes:Mark Taylor (Lead), Graham Jesse, Tim Oram, David Horniblow, Paul Cutlan

Tpts: Simon Sweeney ( Lead) Tim Crow, Craig Mitten, Robert Campbell

Bones: David Henry ( Lead), Mark Barnsley, James Kennedy, Daniel McMahon 

Lee Webb ( guitar) Michael Bartolomei ( Keys), David Stratton ( Bass) Jamie Castrisos ( Drums)

Solos by:

Mark Taylor- alto Sax

Mark Barnsley- Trombone

Craig Mitten- Trumpet

Paul Cutlan- Baritone Sax

DIZZY GILLESPIE

Dizzy Gillespie all stars Big Band

Con Alma

Recorded live at Manchester Craftsmen’s Guild in Pittsburgh, PA, during a four-night stand in September-October 2005, Dizzy’s Business showcases the talents of 18 disciples from the Gillespie school – many of them musical luminaries in their own right – under the leadership of the great trombonist Slide Hampton. Included in the star-studded lineup are Jimmy Heath, James Moody, Frank Wess, Claudio Roditi, Randy Brecker, Antonio Hart, and Executive Director John Lee – all veterans who played with Dizzy at various times throughout the past five decades. Special guest trumpeter Roy Hargrove and the Italian-born vocal sensation Roberta Gambarini round out the ensemble. Hargrove lends his expert sound and riveting solos while Gambarini brings a remarkable range and gift for improvisation.

James Moody – Tenor Saxophone, Flute, Vocals 

Jimmy Heath – Tenor Saxophone 

Frank Wess – Alto Saxophone, Flute 

Antonio Hart – Alto Saxophone, Flute 

Gary Smulyan – Baritone Saxophone 

Frank Greene – Lead Trumpet 

Greg Gisbert – Trumpet 

Randy Brecker – Trumpet 

Claudio Roditi – Trumpet, Percussion 

Jason Jackson – Lead Trombone 

Steve Davis – Trombone 

Jay Ashby – Trombone, Percussion 

Douglas Purviance – Bass Trombone 

Mulgrew Miller – Piano 

Marty Ashby – Guitar 

John Lee – Bass/ Executive Director 

Dennis Mackrel – Drum

BILL HOLMAN

The Bill Holman Band

A View From The Side 

Lightnin’

Although he never seems to win any popularity polls, Bill Holman is among the most respected and unique arrangers of the last 40 years of the 20th century. This CD features his band of the mid-'90s, an outfit that includes many of the top Los Angeles-based musicians. Holman's writing is often colorfully overcrowded (rewarding repeated listenings) yet logical, with the charts progressing and developing from beginning to end rather than repeating the same basic ideas continuously. Whether it be the many complex themes of "No Joy in Mudville," the showcases for tenor saxophonist Pete Christlieb ("But Beautiful") and Bob Efford's bass clarinet ("The Peacocks"), the very advanced "Make My Day," or the rebuilding of "Tennessee Waltz," this JVC release is a consistently memorable set from a masterful arranger who deserves much greater recognition in the jazz world.

A View From The Side : The Bill Holman Band : Carl Saunders, Frank Szabo, Ron Stout, Bob Summers (tp,flhrn) Jack Redmond, Andy Martin (tb) Bob Enevoldsen (v-tb) Kenny Shroyer (b-tb) Lanny Morgan (as,fl) Bill Perkins (as,sop,fl) Pete Christlieb (ts,fl) Ray Herrmann (ts,sop) Bob Efford (bar,b-cl) Rich Eames (p) Doug MacDonald (el-g-1) Dave Carpenter (b) Bob Leatherbarrow (d) Bill Holman (arr,ldr)

FUTURE JAZZ HEAD ALLSTARS

The Future Jazz Head All-Stars 

'Trane's Blues' | School Of Jazz

Tenor saxophonist Walter Blanding has been a member of the Jazz At Lincoln Center Orchestra (directed by Wynton Marsalis) since 1998. One of the things that got him there was a great jazz education. Walter attended LaGuardia High School of Music and Art and the Performing Arts, followed by more study at the New School of Social Research.

And now Walter Blanding is ‘giving back,’ by providing mentorship to many young musicians, including the four members of The Future Jazz Head All-Stars, who are also in the Mt. Si High School Jazz Orchestra. In addition to excellently performing three songs, Walter and the Jazz Heads talk about the importance of jazz education and joys of mentorship.

Also in these recordings: Max Cannella – Piano, Nate Sharp – Bass, Greg Williamson – Drums, Leslie Kolke – Trumpet, Hayden KajerCline – Alto Sax

METROPOLE ORKEST

Metropole Orkest

with Christian Scott & Shabaka Hutchings

(BBC Proms ’17)

Fables of Faubus

On Thursday Augustus 24, the Metropole Orkest was invited to the Royal Albert Hall in Londen for the fourth time in a row. During this BBC Proms concert, the orchestra played ‘Beneath The Underdog: Mingus Revisited’, an ode to the Afro-American bass-player and jazz legend Charles Mingus.

During this special evening, Jules Buckley conducted the Metropole Orkest and artists such as Kandace Springs, Bart van Lier, Shabaka Hutchings, Christian Scott and Leo Pellegrino appeared on stage.

You can listen to the full concert over here.

Below you can find an overview of what appeared in the media regarding the concert:

“Charlie Mingus famously encouraged musicians to play without charts, creating big-band scores with rare spontaneity and energy, so what he would have made of the Metropole Orkest’s lush orchestrations in the rarefied atmosphere of the Royal Albert Hall is open to question. By the end though of this triumph, however, I suspect he’d have been out of his seat, charging towards the stage to congratulate all the players and Metropole conductor Jules Buckley. He would have undoubtedly appreciated the superb musicianship of the Dutch-oriented orchestra.” (Jazzwise Magazine, Metropole Orkest Modernise Mingus On Prom Nights by Adam McCulloch)

“At the Albert Hall, every member of the Metropole Orkest played, shouted and clapped their way through the likes of Moanin’ and Better Git It In Your Soul with characterful, Mingus-like verve.” (Evening Standard, Proms 2017, review: Jules Buckley/ Metropole Orkest by Jane Cornwell)

“The night featured a starry crop of international soloists and the Netherlands’ genre-bridging Metropole Orkest, under Jules Buckley’s direction.” (The Guardian, Prom 53: Charles Mingus Revisited review – starry tribute to jazz revolutionary by John Fordham)