ROB PARTON - Christmas Time Is Here

                     CHRISTMAS SONGS - DAY 2
                  God Rest Ye Marry Gentelmen

Rob Parton: leader, trumpet; Terry Connell: trumpet (5, 7-10, 12); B.J. Cord: trumpet (3, 11); Carey Deadman: trumpet (1, 2, 4, 9); Victor Garcia: trumpet (3, 11); Kirk Garrison: trumpet (5, 7-10, 12); Roger Ingram: trumpet (11); Bobby Lewis: trumpet (2, 4); Mitchell Parton: trumpet (16); Ron Ruvio: trumpet (1); Scott Wagstaff: trumpet (1-5, 7-12, 14); Bob Frankich: alto sax, flute (1, 2, 4); Rob Haight: alto sax, flute (5, 7-10, 12); Ken Partyka: alto, soprano sax, flute (3, 13-16); Chris Madsen: alto sax, flute, clarinet (11); Bob Rzeszutko: alto sax, flute (2, 4, 5, 7-10, 12); Mike Smith: alto sax (1); Brian Budzik: tenor sax, flute, clarinet (5, 7-10, 12); Mark Colby: tenor sax, clarinet (1-4, 6, 11, 13-16); Jim Gailloreto: tenor sax (2, 4); Dave Hutton: tenor sax, flute, clarinet (2, 4); Kevin Kizer: tenor sax, clarinet (3); Andy Schlinder: tenor sax, flute, clarinet (5, 7-10, 12); John Wojchiechowski: tenor sax, flute, clarinet (11); Kurt Berg: baritone sax (2, 4); Mark Hiebert: baritone sax (3, 6, 13-16); Ted Hogarth: baritone sax, bass clarinet (11); Steve Schnall: baritone sax, bass clarinet, flute (5, 7-10, 12); Linda Van Dyke: baritone sax (1); Andy Baker: trombone (11); Tim Coffman: trombone (3, 5, 7-12, 14); Tom Garling: trombone (11, 14, 15); Brian Jacobi: trombone (5, 7-10, 12); Dan Johnson: trombone; Kendall Moore: trombone (5, 7-10, 12); Louis Parton: trombone (16); Jack Schmidt: trombone (1, 2, 4); Mayo Tiana: trombone (2, 4); Paul Bauer: bass trombone (5, 7-10, 12); John Blane: bass trombone: (1); Michael Joyce: trombone, bass trombone (3, 13-16); Thomas Matta: bass trombone (2, 4, 11); Anna Kucia: French horn (7, 10); Julia Zeltzer: French horn (14); Larry Harris: piano (2, 4); Jeremy Kahn: piano (6, 13, 15, 16); Kevin O’Connell: piano (5, 7-11); Rob Amster: bass (5, 7-10); Jim Cammack: bass (2, 4); Tim Fox: bass (1); Stewart Miller: bass (11); Y.L. Douglas: drums (2, 4); Eric Montzka: drums (3, 5-7); Bob Rummage: drums (1, 2, 4, 8-11); Kristy Parton: vocals (4, 5, 8, 11, 13). Special guest — Byron Stripling: trumpet, vocal (6).

JIMMY SMITH - Christmas Cookin'

Complete Recording

TO BEGIN THE CHRISTMAS SEASON

This Christmas jazz album has five selections in which organist Jimmy Smith is joined by a big band arranged by either Billy Byers or Al Cohn. The remaining selections feature Smith with a variety of trios; guitarist Wes Montgomery is heard on "Baby It's Cold Outside," one of two "bonus" cuts taken from other sessions that help to fill up this otherwise brief set. Smith is fine on "Jingle Bells," "Santa Claus Is Coming to Town" and two versions of "God Rest Ye Merry Gentlemen" and, even if nothing all that unusual occurs, the performances can serve as high-quality background music during the Christmas season.

Artist Credit
Ray Barretto Guest Artist, Percussion
James Buffington French Horn
Kenny Burrell Guest Artist, Guitar
Earl Chapin French Horn
Jimmy Cleveland Guest Artist, Trombone
Al Cohn Arranger
Donald Corrado French Horn
Art Davis Bass
George Devens Percussion
Paul Faulise Trombone (Baritone), Trombone (Bass)
Bernie Glow Trumpet
Billy Hart Drums, Guest Artist
Tommy Mitchell Trombone (Baritone), Trombone (Bass)
Joseph Mohr Composer
Wes Montgomery Co-Leader, Guest Artist, Guitar, Leader
Joe Newman Flugelhorn
Harvey E. Phillips Tuba
Margaret Ross Harp
Ernie Royal Trumpet
Morris Secon French Horn
Danny Stiles Trumpet
Grady Tate Drums, Guest Artist, Guitar
Creed Taylor Producer
Quentin Warren Guitar
Chauncey Welsch Trombone
Joe Wilder Trumpet
Billy Byers Arranger, Conductor
Billy Ryers Arranger, Conductor
Jimmy Smith Arranger, Co-Leader, Leader, Organ, Primary Artist

CHICO O'FARRILL - CUBAN BLUES, Vol 1 & 2

 COMPLETE RECORDING

For any and all Latin jazz collectors, casual or serious, this is a fabulous deal, for it gathers together no less than six exceedingly rare Chico O'Farrill Clef and Norgran 10" albums, plus one under Machito's name, onto a slimline two-CD set. It will also come as a revelation to anyone who might scoff at anything associated with the 1950s mambo craze, for these discs reveal O'Farrill as a sophisticated, even daring arranger/composer who reached beyond merely providing a beat for dancers. Many of these charts -- whether for the brief, dance-oriented Latin numbers; ultra-familiar standards like "Malaguena" and "The Peanut Vendor"; or jazz tunes -- are loaded with intricate figures and striking harmonies obviously gleaned from classical study, all crisply executed with a brash, shiny edge by his Afro-Cuban groups and bands staffed by American jazzmen. Occasionally, he even conjures a delicate, classical ambience from a number like "Angels' Flight" (named after Los Angeles' legendary downtown funicular). The apotheosis of O'Farrill's experiments are his two full-blown, groundbreaking Afro-Cuban jazz suites. The first features Flip Phillips and the redoubtable Charlie Parker as soloists within the Machito band, and the second is even bolder in its zigzag journey through the classical, Latin, and jazz camps. Yet for all of his erudition, O'Farrill never forgets to ask for madly percolating Afro-Cuban grooves from his rhythm teams -- which clinches the deal for any Latin music fan.


Artist    Credit
Chico O'Farrill    Arranger, Composer, Conductor, Primary Artist
Ray Brown    Bass, Guest Artist
Don Bagley    Bass
Clyde Lombardi    Bass
Roberto Rodriguez    Bass
Candido Camero    Bongos
Jose Mangual    Bongos
Luis Miranda    Congas
Chano Pozo    Congas
Carlos Vidal    Congas
Jo Jones    Drums, Guest Artist
Don Lamond    Drums
Jackie Mills    Drums
Vincent DeRosa    French Horn
Machito    Guest Artist, Maracas
Gene DiNovi    Guest Artist, Piano
Charlie Parker    Guest Artist, Sax (Alto)
Harry "Sweets" Edison    Guest Artist, Trumpet
Roy Eldridge    Guest Artist, Trumpet
Buddy Rich    Guest Artist
Billy Bauer    Guitar
Irma Clow    Harp
Ralph Burns    Piano
Fred Otis    Piano
George Berg    Reeds, Sax (Alto)
Herb Geller    Reeds, Sax (Alto)
Lenny Hambro    Reeds, Sax (Alto)
Ben Harrod    Reeds, Sax (Alto)
Danny Banks    Reeds, Sax (Baritone)
Don Davidson    Reeds, Sax (Baritone)
Flip Phillips    Reeds, Sax (Tenor)
Herbie Steward    Reeds, Sax (Tenor)
Wilbur Schwartz    Reeds
Howard Terry    Reeds
Warren Webb    Reeds
James Williamson    Reeds
Gene Johnson    Sax (Alto)
Charlie Kennedy    Sax (Alto)
Fred Skerritt    Sax (Alto)
Pete Mondello    Sax (Baritone), Sax (Tenor)
Leslie Johnakins    Sax (Baritone)
Jose Madera    Sax (Tenor)
Sol Rabinowitz    Sax (Tenor)
Michael Lang    Supervisor
Ubaldo Nieto    Timbales
Eddie Bert    Trombone
Carl Elmer    Trombone
Vern Friley    Trombone
Bill Harris    Trombone
Bart Varsalona    Trombone
Ollie Wilson    Trombone
Freddie Zito    Trombone
Mario Bauzá    Trumpet
Paquito Davilla    Trumpet
Bernie Glow    Trumpet
Carlton McBeath    Trumpet
Doug Mettome    Trumpet
Jimmy Nottingham    Trumpet
Louis Obergh, Jr.    Trumpet
Al Porcino    Trumpet
Dick Sherman    Trumpet
Al Stewart    Trumpet
Nick Travis    Trumpet
Stu Williamson    Trumpet
Bobby Woodlen    Trumpet

BOB FLORENCE LIMITED EDITION - Serendipity 18

 Serendipity

 Steve Huffsteter, Wayne Bergeron, Rick Baptist, George Graham, Ron Stout, Carl Saunders (tp) Charlie Loper, Alex Iles, Bob McChesney (tb) Don Waldrop (b-tb) Don Shelton (sop,as,cl,fl) Kim Richmond (as,cl,fl) Jeff Driskill, Terry Harrington (ts,cl,fl) Bob Carr (bar,contra-alto-cl) Bob Florence (p,cond) Trey Henry (b) Dick Weller (d)

CARL SAUNDERS - Be Bop Big Band

EMILY

Emily was originally written for Carl Fontana. He died before he had a chance to  record it. Andy Martin plays it here.

Trumpeter Carl Saunders has been leading big bands on a part-time basis ever since he was a youth, including in Los Angeles since 1984. This 1999 recording was the first set by his impressive orchestra. Although several writers contributed charts to the CD (Larry Dominello, Bill Rogers, John Boice, John Hall, and Mike Barone, plus two from Jackson Stock), it is the five arrangements by Herbie Phillips that set the mood for the rewarding project. The late Phillips, a close friend of Saunders from his Las Vegas years, was a talented trumpeter and arranger/composer who loved bebop. There are many highlights through this stirring set, including "Compilation" (a run-through on rhythm changes with solos from Saunders, altoist Lanny Morgan, trombonist Bob McChesney, tenor saxophonist Jerry Pinter, and pianist Christian Jacob), a medium-tempo interpretation of "Emily" (with trombonist Andy Martin), "I'm All for You" (based on "Body and Soul"), "Some Bones of Contention" (featuring the trombones of Martin and McChesney), "Autumn in New York" (which has some beautiful ballad playing by Saunders), "An Apple for Christa" (featuring trumpeter Bob Summers, Morgan, and Martin), and "Baby Blues." In reality, all 12 selections have their moments of interest, the musicianship of the band is quite impressive, and the music always swings. Highly recommended, this is one of the best big band albums of the early 21st century.

Kevin Axt     Bass
Carl Saunders     Composer, Primary Artist, Producer
Christian Jacob     Piano
Lanny Morgan     Sax (Alto)
Brian Scanlon     Sax (Alto)
Bob Efford     Sax (Baritone)
Jerry Pinter     Sax (Tenor)
Doug Webb     Sax (Tenor)
Charles Loper     Trombone
Andrew Martin     Trombone
Bob McChesney     Trombone
Scott Englebright     Trumpet
Bobby Shew     Trumpet
Ron Stout     Trumpet
Bob Summers     Trumpet
Frank Szabo     Trumpet

STEVE WIEST BIG BAND - Excalibur

   ALL TRACKS

Even though the odds are heavily against them, a handful of intrepid souls keeps struggling to safeguard the big band tradition, and a few of them even achieve a certain measure of success. Let's hope that trombonist Steve Wiest is among the modest group of winners, as his debut album, Excalibur, certainly bears repeating—not literally, of course, but at least in spirit.

Wiest, who cut his big band teeth with Maynard Ferguson about a quarter century ago and later earned a master's degree at the University of North Texas, is Director of Jazz Studies and Trombone at the University of Wisconsin-Whitewater. As that's hardly a bulwark of musical talent, Wiest traveled to Chicago to recruit the best sidemen he could find—a quest that was, to say the least, and an unqualified triumph. The band is a killer, and the players have no trouble mastering Wiest's expansive and strenuous compositions and arrangements, which sometimes veer slightly off-center but always with an explicit blueprint in mind.

The album opens with the first of three standards, Irving Berlin's "Cheek to Cheek, on which Wiest shows his arranging chops by transforming the evergreen into a shuffle groove on which his trombone is featured with bassist Bob Bowman and drummer Dave Bayles. Although he isn't listed among the soloists, Wiest is showcased on each of the eight selections, which encompass two more standards ("I Concentrate on You, "On Green Dolphn Street ) and five of his originals.

The title selection was inspired by Wiest's love for all things Arthurian, "A Night in Pidruid by science fiction writer Robert Silverberg's masterwork, Lord Valentine's Castle. "The Once and Future Groove (based on "You Stepped Out of a Dream ) is dedicated to the Freddie Green-impelled Count Basie sound, "Cerulean 12 is a gutsy twelve-bar blues with a Thad Jones/Oliver Nelson twist, "Silver Spin a salute to Wiest's wife, Carmen, who he says finds a silver lining ("silver spin ) behind every dark cloud or negative thought.

Wiest is splendid throughout, playing open most of the time, muted (to complement bass trombonist Matt Ingman) on "I Concentrate on You. Other standout soloists include soprano saxophonist Randy Hamm ("Excalibur ), baritone Glenn Kostur ("Groove ), pianist Matt Harris ("I Concentrate on You ), tenor Ed Petersen ("Pidruid ), trumpeter Mike Plog and alto Tim Ishii ("Cerulean 12 ). High marks too for the rhythm section (Harris, Bowman, guitarist Mike Standal, and drummers Bayles or Bob Rummage) and the trumpets, supervised by longtime Basie stalwart Mike Williams.

As noted, an impressive inaugural album that fairly begs for an encore. Wiest has an abundance of talent, as does his ensemble, and they're well worth your time.

Personnel: Steve Wiest: leader, trombone solos; Mike Williams, Matt Antoniewicz, Scott Harrell, Mike Plog: trumpet; Tim Ishii: alto saxophone, flute; Randy Hamm: alto, soprano saxophone; Ed Petersen: tenor saxophone, clarinet; Sam Fettig: tenor saxophone, flute; Glenn Kostur: baritone saxophone, bass clarinet; Paul McKee, Mark Bettcher, Barry Oosterwald: trombone; Matt Ingman: bass trombone; Matt Harris: piano; Mike Standal: guitar; Bob Bowman: bass; Dave Bayles (1,4,6), Bob Rummage (2,3,5,7,8): drums.

DUKE ELLINGTON - Italy 1958

From Duke Ellington's  November, 1958  telecast in Italy.
Featuring:
Cat Anderson, Shorty Baker, Ray Nance and Clark Terry

PETER LIPA and T&R BAND - Carmen

Now don't you all get too mad.
Here's something a little different, maybe a lot different, but kind of cool

STEVEB FEIFKE BIG BAND

Feifke leads several of his own projects of various sizes: a jazz orchestra, a septet, a trio, and a five piece ensemble called “The Songs of Winter Band.” He also co-leads an art music project with vocalist Martina DaSilva, called “With Strings.” Feifke has been named a semifinalist in the Thelonious Monk International Piano Competition (2011 and 2018), and has performed internationally since 2011. He lives in New York City where he writes out of his home studio, and when he is not touring he can frequently be heard performing at local venues like Smalls Jazz Club, The Django, Mezzrow, the Blue Note, and Dizzy’s Club at Jazz at Lincoln Center.

In 2018, Feifke was the recipient of the Arts Mid-Hudson “Pro’s Meet Pupil’s” grant for his curriculum designed to teach students jazz history through performance. This grant is a part of an ongoing collaboration with The Catskills Jazz Factory. In addition to his grant work, Feifke has also been solo artist in residence at Northern Illionois University, and given masterclasses at Williams College in Western MA, and the Yale Undergraduate Jazz Collective in New Haven, CT.

Feifke holds a BM in Jazz Studies and a minor in Economics from New York University (2013) and a MM in Jazz Composition from Manhattan School of Music in Jazz Composition (2018). During his time in school, Feifke studied with and learned from two luminaries of composition and orchestration: Gil Goldstein and Jim McNeely.

CHRIS McDONALD - In The Mood

 String Of Pearls

Here's a fresh look at the old Glen Miller standard, String Of Pearls. I got so tired of hearing and playing this tune that I seldom listen to Miller. This is pretty cool though

Artists he has arranged for include Carrie Underwood, Ricardo Arjona, Louis Fonsi, Jennifer Holliday, Gaby Moreno, Martina McBride, Renee Elise Goldsberry, Amy Grant, Kirk Franklin, Sara Evans, Patti Austin, and scores of others. His arrangements have been recorded by orchestras all over the world, and he is frequently called upon to conduct large studio orchestras including the 80 piece orchestra on Matchbox 20’s “Mad Season” project.

He has orchestrated scores for several major motion pictures, among them the 2001 release, “All The Pretty Horses” which was nominated for a Golden Globe for best musical score.

Chris’ award winning music embodies many genres including big band jazz, salsa, pop, country and rock. With more than 6,000 recording sessions to his credit, his stylistic versatility, while retaining a unique voice, consistently adds to every project he undertakes.

CLARK TERRY - TOSHIKO AKIYOSHI/LOU TABACKIN BIG BAND

MAYNARD FERGUSON - One Lasy Trip To Birdland

Complete Recording

Even at the age of 67, Maynard Ferguson shows on this CD that he could still belt out the high notes. His "Big Bop Noveau" band consists of four trumpets, trombonist Tom Garling (who takes a rockish guitar solo on "Birdland"), Matt Wallace and Chris Farr on saxophones, and a rhythm section. With the exception of "Birdland," the music is strictly bebop, with plenty of screaming trumpet and heated playing; Wallace's alto outbursts often take honors. Highlights include "Manteca," "Cajun Cookin'," "Milestones" and a hyper "It Don't Mean a Thing."

Artist Credit 
Tom Garling Arranger, Assistant Producer, Composer, Guitar, Trombone
Alan Baylock Arranger, Composer
Marko Marcinko Arranger, Drums, Percussion
Denis DiBlasio Arranger
Chip McNeill Arranger
Phil Palombi Bass (Acoustic), Guitar (Bass)
Maynard Ferguson Flugelhorn, Liner Notes, Primary Artist, Producer, Trumpet
Dan Zank Keyboards, Piano
Maynard Ferguson & Big Bop Nouveau Primary Artist
Christopher Farr Sax (Alto), Sax (Soprano), Sax (Tenor)
Matt Wallace Sax (Alto), Sax (Tenor), Vocals
Scott Englebright Trumpet
Carl Fischer Trumpet
Larry Foyen Trumpet

JOE GRANSDEN & HIS BIG BAND - Live At The Blue Note

Giant Steps

DAVE SLONAKER BIG BAND - Intrada

Don't be put off by the name. Intrada, composer / arranger Dave Slonaker points out, is "a musical form often composed as a prelude, overture or fanfare," one whose upbeat phrases give rise to an exhilarating curtain-raiser on Slonaker's initial big-band recording. Rest assured this is a world-class ensemble and there's no doubt whose steady hand is at the helm: Slonaker wrote every number save the standard "It's Only a Paper Moon" and arranged the complete package.

If Slonaker's name is new to you, that's probably because he has spent much of his career as a composer, arranger and orchestrator in films and television. Film credits include Spider-Man, Air Force One, Oz the Great and Powerful, Alice in Wonderland and A Night at the Museum, and he has written for the TV series J.A.G., Murder She Wrote and others. Slonaker has also taught at USC and the Eastman School of Music, while his jazz works have been performed by Clark Terry, the Woody Herman and Count Basie orchestras, and many others.

All of which leads to this consistently impressive album in which Slonaker's vibrant and graceful themes are precisely and eloquently animated by a phalanx of the Los Angeles area's most talented and sought-after musicians. Noteworthy c.v. aside, it's clear from the outset that Slonaker has a jazz musician's soul and a sure command of the music's language and history. His music is contemporary in the best sense of the word, harmonically sophisticated yet always accessible thanks to an unswerving reliance on time-honored melodies and rhythms. In other words, this is big-band jazz that quickens the pulse, swings hard and enhances the tradition.

"Intrada" and "Paper Moon" are followed by eight more of Slonaker's inspired compositions, each of which provides a malleable springboard for the ensemble's resourceful soloists. Those who rise to the occasion include saxophonists Bob Sheppard, Adam Schroeder and Rob Lockart; trumpeters Clay Jenkins and Ron Stout, trombonists Bob McChesney and Alex Iles, bass trombonist Bill Reichenbach, pianist Ed Czach, bassist Edwin Livingston and drummer par excellence Peter Erskine. There's no point in singling out any particular song for immoderate praise, as every one is outstanding, as is the ensemble.

The same can be said for Intrada itself, a splendid debut by an extraordinary musician who it is hoped will devote even more of his time to leading a band. Well done!
Track Listing: Intrada; It’s Only a Paper Moon; Nite Lites; Nowhere Is a Sometime Thing; Point of Departure; Timelessness; Labyrinth Suite, Part 1 (Labyrinth); Labyrinth Suite, Part 2 (Flight Time); If and Only If; Remembering.
By JACK BOWERS 

Personnel: Dave Slonaker: composer, arranger, conductor; Wayne Bergeron: trumpet, flugelhorn; Dan Fornero: trumpet, flugelhorn (1-4, 7, 8, 10); Rick Baptist: trumpet, flugelhorn (5, 6, 9); Clay Jenkins: trumpet, flugelhorn; Ron Stout: trumpet, flugelhorn; Bob Sheppard: alto, soprano sax, flute, clarinet; Brian Scanlon: alto sax, flute, piccolo, clarinet; Rob Lockart: tenor sax, clarinet; Tom Luer: tenor sax, clarinet; Adam Schroeder: baritone sax, bass clarinet; Alex Iles: trombone; Bob McChesney: trombone; Charlie Morillas: trombone; Bill Reichenbach: bass trombone, bass trumpet; Ed Czach: piano; Edwin Livingston: bass; Peter Erskine: drums.

MASARU UCHIBORI+ BILL WATROUS

ORBERT DAVIS - Collective Creativity

Fanfare for Cloud Gate

Jazz trumpeter Orbert Davis is not only a skilled player in the post-Lee Morgan/Donald Byrd/Freddie Hubbard tradition, he's a very talented big-band or symphonic orchestrator and arranger who is very capable of combining swing, blues, Latin American, and European-flavored charts that offer a fresh perspective to creative music nomenclature. This single-minded project is a tribute to his Chicago home, incorporating members of the vaunted Association for the Advancement of Creative Musicians, local mainstream or progressive jazz stars, and professional classical performers to amass a 50-plus-member group, 25 of them string players. Tributes to certain Chi-Town heroes are sprinkled into a gigantic nine-piece suite that moves in and out of these various styles, all having had a direct impact on Davis and the euphonic world in and out of the Windy City loop. Yes, there's a majestic air that permeates this music, as expected, but it weaves in and out of larger thematic segments. "Diaspora" uses trilled flutes, a mysterious symphonic regimen, samba to African beats, and brawny tenor sax solos by Edward Wilkerson and Ari Brown. Another varied motif, "Seraphim" has the strange and beautiful flute of Nicole Mitchell paired with Ryan Cohen's sensible piano in a Latin beat. The grand finale, "Vice Versa," churns in a 6/8 Afro-Cuban stew loaded with meaty counterpoint and multiple layers of spicy discourse. During the course, you hear three snippets of "The Creation of Evolution" with Mitchell's daunting alto or bass flute in the middle, the two-part "An Afternoon with Mr. Bowie" for Lester Bowie in a requiem mode via Brown's somber tenor, followed by the ribald, Bowie-imaged trumpet of Davis swinging along, while contrasts of squawky interplay between Brown, Mitchell, and Davis inform the pounding brass and Aaron Copland expansive horizon stance of "One Thousand Questions, One Answer." The stand-alone pieces include an introductory "Fanfare for Cloud Gate" laden with shout choruses, a vintage King Oliver/Louis Armstrong medley of "West End Blues/Weatherbird," and the Count Basie/Jimmy Rushing closer, "Going to Chicago," as sung in South Side style by Terisa Griffin. AACM founder and elder statesman Mwata Bowden guests, playing the didgeridoo on the first part of the bubbling, elemental building block "Creation/Evolution," and in other instances his distinctive, ballsy baritone sax or bluesy bass clarinet. Bowden is the straw that stirs this exhilarating drink. While the enormity of this rich ensemble is at times a bit overwhelming, there's no doubt as to the sincerity Davis feels about this project, and the city to which it is dedicated. Whether it is pegged as orchestral jazz or black classical music matters little. Davis and his troupe do fully address the indefatigable spirit of the so-called Second City, still standing strong in the broadest terms of diversity and musical intelligence, with this magnificent and abundant effort.
Review by Michael G. Nastos, All Music Guide

THE CHICAGO JAZZ ORCHESTRA

This band is right at the top of Chicago big bands.

BILL PERKINS BIG BAND - Our Man Woody

Bill Perkins pays tribute to former boss Woody Herman on this CD by leading a 14-piece big band through a variety of standards, most of which were featured by Herman. Actually, this is more of a tribute to Herman's spirit than to his original recordings, for the arrangements (by Jim Knight, John La Barbera, Dennis Mackrel, Frank Strazzeri and Mark Taylor) are much newer; not all of the songs (such as "I Can't Believe That You're In Love With Me," "9:20 Special" and "Blue Lou") were that closely connected with Herman's legacy, and his hits ("Four Brothers" and "Early Autumn") are absent. In addition, there is no clarinetist in the band filling in for Herman. Many soloists are heard from, including Perkins (on tenor, alto and soprano), trumpeters Bob Summers and Clay Jenkins, Bob Cooper on tenor, baritonist Jack Nimitz, trombonists Charlie Loper and Andy Martin, and pianist Strazzeri. Among the highlights of the spirited set are Perkins' feature on "I Got It Bad," "Blue Lou," Nimitz on "Sweet Lorraine," and "Blues for Woody."
-AllMusic Review by Scott Yanow-

Artist Credit 
Frank Strazzeri Arranger, Piano
Kim Knight Arranger
Dennis Mackrel Arranger
Mark Taylor Arranger
Jerry Wood Assistant Engineer
Dave Stone Bass
Harold Arlen Composer
Clifford R. Burwell Composer
Paul Francis Webster Composer
Mike Daymin Cover Design
Paul Kreibich Drums
Bill Perkins Liner Notes, Photography, Primary Artist, Producer, Sax (Alto), Sax (Baritone), Sax (Soprano), Sax (Tenor)
Bob Cooper Sax (Alto), Sax (Tenor)
Brian Scanlon Sax (Alto), Sax (Tenor)
Jack Nimitz Sax (Baritone)
Richard Bullock Trombone (Bass)
Charles Loper Trombone
Andy Martin Trombone
Rick Babtist Trumpet
Wayne Bergeron Trumpet
Joseph Davis Trumpet
Clay Jenkins Trumpet
Bob Summers Trumpet

JOEL KAYE And His NEW YORK NEOPHONIC ORCHESTRA

Alto Saxophone, Clarinet, Flute – Dave Tofani
Arranged By – Joel Kaye (tracks: A1, A2, A4, A5, B1, B3, B4), Johnny Richards (tracks: B2), Lew Delgatto* (tracks: A3)
Baritone Saxophone, Bass Clarinet – Johnny Campo*
Bass – Joel Reiff
Conductor – Joel Kaye
Congas – Joe Daddiego
Drums – Barry Lazarowitz
Flugelhorn – Dean Pratt, John Eckert
French Horn – Bill Hamilton (4), David Jolley, Janet Donaruma, Lloyd Rosevear*, Peter Gordon (8), Virginia Benz
Guitar – Jeff Layton
Piano – Johnny Knapp
Tenor Saxophone, Clarinet, Flute – Billy Kerr
Tenor Saxophone, Piccolo Flute, Flute, Alto Flute, Oboe – Lew Delgatto*
Trombone – Dave Taylor*, Gerry Chamberlin*, Lew Kahn*, Sam Burtis, Vinnie Fanuele*
Trumpet – John Gatchell, Bob Millikan*, Tom Rheam

LES & LARRY ELGART AND THEIR ORCHESTRA

Complete Album

And here they are. complete with their lead bass trombone.

BUDDY CHILDERS' BIG BAND - It's What's Happening Now

These big-band sessions featuring the longtime Stan Kenton trumpeter were recorded back in 1983 and 1984 and finally released in 2000. Although there's a pedestrian quality to the record overall, the band swings and the arrangements are quite good. It's a pleasant listen. Childers is expressive and technically adept on trumpet and flügelhorn, and saxophonist Mike Smith also contributes a number of fine solos. Highlights include the sectional interplay on "Looking up Old Friends" and "Arriving Soon," the slow, deep-pocketed groove of "The Underdog Has Arisen," the "Black Narcissus"-like vibe of "What the Hell," and the retro-funky bossa nova of "Crimp Cut." Bassist Larry Gray, guitarist Steve Roberts, and tenor saxophonist Peter Ballin all get their licks in on the closer, "Off Broadway," based on the changes of the standard "Broadway."

Bass – Bill Lanphier (tracks: 3, 6, 9), Larry Gray
Drums – Joel Spencer (2)
Flugelhorn – Buddy Childers
Guitar – Steve Roberts (10)
Piano – Bobby Schiff
Saxophone – Brian Ripp (tracks: 9), Dave Brandom*, Jerry Dimusio*, Jon Negus (tracks: 3, 6), Mike Smith (62), Peter Ballin (tracks: 1, 2, 4, 5, 7 to 10), Ron Kolber* (tracks: 1 to 8, 10)
Trombone – Bob Samborski, John Blaine, Bob Lustrea*, Scott Bentall (tracks: 3, 6, 9), Scott Bleige, Tom Kordus (tracks: 1, 2, 4, 5, 7, 8, 10)
Trumpet – Art Davis (5), Buddy Childers, Danny Barber (2), Mark Thompson (tracks: 1, 2, 4, 5, 7 to 10), Nipper Murphy (tracks: 1, 3 to 7, 9), Peter Fleming (8) (tracks: 2, 8, 10), Warren Kime (tracks: 3, 6

WOODY HERMAN - 50th Anniversary Tour

This set, which is the best of the Woody Herman Orchestra's Concord recordings, celebrates his 50th year as a bandleader, quite an accomplishment. No guest stars are needed for this set, which shows just how strong a big band he still had. With tenor-saxophonist Frank Tiberi gradually taking over leadership duties (today he leads the ghost Woody Herman Orchestra) and trombonist John Fedchock contributing the arrangements, the band was in fine shape even if the leader was aging. Whether it be "It Don't Mean a Thing," John Coltrane's "Central Park West" (a great arrangement) or Don Grolnick's "Pools," every selection is excellent.


Artist Credit
Lynn Seaton Bass, Bass (Electric)
Woody Herman Clarinet, Performer, Primary Artist, Sax (Alto), Sax (Soprano)
John Fedchock Composer, Trombone
Jim Rupp Drums
Bill Byrne Flugelhorn, Trumpet
Roger Ingram Flugelhorn, Trumpet
Mark Lewis Flugelhorn, Trumpet
Les Lovitt Flugelhorn, Trumpet
Ron Stout Flugelhorn, Trumpet
Dave Riekenberg Flute, Sax (Tenor)
Brad Williams PianoCarl E. Jefferson Producer
Michael Brignola Sax (Baritone)
Jerry Pinter Sax (Tenor)
Frank Tiberi Sax (Tenor)
Mark Lusk Trombone (Bass)
Paul McKee Trombone

BOYD RAEBURN - Boyd Meets Stravinsky

The Boyd Raeburn Orchestra never achieved much popularity with the general public, but it was admired by many top musicians of the bebop era as one of the most innovative large ensembles, on a par with the more well-known Stan Kenton band. Among the prominent musicians to have played with Raeburn were trumpeters Dizzy Gillespie and Benny Harris; saxophonists Johnny Bothwell, Al Cohn, and Serge Chaloff; drummers Don Lamond and Shelly Manne; and bassist Oscar Pettiford. This superb album is comprised of tracks recorded by the band at its creative peak in the mid-'40s. The arrangements and original compositions by pianist George Handy acknowledge developments in 20th-century classical music up to that time, melding poly-tonality, shifting meters, and irregular rhythms with bebop and contemporary big band techniques. The musicianship is absolutely top-notch. In terms of ensemble execution, the Raeburn band was nearly unsurpassed, and the solos -- while often talking a backseat to the compositions themselves -- are frequently excellent. Of particular note is the work of the Johnny Hodges-inspired alto saxophonist Bothwell. Handy's fanciful arrangements occasionally go off the deep end, but the extent of his creativity was considerable, and the balance of artistry and kitsch usually weighs in favor of the former.
Recorded Los Angeles, CA, February 5, 1946.

Boyd Raeburn and his Orchestra:

Ray Linn, Dale Pierce, Carl Groen, Nelson Shelladay (trumpet); Britt Woodman, Hal Smith, Ollie Wilson (trombone); Wilbur Schwartz (alto saxophone, clarinet); Harry Klee (alto saxophone, flute); Guy McReynolds, Ralph Lee, Lucky Thompson (tenor saxophone); Hy Mandel (baritone saxophone); (Michael) Dodo Marmarosa (piano); Harry Babasin (bass); Jackie Mills (drums); Boyd Raeburn (leader, conductor); Eddie Finckel (arranger); David Allyn (vocal on B).