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).