There are moments on its debut recording when the Twin Cities-based Acme Jazz Company rises well above its generic name to present an exciting brand of big-band jazz, others when its run-of-the-mill label seems to suit the ensemble like a proverbial glove. Lance Strickland's genial "One Eyed Jacks," for example, hustles merrily along behind cogent statements from tenor Tom Schmitt, trombonist Ben Link, guitarist Geoff LeCrone and drummer / percussionist Andy Artz, whereas alto Doug Rasmussen's syrupy "Balm for the World" wouldn't be at all out of place on a smooth-jazz radio station. As for Arne Fogel's five vocals, they land somewhere in between, while the other instrumentals give the ensemble and soloists ample opportunity to bask in the spotlight.
The trombones shine brightest on tenor Bob Parsons' swinging arrangement of Rodgers and Hammerstein's "It Might as Well Be Spring" (elegant solo courtesy of Link), while brass and reeds take charge on Stevie Wonder's "Don't You Worry 'Bout a Thing" (also arranged by Parsons) and Brian Wilson's smooth-flowing "Wouldn't It Be Nice." Fogel, an earnest crooner from the Sinatra school of lyric fidelity and precise diction, offers respectable albeit unassuming readings of the standards "Time After Time," "Nice Work If You Can Get It," "Autumn in New York," "Cheek to Cheek" and Louis Jordan's R&B classic "Is You Is or Is You Ain't My Baby."
Drummer Tony Guscetti (replaced by Artz on "One Eyed Jacks" and "Balm for the World") supervises a capable rhythm section that includes LeCrone, bassist Miles Porter and pianists Bruce Jandrey, Michael Fischer or Bill Gabrys. Other soloists who bend the ear are Parsons ("Wouldn't It Be Nice"), Tom Matheson (flugel on "Time After Time," trumpet on "Don't You Worry") and bass trombonist Brooke Nelson ("Is You Is or Is You Ain't My Baby"). A moderately uneven studio date whose strong points outweigh its weaker fragments while showing meaningful promise for albums yet to come.
Track Listing: Time After Time; Wouldn’t It Be Nice; A Balm for the World; Is You Is or Is You Ain’t My Baby; Nice Work If You Can Get It; One Eyed Jacks; Don’t You Worry ‘Bout a Thing; It Might as Well Be Spring; Autumn in New York; Cheek to Cheek.
Personnel: Doug Rasmussen: leader, alto sax, flute, piccolo; Peter Davis: trumpet; Todd Matheson: trumpet; David Smythe: trumpet; Robert Hirte: trumpet; Jerry Cerchia: trumpet (3, 6); Adam Meckler: trumpet (3, 6); Miles Mortensen: alto sax, flute; Bob Parsons: tenor sax, flute; Tom Schmitt: tenor, soprano sax; Michael Gartner: baritone sax, bass clarinet; Keith Hilson: trombone; Dave Graf: trombone; Ben Link: trombone; Lance Strickland: trombone; Michael Haynes: trombone (4, 5, 9, 10); Mike Larson: trombone (1, 7, 8); Brooke Nelson: bass trombone; Bruce Jandrey: keyboards (2, 4, 5, 9, 10); Michael Fischer: keyboards (1, 7, 8); Bill Gabrys: keyboards (3, 6); Geoff LeCrone: guitar; Miles Porter: bass; Tony Guscetti: drums; Andy Artz: drums, percussion (3, 6); Arne Fogel: vocals.
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds
I love jazz because I was born and raised here in America, and it is one of the most significant cultural contributions we have given to the world. It is an incredibly sophisticated artform that continues to challenge boundaries while delighting and engaging listeners of all different ages and backgrounds. I love how jazz can involve musicians who may have never met each other can coming together and making incredible music by referring to the Great American Songbook and musicians who have been playing together for years, who have a deep connection and who explore and create original music that is at the cutting edge of musical innovation in every sense. Performing jazz music requires a virtuosity and technique that only strict discipline can teach as well as a spontaneity and playfulness that reflects the simple folk roots of the music.
I was first exposed to jazz as a student in college. Only knowing I wanted to play guitar, I enrolled in an applied music program that focused on Jazz rhythm section playing. The subsequent journey that I have been on since the time that I enrolled in that class has helped me grow not only as a musician but more so as a person.