By Dave Hughes

Mention the term "big band" to many people, and they will envision the great bands of the Swing Era, such as Glenn Miller, Benny Goodman, Artie Shaw and Tommy Dorsey. Or they may recall some of the practitioners of the genre during the sixties and seventies, such as Buddy Rich, Woody Herman, Stan Kenton, and Thad Jones / Mel Lewis. Many will recall bands such as Count Basie and Duke Ellington, which spanned several eras and decades.

But what about today? The sentiment that "big bands are dead" might be heard today, and in fact, unenlightened folks have been making that claim since the seventies. Well, it wasn't true then and it isn't true today!

It IS true that big bands do not enjoy the mass appeal that they did during the Swing Era of the thirties and forties (the last time, by the way, that this favorite of the masses was also a more sophisticated musical form). It's also true that transportation, food and lodging costs make traveling with a 16-piece unit economically impractical. But there's plenty of top quality big band music being made today by bands which tend to stay based in one city (particularly Los Angeles) rather than criss-cross the country on buses.

While the music certainly is based on the big band instrumentation of the Swing Era, the sound today is definitely not nostalgic -- it's current and vital. One factor that's changed is that big band music is no longer required to be dance-able. The venues have changed from dance halls to concert halls and clubs. The arrangements have gotten lengthier and more complex, and soloists are granted much more space. But many big band charts fall comfortably in the four- to five-minute range, and have pleasing melodies, infectious rhythms, and compelling energy. So why isn't this music on the radio? Program directors??? "HELLO!!!"

So without further rambling, here are some contemporary big band recordings that I offer as proof that big bands aren't dead!

Rob McConnell and the Boss Brass: Play the Jazz Classics

January, 1998, will mark the thirtieth anniversary of Rob McConnell and the Boss Brass, one of the very finest big bands of this or any era. The band was woefully under-recorded in the late 80s, but since signing with Concord in 1991, they've issued an excellent album every year. Play the Jazz Classics is no exception. As the title implies, most of the tunes are well-known, but McConnell always brings fresh twists and ideas to the arrangements and makes the tunes sound new.

So what makes this band so consistently great? Two things: McConnell's arrangements and top-notch soloists. At twenty-one members, The Boss Brass is one of the largest big-band aggregations ever, with five each of saxes, trumpets and trombones, two French horns, piano, guitar, bass, and drums. (Until recently, the band also had a regular percussionist, too.) With all these voices at his command, especially the horns, McConnell can draw colors and chord voicings out of the charts that are beyond what most bands can do. Plus, he brings indefatigable wit and a sunny musical personality to everything he does. As for the soloists, the band is blessed with a high proportion of musicians who can execute well-constructed, creative solos that are lengthy without becoming tedious. For students and connoisseurs of arranging and improvisation, this recording (and all of his previous ones) provide lots of textbook examples worth studying. Or just sit back and enjoy! (Concord Jazz CCD-4784).

Maynard Ferguson: These Cats Can Swing!

After excursions into disco with masses of studio musicians in the late 1970s and electric fusion with a smaller band in the late ‘80s, Maynard Ferguson has spent the ‘90s (so far) doing what he does best: butt-kicking big band jazz. This time around, his band (aptly called "Big Bop Nouveau" since around 1990) has been pared down to nine sidemen, but the sound is still big, bold, and exciting. This is one bandleader who still travels the world, playing concerts at high schools, colleges, and clubs throughout the year, getting young people interested in this great music.

The program on These Cats Can Swing is nicely varied, yet consistently satisfying. The first two songs are refreshing new arrangements of two jazz classics, Stanley Turrentine's "Sugar" and Duke Ellington's "Caravan." Maynard displays his penchant for Indian music with his original "Sweet Baba Suite (Bai Rav)." The closer is a gospel-march original (co-written by Maynard and long-time colleague Denis DiBlasio) called "It's the Gospel Truth." There are two vocals this time around (three if you count Maynard's chanting and "Ommmm"-ing on "Sweet Baba Suite") and they come off more successfully than many past vocal efforts. Tenor saxophonist Matt Wallace sings "I Don't Wanna Be a Hoochie Coochie Man No Mo'." Maynard, whose past vocal attempts have been rather embarrassing, turns in a more competent performance on the amusing novelty tune, "He Can't Swing." Keyboardist Ron Oswanski adds a new sonic texture by switching to organ for "Gospel Truth" and "Hoochie Coochie Man."

At 67 years young, Maynard hasn't got quite the chops he had ten or twenty years ago. Nevertheless, he can still rate among the greatest trumpet players on the planet, and he surrounds himself with an incredible array of young talent. So this album is still a completely satisfying listening experience. (Concord Jazz CCD-4669)

(Maynard has released another album since this one, called One More Trip to Birdland. However, I chose to include this one because I think it's a better CD.)

Bill Watrous: Space Available

Bill Watrous, one of this or any generation's premiere trombonists, has been woefully under-recorded, especially in the big band context which he so obviously loves and excels in. Unfortunately, this recording appears on a minor independent label, Double-Time Records, which will make your search for this recording a challenge and the recording's longevity uncertain.

But by all means, search this one out! Watrous hasn't released a big band recording that kicks and screams like this since the two Manhattan Wildlife Refuge records on Columbia in the mid-seventies (And why haven't these sessions been released on CD?). The first three tunes are all excellent, but the heat is only on medium and they merely hint at what's to come. The fourth cut is the ballad "My Foolish Heart," and Watrous' trombone positively sings way high in the stratosphere. Then the real show begins! The fifth tune, Gordon Goodwin's "Mama Llama Samba," just burns with uncontainable excitement and energy, and the remaining three songs don't let down.

Watrous' playing often seems beyond the realm of human capacity. On the up-tempo tunes, he makes those nimble, lightning-speed runs seem effortless. On the ballads, he renders long, legato lines two octaves above most trombonists' range. At the conclusion of the program, he performs a cadenza with playing-singing multiphonics, subterrainian pedal tones, and abrupt multi-octave leaps.

This CD has one glaring flaw that keeps it from achieving total excellence: the recording quality: There's a tad too much reverb on the entire band, but Watrous' trombone sounds so murky and muffled that at times it hardly even sounds like a trombone, it sounds more like a french horn in a coat closet. I don't know whether it is due to unflattering effects from the sound booth, too much reverb, or the microphone shoved too far up his bell, but it takes his tone quality beyond mellow to muddy. (Double-Time DTRCD-124)

Count Basie Orchestra with the New York Voices: Live at Manchester Craftsmen's Guild

The Count Basie Orchestra, like the Energizer Bunny, just keeps on going and going and going... And while they keep the Count's legacy and repertoire alive, they occasionally reach new heights when they team up with a current star. The Diane Schuur collaboration was one such occasion, and this recording is another.

New York Voices released three fine recordings for GRP, which earned them a place in the top echelon of jazz vocalese groups, but haven't been heard from since -- until now. They join the Basie band for four tunes, and the results are stunning. None of the tunes are originally from the Basie book (Ellington's "Cottontail" and "In a Mellow Tone," Art Farmer's "Farmer's Market" and Jon Hendricks' "Love Makes the World Go 'Round"), but they handle them like they were their own. These singers really have their harmony and vocalese chops; fortunately, they've been signed to RCA and will have a new album out soon. (Jazz MCG 1002)

Louie Bellson: Their Time Was the Greatest

These days it seems like we read at least one obituary for a jazz great every month. It's refreshing to be reminded that the ageless Louie Bellson hasn't lost one ounce of his youthful exuberance, and his drumming and his big band are as great as ever. Bellson is also an excellent composer.

For his latest release, Louie honors twelve super-drummers with one song in tribute to each. I could nit-pick at the use of the past-tense verb "was" in the album title, since five of the honorees were quite alive and well at the time of the recording. (Tony Williams has since tragically passed away at age 51.)

These twelve tunes do not necessarily represent the musical genres or drumming styles of each honored drummer, but it's of little matter. Each piece is thoroughly enjoyable in its own right. The band, full of L.A. studio heavyweights and big band veterans, is in fine form throughout, both in terms of soloists and ensemble playing. And propelling it all with positive energy is Louie himself, whose time was and still is the greatest! (Concord Jazz CCD-4683)

Bob Mintzer: Big Band Trane

Bob Mintzer's latest big band offering maintains the quality level established ever since his first DMP release (Incredible Journey, still one of my favorites), but with a new twist, the influence of saxophone giant John Coltrane. Actually, only three of the ten selections are from the Coltrane repertoire ("My Favorite Things," "A Love Supreme - Acknowledgement," and "Impressions"). But the remaining selections, all Mintzer compositions, also show signs of the composing and arranging styles and chord voicings of Coltrane. Many of the tunes have more of a quartet feel during the solo sections, with the big band used more to provide punctuation and contrast.

The band's personnel, all New York studio pros, has remained remarkably constant through it's twelve year history, which explains the group's cohesiveness and attests to the players' love of playing challenging, progressive arrangements such as these. (DMP 515)

Joe Henderson: Big Band

Joe Henderson has been a masterful tenor sax soloist for almost four decades, but until now he has always been heard in a combo setting. The idea of fronting a big band, however, was not new to him: He and Kenny Dorham formed a rehearsal band in New York in the mid-sixties, enlisting several then-current and rising stars into its ranks, some of whom are present on this recording.

Five of the nine arrangements are by Henderson; Slide Hampton, Bob Belden, and Michael Philip Mossman also contribute charts. The date is loaded with top-name soloists and players such as Jon Faddis, Freddie Hubbard, Nicholas Payton, Chick Corea, and Christian McBride. Overall, it's a masterfully done program. The only drawback is that, since this is Henderson's first recorded big band outing, the band doesn't have as much of an identifiable personality as do the bands of those for whom the big band is their primary voice. (Verve 314-533-451)

Michel Camilo: One More Time

This CD finds Caribbean pianist Michel Camilo leading a big band for the first time, having previously recorded and performed primarily in a trio format. Camilo can fill a lot of musical space and generate a lot of excitement by himself; he's all over the piano, but his chords, rhythms, and solo lines are always thoughtful and perfectly placed. Because the big band charts are so skillfully arranged, Camilo and the various band sections complement each other rather than compete. There are exciting, difficult horn licks all over the place, and they're perfectly executed. And with two percussionists and a drummer, there's plenty of Latin rhythm propelling the tunes. This is one of those albums that you can listen to repeatedly and hear new things every time.

There are some new tunes and some old favorites revisited with beefed-up big band arrangements. "Why Not!" will be familiar to many, because Manhattan Transfer did a vocal cover of it on their Bodies and Souls album and won a Grammy for it. "Caribe" has been recorded by a number of artists including Dizzy Gillespie.

Camilo has assembled an impressive roster for this band; but then, there aren't too many players out there who could handle some of these charts at all, let alone handle them well. Some of the stars you'll hear are Anthony Jackson (contrabass guitar), Jon Faddis and Bryan Lynch (trumpets), Dave Bargeron, Conrad Herwig, and Dave Taylor (trombones), Paquito D'Rivera, Ralph Bowen, and Chris Hunter (saxes), and Giovanni Hidalgo (percussion).

Let's hope that there's more than "One More Once" from Michel Camilo for smokin' Latin big-band jazz such as this! (Columbia CK-66204)

Tom Kubis Big Band: Fast Cars and Fascinating Women - The Tom Kubis Big Band Plays Steve Allen

Tom Kubis has been a top big band arranger in L.A. for a number of years now. I first became aware of his talents when Bill Watrous began playing a large number of his charts on his big band gigs. In fact, on Watrous' new CD Space Available, the opening and closing tunes were arranged by Kubis. Kubis' previous album, Slightly Off the Ground proved that he could lead an excellent big band as well.

For this outing, the repertoire is entirely Steve Allen compositions. They prove to be an excellent source of material for Kubis' pen. I must confess that I'm not familiar with any of these tunes in their original versions, but they're certainly shown off to good effect here. The band is loaded with top-flight L.A. session players, including several Maynard Ferguson alumni, who no doubt find that playing in this band in the occasional club date or recording is the high-point on their schedules.

Rather than featuring a few key soloists extensively, almost the entire band gets a solo at one point or another. The trombone section doesn't get short-changed, either! "I'm Kinda Crazy" features four trombonists as a quartet and in individual solos.

Steve Allen is on hand to deliver one vocal performance. While it's kind of pleasant in a casual, personable way, I would wager that Allen was in finer voice many years ago during his popularity. Both his intonation and tone quality leave something to be desired. (SeaBreeze SB-2079)

This recording is on SeaBreeze Records, a label dedicated to capturing great contemporary big band jazz. Their catalog is brimming with gems. Most noteworthy are three recordings by Matt Catingub, I'm Getting Cement All Over Ewe, Hi-Tech Big Band, and My Mommy and Me. These CDs, in addition to featuring great compositions, arrangements, and solos, are full of wit and humor and are absolutely pure musical enjoyment!

Please feel free to send me email if you have comments.