Cecilia Coleman Big Band / Phil Norman Tentet / UNT One O'Clock Lab Band
Cecilia Coleman Big Band
Among the many pleasant surprises on Oh Boy!, pianist Cecilia Coleman's maiden voyage as leader of her own big band, perhaps the most eye-opening is that the band had been together for only eight months when the album was recorded by the renowned Rudy Van Gelder. Coleman, a Californian who moved to New York City in 1998 and has been gigging steadily there ever since, much of the time as leader of her own small groups, formed the seventeen-piece band in January 2010, landed a steady monthly date at The Garage in Greenwich Village, and by the end of August had the ensemble groomed and ready for a two-day recording session at the Van Gelder Studio in Englewood Cliffs, NJ. The result is another admirable big band album from the Big Apple that teems with bright and engaging moments and shows clearly that Coleman did not press the ensemble into a studio before it was ready to perform.
It helps, of course, to have some of the New York area's most talented jazz musicians in every section, not to mention animated and adventurous charts by Coleman (who wrote and arranged every number). While each of them has much to recommend it, a personal favorite is the urbane finale, "Because," which opens as "Danny Boy" before segueing into a breezy samba with nimble solos by Coleman, alto Bobby Porcelli and tenor Geoff Vidal preceding a brief chorale-like coda. Porcelli solos earlier on the seductive waltz "Pearl" and "Until Then," Vidal on the sonorous "Lonesome Journey" and "#1." There is one guest soloist, trumpeter Don Sickler (who co-produced the album with Coleman) on the even-tempered "Magpie" (with collateral manifestos by tenor Stan Killian and trombonist Matthew McDonald).
Speaking of soloists, the veteran trumpeter John Eckert is impressive as always on "Dance" (with Danish-born alto Stephan Kammerer), the rhythmic "Oh Boy!" (alongside trombonist Sam Burtis, soprano Peter Brainin and drummer Jeff Brillinger) and dual-tempo #1 (complementing Mike Fahn's supple valve trombone and Vidal's rapid-fire tenor sax). While Coleman solos sparingly (on "Pearl," "Walk Away," "Because"), she makes the most of every opportunity, as do Killian and baritone Frank Basile ("Liar, Liar"), soprano Braininat the high end of the band's six-member reed section ("Walk Away") and alto Porcelli (the colorful ensemble showcase "Until Then"). Coleman comps with awareness, gracefully supervising the band's admirable rhythm section (Brillinger, bassist Tim Givens).
In sum, a persuasive debut by Coleman's sharp and well-knit ensemble The even better news, as she discloses in the unsigned liner notes, is that "there's definitely enough material [left over from the recording dates] for a follow-up CD." Oh Boy!
The Phil Norman Tentet
Since it was formed in the mid 1990s, the Phil Norman Tentet has been a class act, blending streamlined arrangements with sharp ensemble work and weighty solos to produce music that is muscular and persuasive yet always urbane and tasteful. Encore, the group's sixth album (and second on the MAMA label), offers more of the same: splendid music that is rigorously designed, immaculately recorded and neatly packaged for the perceptive listener by Norman and his earnest teammates.
If that sounds clinical, we should hasten to add that those prefatory remarks are in no way meant to imply a lack of ebullience or enthusiasm, as there is plenty of that to go around, starting with Alan Broadbent's light-hearted "Sonny's Step" and continuing through the frisky finale, Charlie Parker's "Billie's Bounce," deftly arranged by baritone saxophonist Roger Neumann. Trombonist Scott Whitfield's arrangement of Dave Brubeck's "In Your Own Sweet Way" has been nominated for a Grammy award, but don't let that bother you; it really is a wonderful chart whose charming ensemble passages (enhanced by drummer Dick Weller's tasteful brushwork) encompass sunlit solos by flutist Rusty Higgins and (muted) trumpeter Carl Saunders.