The Flying Horse Big Band: A Message From The Flying Horse Big Band

The Message on the Florida-based Flying Horse Big Band's sixth album comes straight from the "messengers" themselves— drummer Art Blakey's legendary Jazz Messengers, whose music is admirably presented here, and to whom the album is dedicated.

Its ten songs were composed by members of the Jazz Messengers—Wayne Shorter, Hank Mobley, Horace Silver, Cedar Walton, Benny Golson—and two were re-scored for a large ensemble by former Messenger Michael Philip Mossman, with other charts by Mark Taylor (four), Harry Allen (two), Don Sickler and Billy May. As was true of Blakey's ensembles, swinging is always on the front burner and, even though none of the themes was written for a big band, the Flying Horses and their masterful arrangers make them seem as though they have always belonged there.

It is hard to overpraise the section work, as brass, reeds and rhythm are strong and coherent throughout, working overtime to breathe life into these superlative charts. It is almost as if the Messengers had been revitalized, larger and more impressive than ever. And, as for the charts, there is not one that is less than eloquent and charming. Even so, special mention must be given to Taylor's clever arrangement of Shorter's "Lester Left Town," as he translates what is usually a mournful homage to the great Lester Young into a thundering flag- waver worthy of Woody Herman or Buddy Rich at their high-octane best.

The session opens and closes with seductive burners by Shorter—"Free for All," arranged by Mossman, and "On the Ginza," arranged by Taylor. The Horses fly high on both, as they do on every number in between, thanks to splendid preparation by director Jeff Rupert, spotless section work and resourceful solos by all hands. "Free for All" seldom pauses for breath, nor does "On the Ginza." The temperature remains high on Mobley's "Hipsippy Blues," Silver's "Room 608," Shorter's "This Is for Albert" and Walton's "Mosaic," the first trimly arranged by Allen, the last by Sickler, and those in between by Taylor.

Even Silver's relatively easy-going "Peace" swings in its own sweet way, thanks to Allen's sparkling arrangement, after which the tempo accelerates on Silver's "Gregory Is Here" (arranged by Mossman) and "Lester Left Town." Golson's lone composition, and May's only chart, "Whisper Not," is yet another highlight, as the Horses gallop in harmony behind earnest solos from tenor saxophonist Edmund "Quint" Johnson and alto saxophonist Micah Silverstein. That leaves the postscript to "On the Ginza" and, again, no one disappoints, as the band plays with its usual gusto while alto saxophonist Paul van Wormer and trumpeter Josh Mercado lend their solo talents.

Although soloists are named, the only omission, improbably enough, is drummer James Fortune who has powerhouse turns on "Free for All" and "Mosaic." Fortune shares timekeeping duties with the equally talented Jamesly Jean-Mary. Mercado takes every trumpet solo, and the same holds true for trombonist Dan Parrish, while van Wormer owns every alto saxophone solo save one, Silverstein's on "Whisper Not." Guitarist Noah Charles shines another bright light on "Room 608," "Gregory Is Here" and "Lester Left Town." Trumpets and trombones face a number of arduous passages, every one of which is navigated with ease and assurance, while the rhythm section not only keeps pace but adds its own vitality to the partnership.

The Flying Horse Big Band is never less than superb, and its dynamic Message comes through loud and clear. Even those whose big-band library is bursting at the seams must find space enough to accommodate this marvelous album. It is a decision that won't cause any regret.