The Len Pierro Jazz Orchestra: As I Was Saying

Remember the good old days before high-tech hardware and software seized control and the country's leading big bands were recorded in a studio or in concert employing a wide dynamic range with no overdubs or splices to enhance the performance? Composer and arranger Len Pierro does, which is why he planned As I Was Saying, the second album with his Philadelphia-based Jazz Orchestra, to mirror those classic recordings by the likes of Woody Herman, Count Basie, Duke Ellington, Buddy Rich and other luminaries whose remarkable legacy has readily withstood the merciless test of time.

As I Was Saying was recorded in two days with no headphones, a minimal number of mics and everyone in the same room. The result is a luminous and cozy session reminiscent of the best of those memorable albums from more than half a century ago. Recording elements aside, much of the alluring climate can be ascribed to Pierro's perceptive and engaging themes and arrangements, reinforced by a superb performance from his stellar orchestra. Eight of Pierro's well-drawn compositions precede the lone standard, Howard Dietz and Arthur Schwartz's danceable "You and the Night and the Music," and Pierro's hip and gently walking finale, "What He Said."

Trumpeter Tony DeSantis and pianist Jim Ridl are the impressive soloists on "What He Said," as is DeSantis (with tenor Bob Howell) on the urbane and lyrical "Marionette." Flugelhornist Jay Anderson is showcased on the sweet and pleasant "The Way It Was," trombonist Alan Ferber on the ballad "No Chance for Goodbye," alto Nelson Hill on the brisk "Newport Breeze." Ferber and Howell share solo space on the cheerfully swaying opener, "As I Was Saying," as do Hill and guitarist Pat Mercuri on "One Thing More," Hill, Howell and bassist Madison Rast on the prismatic "Everglades," DeSantis and baritone Mark Allen on the clever and sunny "Duetology." Through it all, the ensemble provides stalwart and unwavering support.

If Pierro harbored any doubts about recording his orchestra as was done in the "good old days" of audio recording before technology arrived to expunge any errors, he needn't have any concern about the result. As I Was Saying is as bright and clean as he or anyone else could have envisioned, and a handsome successor to the unique and enduring albums of yesteryear.

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