Ben Patterson Jazz Orchestra: Mad Scientist Music

"Mad Scientist Music"—the tag that Harry Schnipper, owner of venerated D.C. jazz venue Blues Alley, admiringly applied to Ben Patterson's creations—is an apt description for this trombonist's work. Synonymous with pure innovation, the titular field is all about pushing the limits, exploring the unknown, and making bold calculations before throwing caution to the wind and letting nature take its course. "I like the idea of my office where I write being a mad scientist's laboratory, a place where I'm creating things that will eventually have a life of their own," Patterson explains. "They're things that some might find strange, unusual, or possibly even monstrous, though hopefully most will find them to be fun and exciting."

Putting that ideal to a successful test while leading a crack crew including longtime colleagues and bandmates from his lengthy stint as lead trombonist and Music Director for The Airmen of Note, Patterson brilliantly balances sophistication with accessibility in the art of the chart. Opening, appropriately enough, with "We're Back, Baby!," the ensemble immediately gets to the heart of the matter. A hard-charging intro, kaleidoscopic harmony and evolving rhythmic terrain offer more than anyone could've bargained for, and burning solos from guitarist Shawn Purcell and trumpeter Luke Brandon take things to another level.

Shifting gears for the follow-up, Patterson and company explore vibrant Afro-Cuban avenues through "The Misinformation Age." A detailed number enhanced by Emily Davies' spellbinding wordless vocals, it cooks and captives while spotlighting the trombone section, showcasing pianist Chris Ziemba and alto saxophonist Mike Cemprola, and inviting drummer Todd Harrison and guest percussionist Fran Vielma to go to town together. Putting force and fire aside, Patterson considers quietude on "Always." A ballad dedicated to his wife, and a well-wrought feature for baritone saxophonist Doug Morgan, it brings prismatic beauty and nostalgia to the fore.

Turning the blues on its head with "The Mixup," the leader demonstrates serious compositional savvy. Toying with a five-note motif and using a series of metric modulations to move from loping swing to lightning speed and back again, he keeps ears alert while carving out space for trombonist Kevin Cerovich, Brandon and fellow trumpeter Alec Aldred, and the tenor team of Xavier Perez and Tedd Baker. Stepping up as a featured soloist for the album's final offerings, Patterson shows off two different sides of his sound. On "Anne Marie"—another sensitive salute to his better half—he focuses on lyrical, upper register work; and for the funky "Just 'Cuz," he gets down and dirty while sharing space with Aldred, Cemprola and Harrison.

A coup de maître in creative terms, Mad Scientist Music also stands as a testament to the bonds of friendship strengthened through music. "Whenever I have the opportunity to play with musicians who take great care with the music, as these players did with all of the material on this session, it's such an honor and a privilege," Patterson admits. "I'm just really thankful to spend my life making music with people who I admire."