Bob Florence Limited Edition / Dizzy Gillespie All-Star Big Band / Dana Legg Stage Band / John Burnett Swing Orchestra

Jack Bowers BY

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Bob Florence Limited Edition

"Legendary" is a word that is often misused and shamelessly over-used, and in this case entirely appropriate. Even though composer / arranger / pianist Bob Florence is no longer with us, and wasn't in the studio when his Limited Edition recorded for the last time in October 2008, his indomitable presence not only ensured the spectacular outcome but has made Legendary an unequivocal frontrunner in the big-band Album of the Year sweepstakes (are you listening, Grammy electors?).

Florence, who had planned to record with the ensemble before his passing in May 2008, wrote four of the album's nine selections and arranged all of them in his singularly personal style. The Limited Edition responds in this "labor of love" with one of its most impressive performances ever, perhaps equaled only by another soul-stirring homage at the Los Angeles Jazz Institute's "Swingin' Affair" last May. As Florence's tasteful piano was also absent from the session, the band enlisted the help of one of his like-minded kindred spirits, Alan Broadbent, who repays their confidence with interest, especially on one of Florence's more impassioned charts, Michel Legrand's "You Must Believe in Spring," on which Broadbent is showcased with tenor saxophonist Tom Peterson. Broadbent is replaced on the final selection, "Auld Lang Syne," by none other than Florence himself, his solo piano smoothly inserted into the big-band mix via the miracle of modern electronics. And if that doesn't bring a tear to one's eye, perhaps nothing will.

The disc opens with Florence's resourceful arrangement of Billy Strayhorn's "Take the 'A' Train," which was introduced by Germany's superb SWR Big Band on its album Goldener Mielenstein. Guitarist Larry Koonse, trumpeter Carl Saunders and baritone Bob Efford are the stellar soloists. Alto Kim Richmond and drummer Peter Erskine shine on Michael Leonard's upbeat "I'm All Smiles," as does trombonist Bob McChesney on Johnny Mandel's dark-hued "Suicide Is Painless" (better known as the theme of the television series M*A*S*H).

One of Florence's last compositions, the rhapsodic 15 minute tone poem "Fluffy," was written for Faye Tompach, the wife of Florence's close friend Norm Tompach; the playful "Geezerhood" as a tongue-in-cheek salute to senior citizens. Erskine, soprano Don Shelton, trombonist Alex Iles and trumpeter Steve Huffsteter are charming on "Fluffy," (muted) trombonist Scott Whitfield likewise on "Geezerhood," which is tastefully introduced by the ensemble's two baritones, Efford and Bob Carr. The fast-moving "Limited Edition Express" shows that Florence could still wave the flag (fiery solos courtesy of Richmond and trumpeter Ron Stout) while "Luci" reinforces his eminent stature as a masterful balladeer. The indefatigable Saunders, who also supervises the Edition's blue-chip trumpet section, again proves his ingenuity as a soloist.

The sound quality on Legendary is exemplary, the playing time a generous 71 minutes-plus. Blend in Florence's magnificent compositions and arrangements, superbly performed by one of the country's leading ensembles, and this is by any measure an album of uncommon significance. More than that, it is an earnest and warm-hearted valedictory to a peerless leader who was and is Legendary.

Dizzy Gillespie All-Star Big Band
I'm BeBoppin' Too
Half Note Records

This is a congenial album, the third by the Dizzy Gillespie All-Star Big Band, commingling compositions by Gillespie with others by Thelonious Monk, Tadd Dameron, Ahmad Kharab Salim, Kenny Dorham and standards by Vernon Duke / Ira Gershwin ("I Can't Get Started") and Sigmund Romberg / Oscar Hammerstein ("Lover Come Back to Me"). Even so, I'm BeBoppin' Too seldom reaches the level of excitement generated by the band's second recording, Dizzy's Business.

One reason, perhaps, is that Dizzy's Business was gleaned from a high-powered concert performance at Pittsburgh's Manchester Craftsmens Guild, whereas BeBopppin' is a more even-tempered studio session (the booklet does not disclose the date or place). Another explanation may be that there are more vocals (five) this time, which, if the singers were anyone but Roberta Gambarini, James Moody and trumpeter Roy Hargrove (on the title song), would present a tenable cause for rebuke. As it is, Gambarini is typically enchanting on Monk's "'Round Midnight," Dameron's "If You Could See Me Now," "Lover Come Back to Me" and scatting gleefully with Moody on "Cool Breeze," while Hargrove is surprisingly adept on "BeBoppin,'" whose composer credit is given to Gillespie's wife, Lorraine.

There's no need to endorse the soloists, as they include trumpeters Hargrove, Greg Gisbert and Claudio Roditi; saxophonists Moody, Jimmy Heath, Antonio Hart, Mark Gross and Gary Smulyan; trombonists Michael Dease and Jason Jackson, bass trombonist Doug Purviance, pianist Cyrus Chestnut, guitarist Yotam Silberstein (not listed in the personnel credits) and bassist / executive director John Lee. Music director Slide Hampton doesn't use his trombone but arranged "'Round Midnight," "Manteca" and "Lover Come Back to Me."

The high spots (aside from Gambarini's always pleasing vocals) are Salim's animated "Dizzy's Blues" (buoyant solos courtesy of Hargrove, Dease, Chestnut and Gisbert), Dorham's Afro-Latin "Una Mas" (smartly arranged by Heath to underscore incisive comments by Gross, Purviance and Smulyan), Hargrove's ballad feature ("I Can't Get Started," arranged by John "Doc" Wilson) and Gil Fuller's loping version of "Tin Tin Deo" (showcasing Moody, Smulyan and Roditi). Fuller also arranged Gillespie / Ray Brown's venerable "One Bass Hit," whose able soloists are Lee, Hargove, Hart and Jackson.

In sum, a remarkably proficient and invariably engaging second outing by the suitably named All-Stars. Recommended—but not the equal of Dizzy's Business.

Dana Legg Stage Band
The Other One
Sea Breeze Records

More than 11 years after recording his first album, Boneheads, trombonist Dana Legg has at long last marshaled the time and resources to complete a second. The Other One, freshly minted by Legg's exemplary Chicago-based Stage Band, is so consistently impressive it makes the lengthy interval between the two seem almost bearable.

Actually, The Other One (whose title song by pianist Ron Mills is a tribute to the great Bob Florence) was recorded in two sessions spaced five years apart, as Legg was repeatedly sidetracked by other concerns. In spite of the inescapable changes in personnel, the ensemble is eager and ready in each instance. Even though no reinforcements were needed, Legg was more than happy to welcome as guest artists a duo of dynamic saxophonists, baritone Bob Centano (in whose band Legg has played for years) on Nick Lane's "Satisfaction Guaranteed," and tenor Mark Colby, a longtime standout in Rob Parton's estimable JazzTech Big Band, who is heard on three numbers including his own composition, "Riley's Thang" (with Legg and fellow tenor Mark Tuttle). Colby sparkles there as well as on Mark Taylor's expressive "Lonely Tears" and Gordon Goodwin's buoyant arrangement of "Take the 'A' Train."

Mills arranged the standard "Stella by Starlight," on which his eloquent piano is featured, while Legg has the spotlight to himself on "Georgia on My Mind," trumpeter Randy Karon on Roger Neumann's "Too Nice." There is one vocal, by seductive Colette Hazek on Johnny Mercer's "Ac-cent-tchu-ate the Positive." Legg wrote and arranged "Father's Day" (for his father, Norman Legg, and trumpeter Maynard Ferguson) and "Memorial Day," which combines elements of "Taps" and "Auld Lang Syne." Trumpeter Bill Calkins solos on "Father's Day," trumpeter Ivo Braun and pianist Lou Cucunato on "Memorial Day." Completing the program are "I'll Take Romance" (Gary Parker, alto; Doug Schuler, trumpet), "Time After Time" (Mark Burnell, piano; Dave Gross, trombone), and Taylor's rhythmic "Latin Reaction" (Debbie Katz-Knowles, drums; Mark Fechner, baritone sax; Brad Ard, guitar).

The Other one weaves a handsome portrait of a talented contemporary big band. Let's hope we don't have to wait 11 more years before another one is designed.

John Burnett Swing Orchestra
West of State Street / East of Harlem

So as not to mislead, let's describe things as they are: not the John Burnett Swing Orchestra, but rather the John Burnett Orchestra That Really Swings. That should give a clearer idea of what's afoot in this animated concert session. Even though there are backward glances, Burnett's 10 year old Chicago-based ensemble is by no means enmeshed in the swing era; to be more explicit, this is late-model big-band jazz that swings freely and often, and is greatly enhanced by the presence of the talented and versatile trumpeter Randy Sandke who solos on seven of the album's 16 tracks.

When not leading the ensemble, Burnett, a British expat, is the morning drive-time host on WDCB Radio in DuPage County. He formed the orchestra because of his love for big-band jazz and has managed to keep the group together through good times and bad. The good times include occasions such as this, a live performance at Fitzgerald's nightclub in suburban Berwyn, home to several of the Chicago area's topmost bands. Lead alto Bob Frankich and trumpeter Mike McGrath were members of Rob Parton's no longer active JazzTech Big Band, while trombonist Dana Legg leads his own Stage Band (reviewed above).

As for the music, even such oft-saddled warhorses as "Struttin' with Some Barbecue," "One O'Clock Jump" and "Sweet Georgia Brown" are bedecked in tasteful new finery, complementing classic charts by Neal Hefti ("Flight of the Foo Birds"), Don Menza ("Groovin' Hard"), Sammy Nestico ("How Sweet It Is"), Dizzy Gillespie ("A Night in Tunisia") and well-known standards by the Gershwins ("How Long Has This Been Going On"), Cole Porter ("Begin the Beguine," Pete Meyers' definitive arrangement of "Love for Sale") and Vernon Duke / E.Y. Harburg (the Basie band's version of "April in Paris," complete with "one more time" coda). There are three vocals, two by Chicago mainstay Frieda Lee ("Anytime, Any Day, Anywhere," Rodgers and Hart's "Ten Cents a Dance"), the other by Tony Pons who offers a respectable Louis Armstrong impression (voice and trumpet) on "Hello, Dolly."

Sandke is splendid on his various assignments, as are the band's own soloists, especially Frankich (clarinet on "Dolly," alto on "Love for Sale"), McGrath, alto Nick Mazarella, tenors Doug Stone and Anthony Bruno, trombonist Bryan Scott and pianist Mark Burnell. There's no doubt that Burnett leads one of the Chicago area's most impressive big bands, and this album (whose name presumably denotes the location of Fitzgerald's) captures the ensemble in marvelous form.

Ayn Inserto Jazz Orchestra
Creative Nation Music

Muse (subtitled "Ilham") is the second recording by composer / arranger The Ayn Inserto Jazz Orchestra's Boston-based Jazz Orchestra, and it expresses clearly her musical influences while paying homage to them and to others, from musicians to friends and family, who have inspired her. As before, Inserto's themes, even while staunchly innovative, are consistently charming and accessible, which alone raises her a notch or two above many of her (pardon the pun) contemporaries.

The formidable spirit of trombonist Bob Brookmeyer, to whom "A Little Brook" is dedicated, permeates the session, as Inserto proves she paid close attention to the advice and insights given by her longtime friend and mentor at the New England Conservatory. Another close confidant, saxophonist George Garzone, is Inserto's special guest, as he was on her earlier album, Clairvoyance, soloing vigorously on six of the eight selections. Garzone is typically brash and uninhibited, whether on soprano ("Eshel Sketch," "Laced with Love," "Snow Place Like Home") or tenor sax ("Vinifera," "To Michael Brecker," "Simple - For the Band").

Even so, it is Inserto's scintillating compositions and charts that ultimately summon and then command appreciation, starting with "Eshel Sketch," a light-hearted bow to Dave Eshelman, one of Inserto's early instructors at Cal State-Hayward (now Cal State-East Bay). Pianist Carmen Staaf is outstanding on "Sketch," as she is throughout the session (her gossamer introduction to "Laced with Love" is especially moving, as is Garzone's warm soprano solo). The multi-layered "Vinifera" is dedicated to ex-Count Basie tenor star Frank Foster, "Laced with Love" to the late soprano saxophonist Steve Lacy, "Snow Place Like Home" to Inserto's family and friends, "Dear John" to John Maltester who chaired the music department until his retirement in 2008 at Los Medanos College, where Inserto first studied.

With Muse,Ayn Inserto continues to advance from strength to strength, securely enhancing her burgeoning status as one of the country's more creative new voices among big-band composer / arrangers.

Terry Vosbein / Knoxville Jazz Orchestra
Progressive Jazz 2009
Self Published

When encountering an album whose title is Progressive Jazz 2009, one question that naturally arises is, exactly how "progressive"? The answer, in this case, is progressive enough to enliven and inspire, but not progressive enough to aggravate or perplex. Composer / arranger / conductor Terry Vosbein has reinvigorated a number of heretofore overlooked themes from the creative world of Stan Kenton, added several of his own, and placed them in the capable hands of the Knoxville Jazz Orchestra for a concert performance that shines from start to finish.

Aside from Vosbein's, the songs were arranged either by Pete Rugolo (five) or Bob Graettinger (two). Rugolo composed "Artistry in Gillespie," "Rhythms at Work" and "Hambeth," Graettinger "Cuban Pastorale." It's hard to comprehend why any of them isn't better known or performed more often. Vosbein's five works are no less engaging, from the high-flying "Crows in Tuxedos" to the sonorous "Real Princess," which emphatically rings down the curtain. Vosbein also wrote "Jumping Monkey," "Ahora es el Tiempo" (Where Is the Tempo) and "Odin's Dream" and arranged Stephen Sondheim's "Johanna," while Rugolo arranged Claude Debussy's "Afternoon of a Faun" and the standard "Don't Blame Me," Graettinger "Walkin' by the River."

As noted, this is a concert performance, and while the sound and balance are by and large admirable, there are some brief passages on "Crows" wherein the trombones seem disconnected from the rest of the orchestra, almost as if playing in another room. Otherwise, everything is keen and peachy—which also describes the orchestra and its soloists. For a regional ensemble, the KJO is remarkably accomplished, and takes to these demanding charts like ducks to water. The soloists pull their weight as well. Alto Doug Rinaldo is showcased on "Faun," trumpeter Michael Spirko on "Cuban Pastorale," trombonists Don Hough and Tom Lundberg on "Hambeth" and "Odin's Dream," respectively, with other convincing statements by saxophonists David King, Alan Wyatt and Tom Johnson; trumpeters Rich Willey, Van Thompson and Stewart Cox;, trombonist Bill Huber, guitarist Mark Boling, pianist Bill Swann, bassist Rusty Holloway and drummer Keith Brown.

This is Progressive Jazz in the best sense of the word: advanced, forward-moving and enlightening but in no wise pretentious or self-absorbed. Vosbein has chosen the music with care, and the KJO has brought it to life with dexterity and elegance. An admirable performance from end to end.

Mt. Hood Jazz Band and Combos
2nd Time Around
Sea Breeze Vista

2nd Time Around is actually the sixth time around in as many years—in a recording studio—for director Susie Jones and the Mt. Hood College Jazz Band from mid-size Gresham, Oregon. This album, showcasing the Class of 2009, includes nine tracks by the larger ensemble, one each by the smaller Combo A and Combo B. As on the earlier recordings, Jones's undergrads are impressively sharp and focused.

The band enters Basie-style with pianist Manny Chester and bassist Erik Wheeler setting the stage for Hank Hirsh's "A Buck and Some Change"—congenial solos courtesy of tenor Sam Solano and alto Michelle Christiansen. There are two scurrying flag-wavers, Herbie Phillips' "An Apple for Christa," featuring Chester, tenor Luke Tarter and guitarist Solomon Thelin, A.K. Salim's Latin-style "Cannonology" (solos by trumpeter Ted Yanez, alto Ryan Carlson, trombonist J.J. Meyer) and one vocal, by sultry Liv Warfield, on Hoagy Carmichael's bluesy "Georgia on My Mind."

Chester and Thelin are tasteful on Canadian Rick Wilkins' splendid arrangement of Clare Fischer's melodic "Pensativa," while Solano shines on "Softly, As in a Morning Sunrise," Christiansen on Duke Ellington / Billy Strayhorn's exotic "Half the Fun." The band's other pianist, Sam Hirsch, is persuasive on Ellen Rowe's flowing arrangement of "It Might As Well Be Spring," trumpeter Nick Nera likewise on Billy Byers' irrepressible take on "The Second Time Around." Combo A (a septet) unshackles Paul Desmond's "Take Five," Combo B (a nonet) Wayne Shorter's "Adam's Apple."

If there were any lingering doubts that Susie Jones has nourished former director Dave Barduhn's legacy by endorsing a strong jazz performance program at Mt. Hood, a few short miles from metro Portland, the Jazz Band's superb series of albums under her direction should have erased them by now. 2nd Time Around further enriches that legacy.

Positive Catastrophe
Garabatos Volume One
Cuneiform Records

While far removed from a positive catastrophe, the music on Garbatos Volume 1 may be anomalous and challenging to unschooled ears. On the other hand, it no doubt sounds perfectly natural to those who are playing it, as well as to others whose sensibility is more deeply attuned to its equivocal nuances.

Taking it therefore at face value, there is much to admire, rhythmically and harmonically, even as one struggles to apprehend its specific import. All of the music is original, with five compositions and arrangements by percussionist / co-leader Abraham Gomez-Delgado, four by trumpeter / co-leader Taylor Ho Bynum, "Stillness / Life" by saxophonist Matt Bauder. All were recorded in-studio save Bynum's "Travels Part 4," which gladdened an appreciative audience. Stylistically, Gomez-Delgado's charts are more rhythmic and accessible, Bynum's on the whole more overdrawn and cerebral. A reasonable benchmark would be Charles Mingus.

"Travels," whose Parts 1-4 consume more than twenty minutes of the album's playing time, is dedicated to the late Sun Ra, and there are vocals (of a sort) by Jen Shyu who also plays erhu, a Chinese cousin of the violin. Shyu (who wrote the lyrics) also sings (quite well) on "Stillness / Life" and with Gomez-Delgado on his robust finale, "Contenido Adentro." Bynum contributes a couple of snappy solos, as does trombonist Reut Regev on a hybrid called the flugelbone, while baritone Michael Attias is a standout on Bynum's shuffling "Post Chordal." The rhythm section (Gomez-Delgado, guitarist Pete Fitzpatrick, bassists Alvaro Benavides or Keith Witty, drummer Tomas Fujiwara) makes the best of an arduous assignment.

Those who relish the avant-garde should find Garabatos especially enjoyable, and may eagerly look forward to Volume 2, while those who prefer a more customary jazz framework will more than likely find considerably less to applaud.

Tracks and Personnel


Tracks: Take the "A" Train; I'm All Smiles; Suicide Is Painless; Fluffy; Geezerhood; Limited Edition Express; Luci; You Must Believe in Spring; Auld Lang Syne.

Personnel: Carl Saunders, Pete DeSiena, Steve Huffsteter, Ron Stout, Larry Lunetta: trumpet; Don Shelton, Kim Richmond, Tom Peterson, Jeff Driskill, Bob Efford, Bob Carr, Rusty Higgins (6, 9): woodwinds; Alex Iles (3-6, 9), Bob McChesney, Scott Whitfield, Dave Ryan, Jacques Voyemant (1, 2, 7, 8): trombone; Craig Ware: bass trombone; Larry Koonse: guitar; Alan Broadbent: piano; Trey Henry: bass; Peter Erskine: drums.

I'm BeBoppin' Too

Tracks: I'm BeBoppin' Too; Cool Breeze; 'Round Midnight; Manteca; Birks' Works; If You Could See Me Now; Dizzy's Blues; Una Mas; I Can't Get Started; One Bass Hit; Tin Tin Deo; Lover Come Back to Me.

Personnel: Slide Hampton: music director; Frank Greene, Greg Gisbert, Claudio Roditi: trumpet; Roy Hargrove: trumpet, vocal (1); Antonio Hart, Mark Gross: alto sax, flute; James Moody: tenor sax, flute, vocal (2); Jimmy Heath: tenor sax; Jason Jackson, Steve Davis, Michael Dease: trombone; Douglas Purviance: bass trombone; Yotam Silberstein: guitar; Cyrus Chestnut: piano; John Lee: bass; Lewis Nash: drums; Roberta Gambarini: vocals.

The Other One

Tracks: I'll Take Romance; Satisfaction Guaranteed; Ac-cent-tchu-ate the Positive; Lonely Tears; Time After Time; Father's Day; The Other One; Georgia on My Mind; Take the "A" Train; Too Nice; Stella by Starlight; Riley's Thang; Memorial Day; Latin Reaction.

Personnel: Dana Legg: leader, trombone; Bill Calkins (2, 6-8, 10, 11, 14), Mike Stewart (1, 3-5, 9, 12, 13), Doug Schuler, Randy Karon (4-12), Terry Guynes, Ivo Braun, Marvin Davis (2, 14), Kenny Dixon (1, 3, 13): trumpet; Gary Parker: alto sax, flute; Mark Fechner, alto, baritone sax, flute; Mark Tuttle: tenor, soprano sax, flute; John Kutten: tenor sax; Mark Grudzinski: baritone, alto sax, piccolo; Dave Gross, Henry Salgado (2, 6-8, 10, 11, 14), Loren Binford (1, 3-5, 9, 12, 13), Dana Solt (1-3, 6-8, 10, 11, 13, 14), Bill Gilardon (4, 5, 9, 12), Stan Meade: trombone; Ron Mills (2, 6-8, 10, 11, 14), Mark Burnell (4, 5, 9, 12), Lou Cucunato (1, 3, 13): piano; Robert Burks (1, 3-5, 9, 12, 13), Brad Ard (2, 6-8, 10, 11, 14): guitar; Mark Sorlie: acoustic, electric bass; Debbie Katz-Knowles (1-3, 6-8, 10, 11, 13, 14), Bob Rummage (4, 5, 9, 12): drums; Colette Hazek (3): vocal. Guest artists—Mark Colby (4, 9, 12): tenor sax; Bob Centano (2): baritone sax.

West of State Street / East of Harlem

Tracks: Flight of the Foo Birds; Groovin' Hard; How Sweet It Is; Randy Sandke Introduction; A Night in Tunisia; Anytime, Anyday, Anywhere; Struttin' with Some Barbecue; Ten Cents a Dance; One O'Clock Jump; Hello Dolly; Little Jazz Boogie; Witchcraft; How Long Has This Been Going On; Sweet Georgia Brown; Begin the Beguine; April in Paris; Love for Sale.

Personnel: John Burnett: leader; Randy Sandke, Terry Connell, Mike McGrath, Greg Duncan: trumpet; Tony Pons: trumpet, vocal (10); Bob Frankich, Nick Mazarella: alto sax; Doug Stone, Anthony Bruno: tenor sax; Bruce Mack: baritone sax; Bryant Scott, Adam Gross, Dana Legg: trombone; Bill Walsh: bass trombone; Mark Burnell: piano; John Moran: guitar; Paul Martin: bass; Bill Byan: drums; Frieda Lee (6, 8): vocals.


Tracks: Eshel Sketch; A Little Brook; Vinifera; Laced with Love; Dear John; To Michael Brecker; Snow Place Like Home; Simple.

Personnel: Ayn Inserto: composer, arranger, conductor; Jeff Claassen, John Repogle, Will Caviness, Matthew Small: trumpet; Allan Chase, alto, soprano sax; Rick Stone: alto sax, clarinet, flute; Kelly Roberge, Sean Berry: tenor sax, clarinet; Brian Landrus: baritone, soprano sax, clarinet; Dave Hickok, Tim Lienhard: trombone; Jennifer Wharton: bass trombone; Mark Cocheo: guitar; Carmen Staaf: piano; Kendall Eddy: bass; Austin McMahon: drums. Special guest artist—George Garzone: tenor, soprano sax.

Progressive Jazz 2009

Tracks: Artistry in Gillespie; Afternoon of a Faun; Cuban Pastorale; Crows in Tuxedos; Walkin' by the River; Rhythms at Work; Don't Blame Me; Jumping Monkey; Johanna; Hambeth; Ahora es el Tiempo; Odin's Dream; The Real Princess.

Personnel: Terry Vosbein: guest conductor; Stewart Cox, Michael Spirko, Tom Fox, Rich Willey, Vance Thompson: trumpet; Doug Rinaldo, David King: alto sax, flute; Alan Wyatt, Will Boyd: tenor sax; Tom Johnson: baritone sax; Tom Lundberg, Don Hough, Nate Malone, Bill Huber: trombone; Brad McDougall: bass trombone; Bill Swann: piano; Mark Boling: guitar; Rusty Holloway: bass; Keith Brown: drums; David Knight: bongos.

2nd Time Around

Tracks: A Buck and Some Change; Pensativa; Georgia on My Mind; Softly, As in a Morning Sunrise; 2nd Time Around; An Apple for Christa; It Might As Well Be Spring; Take Five; Half the Fun; Cannonology; Adam's Apple.

Personnel: Susie Jones: director; Nick Nera, Ted Yanez, Jennifer Munsey, Mykel Presler: trumpet; Michelle Christiansen, Ryan Carlson: alto sax; Sam Solano, Luke Tarter: tenor sax; Craig Mack: baritone sax; J.J. Meyer, Sean Wyatt, Spencer Didlake, Jerry Stalnaker, Emily Kerridge: trombone; Sam Hirsh, Manny Chester: piano; Solomon Thelin: guitar; Erik Wheeler: bass; James Travers, Julian Emanual: drums. Combo A—Michelle Christiansen: sax; J.J. Meyer, Sean Wyatt: trombone; Shyam Ananda, Mark Roh: guitar; Jeremy Sauer: bass; Matt Farina: drums. Combo B—Ted Yanez: trumpet; Julian Emanual: sax; Yuki Inoue, Joseph Stanchfield: trombone; Alex Weinberg, Stephan Lillegard: guitar; Bryon Fanger: bass; Adam Wilburn: drums; John Hasenjaeger: percussion.

Garabatos Volume One

Tracks: Plena Organization; Travels Parts 1 & 2; Metro Mono; Plena Seguiro; Stillness / Life; Post Chordal; Plena Quicksand Monument; Revamped; Travels Parts 3 & 4; Contenido Adentro.

Personnel: Taylor Ho Bynum: cornet, flugelhorn, co-leader; Abraham Gomez-Delgado: percussion, voice, co-leader; Jen Shyu: voice, erhu; Mark Taylor: French horn, mellophone; Reut Regev: trombone, flugelbone; Matt Bauder: alto, tenor sax, clarinet; Michael Attias: baritone sax; Pete Fitzpatrick: electric guitar; Alvaro Benavides (1-4, 6, 7, 9. 10): electric bass; Keith Witty (5, 8, 9): acoustic bass; Tomas Fujiwara: drums.

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