Bob Mintzer Big BandFor the MomentMCG Jazz
Anyone who has followed Bob Mintzer
's career knows that the multi-talented saxophonist / educator has always had a special place in his heart for music from south of the border (he even recorded a big-band album, Latin from Manhattan,
back in 1998). While perhaps best known as a member of the Yellowjackets, Mintzer has overseen his own big-band since 1983 (when he was asked by the Brecker brothers to form a working group) and has produced eighteen albums as leader of large ensembles including a dozen on the DMP label. For the Moment
is Mintzer's fourth album for the Pittsburgh-based Manchester Craftsmen's Guild, following Live at MCG, Old School New Lessons
and Swing Out.
Mintzer's band earned a Grammy award in 2001 for its Homage to Count Basie.
What isn't as widely known is that Mintzer has written more than two hundred big-band arrangements (all of those on For the Moment
are his). He also composed four of the songs ("Aha," "For the Moment," "Recife," "Ouro Preto") to complement others by Baden Powell
("Berimbau") and Antonio Carlos Jobim
("Corcovado"), two by Brazilian guitarist Chico Pinheiro
("Um Filme," "Irrequieto") and the standard "For All We Know" (like the others, overlaid with a charming Latin veneer). "For All We Know" is a showpiece for one of Mintzer's teammates in the Yellowjackets, pianist Russell Ferrante
, who solos again (with Mintzer) on the rhythmically intense "Aha," which opens the album. Pinheiro puts his nimble guitar to work on "Irrequieto" and "Um Filme," and also sings on "Filme" and "Corcovado." Pinheiro sings well, even though for reasons unknown (something in the water?), Brazilian vocalists have a way of sounding interchangeable.
Mintzer, as is his due as leader, solos on three numbers but assigns ample space to others including Pinheiro, Ferrante, trumpeter Scott Wendholt
("Irrequieto," "Recife"), trombonist Michael Davis
(the buoyant "Berimbau"), baritone Frank Basile
("For the Moment") and tenor Bob Malach
("Ouro Preto"), none of whom is less than impressive. Mintzer's solo are enterprising as well, but even so, it is his bright and colorful charts that are as appetizing as anything on the menu. Clearly, he is upbeat and at ease in a Latin milieu, writing and arranging songs that are invariably engaging and pleasing to the ears. As rhythm is paramount, a cohesive rhythm section is essential, and Mintzer has one in Pinheiro, Ferrante, "second guitarist" Marty Ashby
, bassist Lincoln Goines
, percussionist Alex Acuña
(on three numbers) and especially drummer Peter Erskine
, a model of power and perception in any circumstance. They help carry out Mintzer's master plan while assuring that the energy level remains high. There is, by the way, some barely perceptible applause during one or two numbers, indicating that an audience was present for at least a part of the recording session, even though no sound can be heard at the end of any song.
After nearly three decades as a bandleader, Mintzer continues to do his thing, and to do it well. For the Moment
blends a high level of musicianship with Mintzer's always captivating compositions and arrangements to fashion another in a long series of admirable big-band albums, this one vastly enriched by its spicy Latin flavor.
Bob Wilber and the Tuxedo Big BandRampage!Arbors Records
is a festival of happy music that swings tenaciously, thanks to the singular talents of composer / arranger / clarinetist Bob Wilber (who is now in his mid-80s, believe it or not) and the Tuxedo Big Band from Toulouse, France, ably supervised by Paul Cheron (who doubles on lead alto). This is Wilber's third recording with the TBB, the first on which he has arranged every number and added eleven of his own compositions. Besides his usual clarinet and soprano saxophone (straight and curved), Wilber even plays alto on three tunes: "The Golden Rooster," "The Rabbit Jumps" and "Jonathan's Way," the first dedicated to Billy Strayhorn, the others to Johnny Hodges.
What is immediately apparent is that Wilber has an unerring ear for an engaging melody and a similarly precise awareness of suitable tempo. His charts are sharp and breezy, designed to encourage faces to smile and toes to tap, starting with Willie "The Lion" Smith's assertive "Rampage!" and continuing through "Puggles," a light-hearted blues inspired by Wilber's wife, Pug. In between are Wilber's charming tributes to a hotel ("Century Plaza"), a valley in Arizona ("Paradise Valley"), a former colleague, tenor saxophonist Bud Freeman
("Freeman's Way") and the Frank Sinatra
/ Nelson Riddle
collaborations ("The Tender Ways of Love"). These are in addition to Strayhorn's "U.M.M.G," Sidney Bechet
's "The Ghost of the Blues," Fats Waller
's "How Can You Face Me?" and three more seductive pieces by Wilber: "Please Clarify" (written especially for the clarinet and inspired by Mel Powell
's "Clarinade"), the graceful "Chasin' the Riff" and the pastoral ballad "Dreaming Butterfly."
Wilber solos on most numbers and betrays no evidence of decline, playing each instrument with an unflagging energy and enthusiasm that belie his age. Even though the TBB soloists are unnamed, they are quite good, and undoubtedly include alto Cheron, pianist Didier Datcharry, bassist Pierre-Luc Puig, drummer Guillaume Nouaux and guitarist Henri Cheron. The band's two tenors, Francois Penot and Stephane Barbier, solo smartly with an unlisted trumpeter on "Freeman's Way" and one of them is heard again on "Puggles." As a unit, the ensemble summons memories of another topnotch big band from France, that one led by pianist Claude Bolling. The cover design is tasteful, as are the liner notes by Dan Morgenstern. For those who appreciate big-band jazz that nods without apology toward the wondrous Swing Era, Rampage!
comes with a "can't-miss" label affixed.
Joe Chambers Moving Pictures OrchestraLive at Dizzy's Club Coca-ColaSavant Records