Gordon Goodwin / DePaul University / Wayne Bergeron / South Florida Jazz Orchestra

Jack Bowers BY

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Gordon Goodwin's Big Phat Band

Act Your Age

Immergent Records



There are two things one can always count on when auditioning a new album by Gordon Goodwin's high-powered, proficient and fun-loving Big Phat Band: a number of well-known artists will be making guest appearances, and it is well-nigh impossible to pigeonhole the BPB thanks to the leader's singular approach to big band jazz.

The guests on Act Your Age are vocalist Patti Austin and guitarist Lee Ritenour ("September"), pianist Chick Corea ("Senor Mouse"), pianist Dave Grusin and Ritenour again ("Punta del Soul"), bassist Nathan East ("Act Your Age") and, via the miracle of electronics, the legendary pianist Art Tatum, whose acrobatic inventions are reproduced on Jerome Kern's "Yesterdays," one of the CD's explicit highlights. Even though a few of Goodwin's charts lean more toward "smooth jazz" than those on the band's earlier albums, they are always well-drawn and engaging. As for the guests, Corea is especially captivating on his "Senor Mouse," as are Grusin and Ritenour on the pianist's light-hearted "Punta del Soul."

Alto saxophonist Eric Marienthal is showcased on the fast-moving opener, "Hit the Ground Running," the trumpet section (Wayne Bergeron, Dan Fornero, Dan Savant, Bob Summers) on the funky "Backrow Politics," Goodwin (piano) on Herbie Hancock's ageless "Watermelon Man" and (soprano sax) on his own laid-back "Chance Encounters." There's no quibbling about the band's other soloists, as they include tenor saxophonist Brian Scanlon and trombonist Andy Martin, two of the West Coast's most talented improvisers. Alas, neither is heard until track 10 ("East Coast Envy"). The buoyant finale, "Gumbo Street" (solos by Goodwin on tenor and Martin), is a tasty helping of contemporary New Orleans fare.

As always, Goodwin keeps the listener off-balance yet intrigued by his seemingly endless store of musical designs. Never one to stand still, he is constantly moving in new directions, and the BPB seems capable of carrying out whatever he proposes or desires. When Goodwin sets forth the proposal to Act Your Age, one can never be certain whether he is referring to himself, the band, or the listener. Perhaps to all of the above. In the end, it's the music that counts, and in that area the BPB never disappoints. A splendid album from start to finish, with a bonus DVD to sweeten the pot.

DePaul University Jazz Ensemble

That Being Said

Jazzed Media



To underscore the renaissance in big band jazz on college and university campuses throughout the country, director Bob Lark and the DePaul University Jazz Ensemble have invited a modern Renaissance Man, Jim McNeely, to sit in on their tenth CD in the last decade, That Being Said. McNeely, a native Chicagoan who has worked with the DePaul program since 1992, has done it all. Besides composing, arranging and playing superb contemporary piano, he boasts an enviable reputation as an educator and mentor, and has led and/or played in groups large and small here at home and abroad. He also serves as chief composer and arranger for New York's celebrated Vanguard Jazz Orchestra. McNeely is the pianist on three of his innovative compositions and his imposing arrangement of Thelonious Monk's exemplary "'Round Midnight."

Elsewhere, the ensemble takes command with no reduction in merit or interest. To the contrary, Lark's charges are well-honed and precise on Mike Pinto's "The Marriott Connection," Dan Nicholson's "That Being Said," guitarist Scott Hesse's "The Beautiful One," trumpeter Dan Jones's "Platitude" and Frank Mantooth's suave arrangement of Harry Edison's "Centerpiece" (with vocal to match by Milton Suggs). Hesse is featured on "That Being Said," solos with trumpeter Jones on "The Beautiful One" and with McNeely and tenor Anthony Bruno (who sure sounds like he's playing alto) on McNeely's "Don't Even Ask." McNeely wrote the placid "Der Seiltanzer" and elaborate "Ad Parnassum," sharing solo space with vibraphonist Justin Thomas on the former and tenor Drew Pierson on the latter, while Jones flies solo on "Platitude."

Much as one would like to dissect or devalue this performance by the DePaul ensemble, there is no valid basis on which to do so. Lark, as always, has everyone remarkably well-prepared, the ensemble and soloists are above reproach, and McNeely sounds as though he'd been performing with them for years instead of sitting in as a guest artist. That's what real pros invariably bring to the table. Another start-to-finish winner for Lark and the DePaul ensemble.

Wayne Bergeron with the After Hours Brass

Music and Mistletoe

Wag Records



Another album of traditional Christmas seasonal favorites in a laid-back quasi-jazz mode, released far too late in the season by trumpet ace Wayne Bergeron and the After Hours Brass (two trumpets, trombone, French horn and tuba) with rhythm section and guest appearances by standout vocalist Tierney Sutton on "Christmas Is the Warmest Day of the Year" and "Let It Snow! Let It Snow! Let It Snow!" Bergeron's wife and fellow trumpeter, Deb Wagner (the album's producer, label's namesake and director of her own group, The Belle Air Brass), lends her vocal talents to "Santa Baby" (whose come-hither lyric will forever be associated with the peerless Eartha Kitt).

Besides Bergeron and Wagner, the After Hours Brass consists of trombonist Andy Martin, Brad Warnaar on French horn and Alan Kaplan on tuba, supported by bassists Trey Henry or Ken Wild, drummers Jon Friday or Ray Brinker (also the percussionist on five tracks). Pianist Christian Jacob, a member of Sutton's working trio, sits in on her numbers, guitarist Dustin Higgins on "Jolly Old St. Nicholas," trumpeter Gary Slechta on "Santa Baby." Dan Blessinger adds guiro on "The Christmas Song" and "O Come All Ye Faithful."

Those who admire the Canadian Brass and other such groups are sure to warm quickly to Bergeron's accomplished ensemble, as Slechta's amiable, low-key charts, which emphasize tonal color and harmony, are comparable to what one might hear from them. Bergeron, as always, is a standout, playing high-note trumpet when needed as few others can (that's why he's the first-call guy on so many commercials, film soundtracks and television specials). A temperate and engaging musical experience for the holiday season or any other time of year.

South Florida Jazz Orchestra


MAMA Records



One thing becomes immediately apparent as one listens for the first time to the South Florida Jazz Orchestra's debut recording: these gentlemen clearly are not amateurs or part-timers. Not on your vintage sousaphone. Nor are their several well-respected guests—trumpet star Arturo Sandoval, saxophonists Charles Pillow and Ed Calle, vocalists Dana Paul, Kevin Mahogany and Nicole Yarling, and composer/arranger Mike Lewis (who wrote and scored "...And the Basses Are Loaded" and "Waltz for Tikkaroo").

Bassist Chuck Bergeron, the ensemble's nominal leader, has gathered around him a superlative cast of supporting players from all corners of the country who lend their sizable talents to a charming and well-conceived array of standards and originals opening with saxophonist Gary Lindsay's groovy "Blues Gumbo" and closing with Belgian composer and trumpeter Bert Joris' iridescent "Kong's Garden." Sandoval's limber, octave-busting trumpet is showcased with baritone Mike Brignola on "Tikkaroo," Pillow's creamy, acrobatic soprano with pianist Doug Bickel on "Role Models," Paul with tenor Calle on Rodgers and Hart's "This Can't Be Love," Mahogany with tenor Gary Keller on the Nat King Cole hit "Nature Boy," Yarling with trombonist Dante Luciani on the wistful ballad "Blame It on My Youth." Bergeron, as one would assume, takes center stage on "Basses Are Loaded" while Pillow and Sandoval add captivating solos on "Gumbo."

Rounding out the admirable program are Ernesto Lucuona's enchanting "Siboney" (an agreeable mid-tempo romp that complements agile solos by Luciani and trumpeter Alex Norris), Joe Zawinul's leisurely ensemble piece "Midnight Mood" (with brief blowing space for Norris and alto Gary Lindsay) and the lively Thad Jones-like "Touch And Go," written by the album's producer, trombonist John Fedchock, and featuring Bickel and tenor Ken Mattis.

The hope here is that the SFJO can surmount any logistical hurdles and stay together, as its future seems bright indeed. As for its debut, three cheers and a brass ring to the ensemble for a job well done, and to MAMA Records for having the wisdom and backbone to preserve something as musically rewarding as this studio session on record.

Frank Derrick

The Beat Goes On

Jazzed Media



On his debut album, The Beat Goes On, Chicago-bred/Florida-based drummer Frank Derrick, an astute and nimble craftsman who has obviously listened closely to the great Buddy Rich, offers the listener two sessions for the price of one—half a dozen numbers by his swinging big band, another six by a close-knit quintet with trumpeter Melton Mustafa and saxophonist Billy Ross out front, ably backed by Derrick, guest pianist George Caldwell from NYC and bassists Chuck Bergeron or Ranses Colon.

The large ensemble plays two numbers associated with Rich's splendid big band from the 1960s, the bustling title selection and dynamic opener, "Away We Go." Also on the likable menu are a well-drawn twelve-minute medley from Lerner and Loewe's Broadway blockbuster, My Fair Lady (with Derrick showcased on "The Street Where You Live"), the ardent "Summertime" from Porgy and Bess, Richard Rodgers' evocative "Slaughter on Tenth Avenue" from another Broadway musical, On Your Toes, and a blues-funk original by Derrick, "In Stride."

The quintet is bright and focused on Neal Hefti's "Cute," Juan Tizol's "Caravan," Dave Brubeck's "Blue Rondo a la Turk," Cole Porter's "I Get a Kick Out of You" (in the original Max Roach/Clifford Brown arrangement, as is "Caravan"), Caldwell's lively "Me Too" and Derrick's forceful "Conquest." Ross unlimbers a muscular tenor on four tracks, and an incisive soprano on "Blue Rondo," while his flute and Mustafa's muted trumpet are entirely sympatico on "Cute." Mustafa plays flugel on "Blue Rondo" and "Me Too." Caldwell has ample room to solo and never displeases.

The larger ensemble boast a number of engaging soloists including Ross, trumpeter Chris LaBarbera, tenors Ed Maina and Jim Hayward, trombonists John Kricker and Dante Luciani (featured on "Summertime"), baritone Randy Emerick ("The Beat Goes On"), pianist Mike Levine, guitarist Lindsey Blair and bassist Colon who blends with Derrick, Levine and Blair to comprise a splendid rhythm section. Easily recommended to anyone who appreciates a taut and swinging contemporary big band (and quintet).

Drake University Jazz Ensemble One

Across the Pond...

Sea Breeze Vista



The Drake University Jazz Ensemble, situated squarely in America's heartland (Des Moines, IA) has spread its wings under director Alf Classen and performed at a number of European festivals (Montreux, Vienne, Brienz) during the past few years. Although recorded at the ensemble's on-campus hangout, The Mainstay,Across the Pond pays homage to those overseas trips by recreating some of the numbers that charmed its European audiences.

The album opens in a funky Latin vein with Gordon Goodwin's evocative "Mueva los Huesos," then flexes its collective muscle on Don Menza's well-named "Groovin' Hard" before slowing the pace on Bob Washut's "Reverend Jack," a feature for alto saxophonist David Bohl and guitarist Andrew Kem. Frank Mantooth's lyrical "Louie Shuffle," listed third in the booklet but correctly on the tray, actually follows Sonny Rollins' "Oleo" (smartly arranged in a casual mode by Mike Abene) and precedes Goodwin's zany, tongue-in-cheek "Hunting Wabbits," which is dedicated to those memorable stars of classic Warner Brothers cartoons, Bugs Bunny and Elmer Fudd, and introduces unison saxophones and trombones sans rhythm leading to a number of handsome solos and a typically off-center Goodwin finish.

Completing the expansive, well-played program are the Billy Strayhorn ballad "Chelsea Bridge" (again showcasing Bohl's eloquent alto), Phil Wilson's irrepressibly swinging "Basically Blues," Matt Harris' brassy "Los Brujos de Cisano" and Classen's throbbing "Spirit of New Orleans." Half of the ten selections are performed by the 2006 ensemble, the others by Drake's 2007 band. That doesn't make any difference, as both groups are tight and well-rehearsed and include a number of first-rate soloists. Bohl is a standout, as are Kem, guitarist Josh Gorman, tenor Mark Strand, baritone Eric Neeley, trumpeters Andy Poppen and Ben Tillus, trombonist Andy Bobka, pianist Marcus Cavanaugh and drummers Mark Grimm and Brian Ruggle.

Based on this splendid session, it's easy to understand why the Drake University ensemble was so well-received during its recent visits to Europe. At home or away, Classen's charges acquit themselves with impressive proficiency and self-assurance.

University of Wisconsin-Eau Claire Jazz Ensemble 1

Buleria, Solea, y Rumba

Sea Breeze Vista



Buleria, Solea y Rumba, the twelfth album by the splendid University of Wisconsin-Eau Claire Jazz Ensemble 1, is not, as its title may suggest, an array of Latin jazz but a smorgasbord of styles from straight-ahead and post-bop to unabashed swing, New Orleans revelry and contemporary sophistication (with Latin rhythms represented by Maria Schneider's lengthy titular composition).

The musicianship is first-class throughout, the more so when one realizes that everyone in the band is an undergraduate and that there is no Jazz Studies degree program at UW-EC. A tip of the cap to director Bob Baca for molding the ensemble into muscular shape and keeping it there in spite of the inevitable personnel changes that affect every university-level band.

The ensemble (led by pianist Scott Currier and guitarist Eric Plotts) enters like Count Basie's band on Frank Foster's plainspoken "G'on an' Git it Y'all" before assuming a more modern stance on Chuck Owen's elaborate "E-Ticket," Schneider's sensuous "Pas de Deux" (a slow dance for trumpeter John DeHaven and alto Evan Benidt) and Fred Sturm's groovy "Take It All" (the last based on the standard "All of Me"). The ensemble next travels to New Orleans for another Owen composition, "Red Beans and Ricely Yours," and to Latin America for Schneider's colorful "Buleria, Solea y Rumba" before returning to the Basie book to close with Sammy Nestico's fast-moving "Magic Flea."

Besides Currier, DeHaven and Benidt, the admirable soloists include trumpeters Tom Krochock and John Raymond, tenors Ben Herpel-Dobay and Matt Rongstad, trombonists Colin Gilliland and Randy Pingrey, with earnest statements by Adam Braatz on piano ("Magic Flea"), Hammond B3 ("Red Beans") and melodica ("E-Ticket"), which sounds much like a bandoneon. And lest we forget, kudos to drummer David Whitman for a job well done. In sum, another winning hand for the resourceful UW-EC Jazz Ensemble 1.

PCC Jazz Rock Big Band / Studio Jazz Ensemble

Thanks for the Memories




Having seen and been impressed by Andrea Baker Wilkerson directing the Pasadena City College Studio Jazz Ensemble at a Ken Poston/Los Angeles Jazz Institute event, I was fairly certain that Thanks for the Memories would be a clear-cut medalist, an assumption that proved to be squarely on the mark. What is most pleasantly surprising, however, is the splendid performance (on the album's first three tracks) by PCC's Jazz Rock Big Band, which eschews rock in favor of brawny, straight-ahead blowing on "Spark," "Busy Woman Blues" (with down-home vocal by Cynthia Speer) and Gabe Baltazar's sensuous arrangement of Carlos Santana's "Europa."

The Jazz Rock Band defers to the Studio Ensemble for the last nine selections, opening with the Willie Maiden classic, "A Little Minor Booze," and closing with Thad Jones' "Don't Git Sassy," on which fourteen of the band's eighteen members solo during its eight-minute span. In between are in-the-pocket readings of "Spring Can Really Hang You Up the Most," Gordon Goodwin's "Count Bubba's Revenge," Quincy Jones' "The Quintessence" (featuring Pete Brooke's Phil Woods-like alto sax), Ken Downing's well-named "Jumpin' Jeannie," and a trio of venerable standards—"Stardust," "Caravan" and "Thanks for the Memory," the last arranged by Downing.

"Spring" is a charming vehicle for trombonist Craig Kupka, while baritone saxophonist Rial Gallagher is front and center on "Memory," lead trumpeter Paul Litteral on "Stardust," tenor Chance Wilkerson (with drummer Scott Bartel) on "Caravan." Guitarist George Fry and trumpeter Henry Corral share the honors on "Jeannie" and the tenacious "Count Bubba." Although the studio sound is a bit cramped at times, the ensembles rise above it to deliver topnotch performances, both individually and collectively—on a par, in fact, with most college ensembles anywhere. Kudos to Ms. Wilkerson and her apprentices for a consistently engaging performance.

Cal State-Northridge

Rain Song

Self published



In a span of little more than sixty years we've come from a point at which there was one solitary Jazz Studies program in our country's schools of higher education to a situation wherein almost no self-respecting college or university is without one. What's more, today's undergraduates are not only playing jazz—and in many cases doing so about as well as one could envision—they are often writing and arranging the music as well.

Such is the case with Rain Song from the estimable Cal State-Northridge Jazz Ensemble, on which each of the eight selections was composed and/or arranged by students. The title track is a tour de force for talented guest artist Tim Ries, whose full-bodied soprano sax is also heard on alto saxophonist Michael Mull's provocative "Think on It," his muscular tenor on Mull's eye-catching "Snapshot" and alto Justin Janer's brisk "Outside Scramble."

Pianist Blaine McGurty is spotlighted on synth on his arrangement of Jim Beard's "Fever," while drummer Adam Alesi, tenor Ken Moran and trombonist Harrison Kirk share center stage with Ries on "Think on It." Mull takes a perceptive turn on "Snapshot," as does Janer on "Scramble," with Moran, trumpeter Phil Fiorio and wordless chorus on Brian Havey's gossamer "Idle Thoughts," and with Alesi and pianist Nick Paul on Francois Mouton's elaborate "MRC." Paul, Kirk and Mull solo smartly with trumpeter Chase Sanborn on the amiable finale, vocalist Genevieve Artadi's boppish, well-grooved arrangement of Sonny Stitt's "Bud's Blues."

The album was recorded in two sessions, and in both cases the ensemble is well-rehearsed, the charts exemplary, the soloists bright and adaptable. Ries' presence at the second date is icing on the cake. A consistently rewarding album by any yardstick.

Tracks and Personnel

Act Your Age

Tracks: Hit the Ground Running; Watermelon Man; September; Yesterdays; Senor Mouse; Punta del Sol; Act Your Age; Chance Encounters; Backrow Politics; East Coast Envy; El Macho Muchacho; Gumbo Street.

Personnel: Gordon Goodwin: leader, piano, soprano sax, tenor sax; Wayne Bergeron, Dan Fornero, Dan Savant, Bob Summers: trumpet; Eric Marienthal: alto sax; Sal Lozano: alto sax, flute; Brian Scanlon: tenor sax; Jay Mason: bass clarinet; Andy Martin: trombone; Chick Corea: piano; (5); Dave Grusin: piano (6); Lee Ritenour, Andrew Synowiec: guitar; Rick Shaw: bass; Nathan East: electric bass; Bernie Dresel: drums; Brad Dutz: percussion, vibes; Patti Austin: vocal (3). Other personnel unlisted.

That Being Said

Tracks: The Marriott Connection; That Being Said; Don't Even Ask; 'Round Midnight; Centerpiece; The Beautiful One; Der Seiltanzer; Platitude; Ad Parnassum.

Personnel: Bob Lark: director; Jim McNeely: piano soloist (3, 4, 7, 9); Dan Jonas, Justin Surdyn, Joe Clark, Hiroyuki Takami, Bobby Goodrich: trumpet, flugelhorn; Dan Nicholson, Rick Deja: alto, soprano sax, flute; Anthony Bruno: tenor sax, flute; Drew Pierson: tenor sax, clarinet; Rich Carlson: baritone sax, bass clarinet; Bryant Scott, Ryan Kienstra, Andrew Zelm: trombone; Jared Lantzy: bass trombone; Ben Dockery: piano; Scott Hesse: guitar; Justin Thomas: vibraphone; Cory Biggerstaff: bass (1, 2, 5, 6, 8); Amalie Smith: bass (3, 4, 7, 9); Lawrence Haskin: drums; Milton Suggs: vocalist.

Music and Mistletoe

Tracks: God Rest Ye Merry, Gentlemen; Jingle Bells; Christmas Is the Warmest Day of the Year; We Three Kings; O Christmas Tree; Christmas Time Is Here; Santa Baby; The First Noel; It's Beginning to Look a Lot Like Christmas; Jolly Old St. Nicholas; Hark! The Herald Angels Sing; The Christmas Song; Let It Snow! Let It Snow! Let It Snow!; Silent Night; O Come All Ye Faithful; Jingle Bell Rock; I'll Be Home for Christmas; Winter Wonderland.

Personnel: Wayne Bergeron, Deb Wagner, Gary Slechta (7): trumpet, flugelhorn; Brad Warnaar: French horn; Andy Martin: trombone; Alan Kaplan: tuba; Christian Jacob: piano(3, 7); Dustin Higgins: guitar (10); Trey Henry, Ken Wild: bass (8, 9, 15, 16); Jon Friday: drums; Ray Brinker: drums (3, 13, 14, 17), percussion (2, 3, 8, 12, 15); Dan Blessinger: guiro (12 - 15). Special guest: Tierney Sutton: vocals (3, 13).


Tracks: Blues Gumbo; Role Models; Nature Boy; Siboney; Midnight Mood; Touch & Go; Blame It on My Youth; ...And the Basses Are Loaded; This Can't Be Love; Waltz for the Tikkaroo; Kong's Garden.

Personnel: Chuck Bergeron: music director, bass; Augie Haas, Jason Carder, Alex Norris, Rodrigo Gallardo: trumpet; Gary Keller: alto, soprano, tenor sax; Gary Lindsay: alto sax, clarinet, arranger; Ken Mattis, Jason Kush: tenor sax; Mike Brignola: baritone sax, bass clarinet; John Kricker, Dante Luciani, Steve Sigmund, Noah Bellamy: trombone; Joe Barati: bass trombone; Doug Bickel, Brian Murphy: piano; John Yarling: drums. Special guests: Charles Pillow, Kevin Mahogany, Nicole Yarling, Dana Paul, Ed Calle, Arturo Sandoval.

The Beat Goes On

Tracks: Away We Go; Conquest; Cute; The Beat Goes On; Caravan; Summertime; My Fair Lady; Blue Rondo a la Turk; In Stride; Me Too; I Get a Kick Out of You; Slaughter on 10th Avenue.

Personnel: Big Band: Frank Derrick: leader, drums; Augie Haas, Chris LaBarbera, Tom Stancampiano, Doug Michels: trumpet; Billy Ross, Dan Salmasian: alto sax; Ed Maina, Jim Hayward: tenor sax; Randy Emerick: baritone sax; John Kricker, Dante Luciani, Steve Sigmund: trombone; Jim Bermann: bass trombone; Mike Levine: piano; Lindsey Blair: guitar; Ranses Colon: acoustic, electric bass. Quintet: Frank Derrick: leader, drums; Billy Ross: tenor, soprano sax, flute; Melton Mustafa: trumpet, flugelhorn; George Caldwell: piano; Ranses Colon: bass (3, 5, 8); Chuck Bergeron: bass (2, 10, 11).

Across the Pond...

Tracks: Mueva los Huesos; Groovin' Hard; Reverend Jack; Oleo; Louie Shuffle; Hunting Wabbits; Chelsea Bridge; Basically Blues; Los Brujos de Cisano; Spirit of New Orleans.

Personnel (collective): Andrew Classen: director; C.J. Howard, Rachel Gulick, Justin Brookens, Aaron Phillips, Andy Poppen, Ben Tillus: trumpet; David Bohl: alto, soprano sax, flute; Matt Gunsaulas, Micah Wright: alto sax; Eric Neeley: tenor, baritone sax; Mark Strand, Cheryl White: tenor sax; Brandon Borseth: baritone sax, bass clarinet; Erin Keen: baritone sax; Craig Nelson, Andy Bobka, Matt Crummy, Brad Cook, Matt Holland: trombone; Alan Cox, Joe Wenzel: bass trombone; Marcus Cavanaugh: piano; Josh Gorman, Andrew Kem: guitar; Kyle Baas, Aaron Elliott: bass; Mark Grimm, Brian Ruggle: drums.

Buleria, Solea, y Rumba

Tracks: Go 'n Git It Y'all; E-Ticket; Pas de Deux; Take It All; Red Beans and Ricely Yours; Buleria, Solea y Rumba; Magic Flea.

Personnel: Robert Baca: director; Tom Krochock, Ryan Nelson, John Raymond, John DeHaven: trumpet; Evan Benidt: alto sax; Steve Hobert: tenor (1-3), alto sax (4-7); Ben Herpel-Dobay: tenor sax; Jim Geddes: baritone sax; Joe Hartson, Colin Gilliland, Randy Pingey, Matt Cain, James Yardley: trombone; Scott Currier:piano; Adam Braatz: piano, melodica, Hammond B3 organ; Eric Plotts: guitar; Kevin Rowe, Jeremy Boettcher: bass; David Whitman: drums; Dr. Jeffery Crowell: cajon; Sean Carey: cajon (6); Katie Schultz: vocal (6).

Thanks for the Memories

Tracks: Spark; Busy Woman Blues; Europa; A Little Minor Booze; Spring Can Really Hang You Up the Most; Count Bubba's Revenge; The Quintessence; Jumpin' Jeannie; Stardust; Caravan; Thanks for the Memory; Don't Git Sassy.

Personnel: Jazz Rock Big Band:Vladimir Dominguez, Youngha Shin, Chris Couvillion, Sarah Perez: trumpet; Claudio Alcantar, Melissa Garganta: alto sax; Chance Wilkerson, Carlos Herrera: tenor sax; Virginia Moore: baritone sax; Adam Liebreich-Johnsen, Carlos Alvidrez, Victor Burguon: trombone; Devin Doherty: bass trombone; Madison Johnson: piano; Aleks Peck: guitar; Chris Rolontz: bass; Matt Battle: drums, timbales (1); Pablo Baza: drums (2, 3); Jeremy Stacey: congas; Cynthia Speer: vocals. Studio Jazz Ensemble: Paul Litteral, Henry Corral, Youngha Shin, Chris Couvillion, Kendall Wallace: trumpet; Pete Brooke, Claudio Alcantar: alto sax; Chance Wilkerson, Andy Tovar: tenor sax; Rial Gallagher: baritone sax; Craig Kupka, Carlos Alvidrez, Moises Champo: trombone; Adam Liebreich-Johnsen: bass trombone; Allan Cate: piano (4, 7, 9, 11); Han ah a Park: piano (5, 6, 8, 10, 12); George Fry: guitar; Don Yi: bass; Scott Bartel: drums.

Rain Song

Tracks: Think on It; Snapshot; Fever; Rain Song; Outside Scramble; Idle Thoughts; MRC; Bud's Blues.

Personnel: May 26, 2006: Gary Pratt: director; Erick Jovel, Chase Sanborn, Phil Florio, J.D. Meneses: trumpet; Justin Janer, Mike Mull: alto sax; Ken Moran, Jeremy Pietsch: tenor sax; Brandon Tong: baritone sax; Aya Toyoshima, Harrison Kirk, Mike Richardson, Lindsay McMurray: trombone; Nick Paul: piano; Blaine McGurty: piano, synth; Elichi Yamamoto: guitar; Carter Wallace: acoustic, electric bass; Adam Alesi, Brian Henspeter: drums; Daniel Blum: percussion; Genevieve Artadi: voice. November 29, 2006: Gary Pratt: director; Erick Jovel, Phil Florio, Adam Crosse, Ian Adams: trumpet; Justin Janer, Michael Mull: alto sax; Ken Moran, Jeremy Pietsch: tenor sax; Brandon Tong: baritone sax; Aya Toyoshima, Harrison Kirk, Pedro Ramirez, Lindsay McMurray: trombone; Nick Paul: piano; Blake Straus: guitar; Elizabeth Riordan: bass; Adam Alesi: drums. Special guest artist: Tim Ries: tenor, soprano sax.

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