David Robbins: Happy Faces

The release of Happy Faces by the Dave Robbins Big Band is a landmark event in Vancouver, B.C. jazz history. More than a mere archival recording, this revelatory issue celebrates the enduring legacy of a seminal figure who shaped the course of large ensemble jazz in Canada and beyond. Robbins, a trombonist, composer and visionary band leader, was a creative force whose contributions still resonate today.

From the opening moments of the title track, "Happy Faces," a composition by Sonny Stitt and arranged by Quincy Jones, the band swings with elegance buoyed by tight ensemble work and fluid interplay. Tenor saxophonist Fraser MacPherson delivers a stellar solo. Bassist Paul Ruhland composed "Playa del Ray," and it has echos of the Gil Evans large orchestra recordings filled with harmonic sophistication and rhythmic complexity. There are noteworthy solos from pianist Chris Gage and Robbins and MacPherson.

The "Minority" on offer here is not the well-known Gigi Gryce composition, but one penned by Vancouver-based Al MacMillan. It is meticulously crafted, unafraid to explore rhythmic complexity, providing space for trumpeter Don Clarke's muted solo. Another MacMillan composition is "Westcoasting," which is a barn burner propelled by drummer Al Johnson's dynamic timekeeping. The brief but impressive alto sax solo is by Dave Quarin. MacMillan continues his winning streak with his arrangement of "Asiatic Raes," a hard bop number by trumpeter Kenny Dorham a contrafact based on the chord changes on Billy Strayhorn's "Lotus Blossom." The brass and reed sections engage in a tight dialogue and perform expressive soloing as required.

An intriguing track sequence highlights Ruhland's "Reflections" and Dick Grove's "Canto de Oriole." Both pieces layer textures and colors with rich voicings and subtly shifting dynamics that uncover new depths with each listen. The latter, in particular, embodies the Evans Sketches of Spain (Columbia Records, 1960) vibe, with trumpeter Bobby Hales serving as an outstanding avatar for Miles Davis. Although recorded decades ago, the music maintains a fresh, forward-looking quality. The arrangements anticipate contemporary large ensemble trends with bold harmonic language and adventurous structures. The closing track, "Africa Lights," brings full circle the musical intent of Dave Robbins, affirming his place as a trailblazer who helped define Vancouver's jazz identity.

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