Section 8 is a five-piece saxophone band loosely based on the famous Los Angeles ‘Super Sax’ band that covered the music of Charlie Parker. This east-coast version was conceived by Dave D’Angelo and is manned by his former band mates. All of the saxophonists heard are Buddy Rich Big Band alumni. The harmonization of two altos, two tenors and a baritone saxophone is a formula for a hard-hitting session. The last time these saxophonists worked together was for their reunion recording in the Burning For Buddy series (Atlantic 1994). The disc opens with tenors Walt Weiskopf and Steve Marcus mixing it up with true tenor madness. Weiskopf has been a perennial musician’s choice for talent deserving wider recognition and Marcus has collaborated with Gary Burton and Stan Kenton. Altoists Andy Fusco and Dave D’Angelo close the disc on the burning D’Angelo original. The former sounding like Jackie McLean, the latter a bit smoother, like Frank Morgan. While the bottom end is covered by Jack Stuckey, the entire project works thanks to a deft rhythm section. Steve Davis and Phil Palombi (remember the name) drive the band at a feverish pace. Section Eight answers the question: what are all those swinging cats from the late Buddy Rich’s band up to since the greatest big band drummer left this planet? They are still hittin’ hard.
Track List:In Your Dreams; Vitamin C; You Won’t Forget Me; Six Ad Four; Fancy Free; Lazy Afternoon; All My Tomorrows; In A Minute.
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.