Paul Marinaro: Mood Ellington

Paul Marinaro's Mood Ellington is an ambitious, carefully crafted double CD that regards Duke Ellington's vocal repertoire not as a fixed monument but as a living collection of work capable of endless renewal. Instead of relying on a single arranging perspective, Marinaro commissioned thirteen renowned composers, allowing Ellington's songs to be explored through multiple aesthetic lenses while remaining anchored in a consistent emotional core. Like his concept for the album's arrangers, Marinaro sought supporting musicians who would express their own personalities while maintaining the essence of Ellington's music. The band features top Chicago players, including Tom Vaitsas at the piano, Mike Allemana on guitar, John Tate at the bass, Neil Hemphill on drums, Rich Moore on alto sax/clarinet/flute, John Wojciechowski on tenor and soprano sax, Ted Hogarth on baritone sax and bass clarinet, Eric Jacobson on trumpet and flugelhorn, and Raphael Crawford  on trombone. Additionally, there is a 12-piece violin section.

The album is carefully divided into three thematic sections, mirroring the arrangement of a live performance. The first segment celebrates love and beauty, beginning with saxophonist John Kornegay's chart of "I'm Beginning to See the Light," which sets the tone with a smooth swing and bright optimism. Marinaro's phrasing radiates relaxed confidence and heartfelt warmth. Alan Broadbent's arrangement of Billy Strayhorn's "A Flower Is a Lovesome Thing" stands out as one of the collection's most beautiful moments, lush yet subtle. It unfolds with orchestral clarity, allowing Marinaro's tender delivery to blossom naturally.

Acclaimed bassist John Clayton arranged "I'm Just a Lucky So and So," a signature song for Marinaro, which he performs with a distinctive shuffle and balances with classic lyricism. Canadian bassist Mike Downes, who works with Marinaro during his performances in Canada, contributed two finely crafted charts: "I Like The Sunrise" and "In a Mellow Tone." On the former, Marinaro creates a palette of pastoral calm, with Vaitsas adding a solo filled with sensitivity. The latter number concludes the set. Supported by Tate's bold walking bass lines, Marinaro swings the number gently without sacrificing nuance.

The second set explores darker, more introspective territory with three notable pieces, starting with pianist Ryan Cohan's arrangement of "Don't You Know I Care." Featuring lush strings as a backdrop, Marinaro's vocals capture the heartache of the lyrics, and Moore provides an interlude on alto saxophone that complements the theme. Bill Cunliffe's interpretation of "I Got it Bad and That Ain't Good" is filled with inventive horn voicings, allowing Marinaro to deliver a performance that avoids melodrama, favouring honest vulnerability over theatrical sorrow. The set closes with pianist Broadbent's hushed, searching vision on "( I Want) Something to Live For," which allows Marinaro to inhabit the lyric with reflective restraint.

The final set of songs feels worldly and mature, neither starry-eyed nor despairing, as exemplified by Tom Matta's arrangements of "Take Love Easy" and "Day Dream." Marinaro understands the lyrics well, and his renditions are flexible and conversational, inviting intimacy rather than spectacle. Allemana has worked with Marinaro for many years; therefore, his approach to "I Didn't Know About You" fits seamlessly with the singer. The session closes with trombonist Tom Garling's arrangement of "Do Nothing Till You Hear from Me," which Marinaro undertakes from a knowing, slightly sardonic place that lands with seasoned wisdom.

The album honours tradition by treating it with seriousness, demonstrating once more that Ellington's music stays endlessly rich when approached with imagination, respect, and care.