Brian Clemens debuts with Beneath the Blue, an album that not only showcases his prowess as a pianist but also unveils his talent as a promising arranger. From beginning to end, Brian Clemens paints a vivid musical canvas and seamlessly weaves together a tapestry of diverse jazz styles. Although it may seem rather electic to some, “Beneath the Blue" certainly contains a unifying element—an unwavering respect and deep understanding for the classic styles that have defined jazz as a beloved and enduring art form. The album's eclecticism serves as a testament to Clemens' versatility and his ability to embrace the multifaceted nature of jazz, providing listeners with a nuanced and compelling musical experience.
The album opens with “I've Never Been in Love Before," a swing tune that harkens back to the style of a Frank Sinatra-Billy May arrangement from the 1950s. Anna Crumley's sweet and swinging vocals, coupled with Steven Ragsdale's alto solo and Brian's skillful piano work sets the tone for the album. A catchy and forgotten standard, it pays homage to the roots of jazz and stands on its own as a captivating arrangement, showcasing Clemens' ability to infuse new life into a well-known sound.
The album continues with “Heart of the Country," a tune by Paul McCartney and Wings from 1972 that undergoes a jazz makeover. Jamie Shew's spirited vocals, combined with a dual clarinet arrangement work splendidly in the arrangement of this quirky and underrated McCartney composition. “Callout!" introduces an original Latin tune that captures the spirit of Sonny Rollins' “St. Thomas." The immediately memorable melody, buoyed by a robust rhythm section creates a vibrant Caribbean atmosphere that unmistakably distinguishes it as a standout track on the album
Clemens shifts gears with “If You Were Mine," an original composition that seamlessly blends a catchy melody with a dynamic arrangement. Jamie Shew's swinging vocals, along with the nod to the vocal jazz recordings of the 1950s and 1960s, showcase Clemens' ability to capture the essence of the genre's golden era. The arrangement, with a powerful shout section (unmistakably Count Basie influenced) adds a nice touch, paving way for Jamie's return in the bridge and the upcoming modulation. What follows is a dynamic change: “Matchmaker," a creative take on the classic showtune from Fiddler on the Roof, exhibits Clemens' prowess in arranging. The use of counterpoint lines and a tranquil rendition, accentuated by soprano and trumpet, adds a touch of elegance and harmonic complexity to the track.
“Twilight Time" presents a beautiful interpretation of The Platters' original, with Anna's expressive vocals and lush horn arrangements. Clemens' careful arrangement complements the nostalgic pathos melody, creating a poignant and evocative musical experience.
“Sentimental Journey" stands out with Luke Carlsen's commanding vocals and Paul Navidad's scintillating sax solo. Clemens takes a bold move by infusing a country-western style into the jazz recording, creating a simple yet immensely enjoyable arrangement. What follows is the first trio recording on the album: “Witchcraft" benefits from an up-tempo arrangement, showcasing Clemens' trio expertise. The fun piano solo and rhythmic hits inject lively contrast, adding a playful element to the album.
“Smoke Gets in Your Eyes" features Andrea Miller's sensitive and charming vocals, accompanied by Clemens' piano. This intimate duo recording offers a heartfelt moment, providing a welcome contrast to the larger ensemble-focused tracks.
The album concludes with “Both Sides Now," a simple yet poignant arrangement of Joni Mitchell's tune. As the ensemble sizes diminish, Clemens' soft and harmonically creative treatment of this 1960's tune creates a seamless transition into the pop realm.
In conclusion, Beneath the Blue serves as a strong debut for Brian Clemens, showcasing his talents as a musician and arranger. The album's meticulous arrangements and thoughtful interpretations reflect a deep appreciation for jazz's rich history and diverse styles, carving out a distinct and promising path for Clemens' future endeavors. As we anticipate his upcoming release, Live at London Ft. Francesca Confortini, on January 12th, the jazz community eagerly awaits the continued evolution of this emerging talent.
Beneath the Blue is available on all streaming platforms.
The album opens with “I've Never Been in Love Before," a swing tune that harkens back to the style of a Frank Sinatra-Billy May arrangement from the 1950s. Anna Crumley's sweet and swinging vocals, coupled with Steven Ragsdale's alto solo and Brian's skillful piano work sets the tone for the album. A catchy and forgotten standard, it pays homage to the roots of jazz and stands on its own as a captivating arrangement, showcasing Clemens' ability to infuse new life into a well-known sound.
The album continues with “Heart of the Country," a tune by Paul McCartney and Wings from 1972 that undergoes a jazz makeover. Jamie Shew's spirited vocals, combined with a dual clarinet arrangement work splendidly in the arrangement of this quirky and underrated McCartney composition. “Callout!" introduces an original Latin tune that captures the spirit of Sonny Rollins' “St. Thomas." The immediately memorable melody, buoyed by a robust rhythm section creates a vibrant Caribbean atmosphere that unmistakably distinguishes it as a standout track on the album
Clemens shifts gears with “If You Were Mine," an original composition that seamlessly blends a catchy melody with a dynamic arrangement. Jamie Shew's swinging vocals, along with the nod to the vocal jazz recordings of the 1950s and 1960s, showcase Clemens' ability to capture the essence of the genre's golden era. The arrangement, with a powerful shout section (unmistakably Count Basie influenced) adds a nice touch, paving way for Jamie's return in the bridge and the upcoming modulation. What follows is a dynamic change: “Matchmaker," a creative take on the classic showtune from Fiddler on the Roof, exhibits Clemens' prowess in arranging. The use of counterpoint lines and a tranquil rendition, accentuated by soprano and trumpet, adds a touch of elegance and harmonic complexity to the track.
“Twilight Time" presents a beautiful interpretation of The Platters' original, with Anna's expressive vocals and lush horn arrangements. Clemens' careful arrangement complements the nostalgic pathos melody, creating a poignant and evocative musical experience.
“Sentimental Journey" stands out with Luke Carlsen's commanding vocals and Paul Navidad's scintillating sax solo. Clemens takes a bold move by infusing a country-western style into the jazz recording, creating a simple yet immensely enjoyable arrangement. What follows is the first trio recording on the album: “Witchcraft" benefits from an up-tempo arrangement, showcasing Clemens' trio expertise. The fun piano solo and rhythmic hits inject lively contrast, adding a playful element to the album.
“Smoke Gets in Your Eyes" features Andrea Miller's sensitive and charming vocals, accompanied by Clemens' piano. This intimate duo recording offers a heartfelt moment, providing a welcome contrast to the larger ensemble-focused tracks.
The album concludes with “Both Sides Now," a simple yet poignant arrangement of Joni Mitchell's tune. As the ensemble sizes diminish, Clemens' soft and harmonically creative treatment of this 1960's tune creates a seamless transition into the pop realm.
In conclusion, Beneath the Blue serves as a strong debut for Brian Clemens, showcasing his talents as a musician and arranger. The album's meticulous arrangements and thoughtful interpretations reflect a deep appreciation for jazz's rich history and diverse styles, carving out a distinct and promising path for Clemens' future endeavors. As we anticipate his upcoming release, Live at London Ft. Francesca Confortini, on January 12th, the jazz community eagerly awaits the continued evolution of this emerging talent.
Beneath the Blue is available on all streaming platforms.
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