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No Bounds is as tasteful a big band album as you're likely to hear today, at a time when large jazz ensembles compete in virtuousity, intensity, range andunfortunatelyvolume. Every note on the disc is well-placed, in tune and, even when dissonant, pleasing to the ears. That's because Walden knows music from top to bottom, having been a trumpeter himself, and composed, arranged and conducted for big bands, the cinema, television and star vocalists.
Growing up in Hamburg, Germany, Walden acquired a European sensibility but, unlike some European musicians, he also assimilated the American jazz idiom. The result is an album with universal appeal. Take, for example, "Clay's Theme, by Till Bronner, who also plays the marvellous trumpet solo on this track. Waldenas arranger and conductorcombines a cinematic use of strings and harp, with a laid back rhythm section, flugelhorn, and baritone saxophone, to create a unified backdrop for the haunting melody. On "In The Doghouse, he combines a film noir atmosphere with some swinging big band effects and a plunger mute trombone solo, in a lively series of changes that are simultaneously diverse and unified.
Tierney Sutton does a fine job as vocalist on two standards: "People Will Say We're In Love and "Smile. Her precision and subtle inflections blend beautifully with the band. "Someday My Prince Will Come comes on lively and alternately lightly and jumping, with a bow to the Miles Davis version (Wynton Kelly's original piano playing is echoed by Alan Steinberger's fine keyboard work). "Otterkamp is a Walden original realized by Martin Tillman on electric cello. The soft brass and woodwind intro has echoes of Gil Evans, and Tillman peforms a virtuosic solo that would have charmed romantics like Dvorak. Then, a (surprising) Latin beat takes the piece dancing late into the night.
In an era when tabloid-type sensationalism haunts music and the arts, this straightforward, articulate and soft-spoken album reminds us of how great jazz music can bewhen genuine sensibility and inventiveness combine with consummate musicianship to produce something memorable.
Track Listing: Winter Games; When You Wish Upon A Star; No Bounds; People Will Say Were In Love; Clays
Theme; In The Doghouse; Try Harder; Smile; Someday My Prince Will Come; Otterkamp; Its A
Small World After All.
Personnel: Tierney Sutton: vocals; Jeff Driskill, Kim Richmond, Rob Lockart, Brandon Fields, Tom
Peterson: saxophones; Wayne Bergeron, Kye Palmer, Ron King, Carl Saunders, Kevin
Richardson, Till Bronner: trumpets; Bob McChesney, Andy Martin, Alex Iles, Arturo Velasco,
Rich Bullock: trombones; Brian Monroney: guitar; Alan Steinberger, Frank Chastenier:
piano; Ken Wild: bass; Ray Brinker, Gregg Field: drums; M.B. Gordy: vibraphone,
percussion; Chris Walden: additional drum and synth programming; Martin Tillman:
electric cello; Gayle Levant: harp; Steve Becknell, Dan Kelley, Brian OConnor, Phillip Yao:
French horns; Bruce Dukow (concertmaster), Jackie Brand, Roberto Cani, Tammy Hatwan,
Pat Johnson, Jennifer Levin, Josefina Vergara, Marina Manukian, Sid Page, Katia Popov,
Marc Sazer, Kevin Connolly, Alan Grunfeld, Roger Wilkie, Tereza Stanislav, Helen
Nightengale: violins; Brian Dembow, Matt Funes, Keith Greene, Darrin McCann, Tomas
Diener, Roland Kato: violas; Steve Erdody, Trevor Handy, Andrew Shulman, Dane Little,
Larry Corbett, Kim Scholes: cellos; Ken Wild, Mike Valerio, Ian Walker: contrabasses.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.