Springfield Symphony Jazz Orchestra: Royalty: The Music of Duke Ellington & Count Basie

According to the U.S. Board of Geographic Names, there are at least 33 cities, towns and other populated areas in the U.S. that answer to the name "Springfield." Only five boast populations of more than 20,000, and one (Illinois) is a state capital. Springfields can be found in Massachusetts, Oregon, Vermont, Missouri, Tennessee, Georgia, Virginia and Kentucky, among other places. And also in Ohio, which is presumably the only Springfield that is home to its very own Symphony Jazz Orchestra.

On its debut recording, the SSJO salutes no less than jazz Royalty—a Duke (Ellington) and a Count (Basie)—with a dozen timeless themes they either performed or recorded, some better known than others but every one a crown jewel in the jazz repertoire. Three of the Basie tunes were written by the peerless master of swing (and Basie tenor man) Frank Foster, while Ellington composed four of his own to amplify alter ego Billy Strayhorn's "My Little Brown Book." On the Basie side, Neal Hefti wrote the breakneck "Flight of the Foo Birds," Peter Chatman the Joe Williams staple, "Every Day I Have the Blues," sung here (as is the standard "No Moon at All") by guest artist Kurt Elling.

There is one more vocal, by Ekep Nkwelle on the standard "You Turned the Tables on Me," which, unlike some other big-band vocals, is more than window dressing. Nkwelle pours her heart into every measure, and she is more than worth hearing. The SSJO's third guest, drummer Jeff Hamilton, sits in on three numbers including the Foster classic "Shiny Stockings," performed in precisely the proper groove. Speaking of which, the SSJO is on point from start to finish, always emphasizing "jazz" above "symphony" and sounding much like any other proficient big band in terms of harmony, rhythm, depth and dexterity. Of course, it never harms the cause to be playing Ellington or Basie.

The same holds true for the soloists, each of whom sounds like he or she has been improvising jazz solos since early childhood. Clarinetist Hal Melia (who has strong jazz creds) introduces Elllington's dynamic "Second Line" (from the New Orleans Suite), while bassist George Delancy and baritone Lauren Elliott Burgess share solo honors on the Duke's swing-centered "Sepia Panorama." After "No Moon at All," the SSJO pivots to Basie- Foster with "Easin' It," followed by Strayhorn's gentle "Little Black Book," Ellington's galloping "Chinoiserie" (strong solos by pianist Joel  Wenhardt and tenor Edward Bayard who ends with a superb unaccompanied passage) and "You Turned the Tables." Foster's charts resume with "Shiny Stockings," which leads to "Foo Birds" and "Every Day I Have the Blues." Ellington's colorful "Banquet Scene" from Timon of Athens (showcasing Mark Donavan's expressive alto) is next, leaving Foster to wrap the package with one last hurricane-force uppercut, "Who Me."

While Royalty does not necessarily guarantee success or even stability, the Springfield Jazz Symphony Orchestra's homage to jazz nobility is awesome from start to finish, and is warmly recommended to anyone who cherishes the marvelous tradition known as big-band jazz.