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Another university-level jazz ensemble that can flat-out play, thanks to the sturdy foundation set in place by the late John Prince and the continuing efforts of his successor and current director, Neal Finn. It’s not often that one can number student compositions among the highlights of a recording such as Studio 1, but the two by pianist Gerhart Guter (“Zapotaxi,” “The Men in White”) are so well-written as to easily warrant the sincerest accolades one can bestow, as are Finn’s trio of lissome charts—“Worth the Effort,” “Mysterious Stranger,” “Unknown Dimensions.”
The booklet actually lists three student compositions, but “Star Eyes” isn’t one, even though baritone saxophonist David Zapotocki’s swinging arrangement of the Don Raye/Gene DePaul standard is first-class. Rounding out the colorful program are Bob Bennet’s groovy “Sammy’s Song” (featuring trumpeter Nic Chafee), Stan Kenton’s popular “Artistry in Rhythm” (set to a snappy Latin beat), Kenyon Hopkins’ meditative “12 Angry Men” and two handsome showpieces for smooth vocalist Selwyn Gibson, Jerome Kern’s “I’m Old Fashioned” and Leslie Bricusse/Anthony Newley’s “What Kind of Fool Am I” (the last four arranged by Finn). Tenor saxophonist Sean Franz, who is heard on “Artistry” and “Worth the Effort,” hits his stride as featured soloist on “12 Angry Men,” playing with notable warmth and perception.
The ensemble plays quite well as a unit, the soloists are generally comparable to what one would expect to hear at this level, and the overall sound is bright, clear and fairly well-balanced, even on the lone track (“Men in White”) recorded in concert. As further evidence of the band’s versatility, the booklet’s artwork and design were shaped by bass trombonist Chuck Drinkworth. With talent like that in the lineup, Finn is definitely in the catbird’s seat and the CSULB ensemble is clearly pressing forward on an upward curve.
Track Listing: Worth the Effort; Zapotaxi; I
Personnel: Neal B. Finn, director; Steve Geiger, Chris Grey, Jon Bradley, Katie Gregory, Thad Archer, Angel Carmona, Matt Ara, John Cross, Nic Chaffee, John-David Minjares, Kevin Wilson, trumpet; Justin Padilla, Terje Lie, Mike Reznick, Dia Silverstein, Fernando Jativa, Andrew Balogh, alto sax; Hugh Von Kliest, Eric McIntyre, David Najar, Vince Hizon, Sean Franz, Masumi Kono, tenor sax; Brett McCarty, David Zapotocky, Mike Reznick, baritone sax; Steve Hackney, Christine Hayes, Jerry Wheeler, David Goyette, Michael Briones, trombone; Fucho Chiang, Chuck Drinkworth, Stephen Hughes, Josh Lampkins, bass trombone; Chris Darjany, Josh Nelson, Gerhart Guter, piano; Mark Fitchett, Obie Obien, guitar; Cory McCormick, Brian Martin, Brad Bobinski, bass; Keith Linhart, Keith Larsen, drums; Selwyn Gibson, vocals.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...