The Paul Keller Orchestra: Thank You Notes--The Music of Gregg Hill

Bassist Paul Keller 's Michigan-based orchestra was formed in 1989. For those who are keeping score, that was 37 years prior to the release of the disc at hand, Thank You Notes—The Music of Greg HIll. Big bands have undergone a large number of twists and turns, some for better, others for worse, since then, but thankfully, Keller and his mates have kept their eyes squarely on the ball and decided it would be in everyone's best interest simply to keep swinging straight ahead.

Swing is clearly the focal point on the orchestra's latest recording, Thank You Notes, wherein Keller and the ensemble play the music of veteran composer and arranger (not to mention fellow Michigander) Gregg Hill, who gives them several supple and sturdy branches from which to swing. The swinging starts early with the orchestra persuasive and at full throttle on Hill's bright and clever "Bopportunity,"  which sets a robust rhythmic compass for the entire session. Soloists are alto saxophonist Keith Kaminski and trumpeter Paul Finkbeiner.

Kaminski moves to soprano while Finkbeiner solos again on the sunny and metronomic "Dollah Hollah." Keller and Hill co-wrote each of the album's trio of vocals ("Thank You Notes," "Pop Tune," "Summer Nights"), with lyrics by singer and clarinetist Sarah D'Angelo. Even if the lyrics were coherent (that debate is ongoing), D'Angelo would make sure no one fully grasped their import. To her credit, D'Angelo plays a nice clarinet. "Pop Tune," which follows "Dollah Hollah," shines with gusto, as do the solos by Keller, pianist Adam Mosley (impressive at every turn) and tenor Christopher Tabaczynski.

The sleek and swinging "Cadillac Club" is also top of the line, as are the solos by Finkbeiner (using a toilet douser!) and alto Kaminski. Steve Wood's eloquent tenor is showcased on the waltz-like "Speckled Frog," which manages to swing despite its leisurely tempo. "Summer Nights" leads to the album's last three numbers, all of which are clear winners, starting with the charismatic "Jer's Latin Tune" (trim solos by Mosley and alto James Hughes) and continuing with the sleek and melodic "La Playa" (Terry Kimura, (trombone) and loose-limbed "Sister Sue," which adds (better late than never) baritone Mark Kieme, trumpeter Lucas Stickley and trombonist Chris Smith to the orchestra's roster of splendid soloists.

Save perhaps for the vocals (a matter of opinion), this is a powerful and pleasing session from end to end, and one that was truly a team effort. Brass and reeds are consistently strong, but no more so than Keller's alert and reliable rhythm section (Mosley, vibraphonist Cary Kocher and drummer Pete Siers) who are solidly in the pocket on every number. After hearing what the PKO has to offer, listeners may wish to write their own Thank You Notes.