Ira B. Liss: Unexpected Guests

Unexpected Guests is the seventh recording by Ira B. Liss' southern California-based Big Band Jazz Machine since Liss formed the ensemble in 1979. His guests on this radiant and high-energy studio date are "unexpected" in more ways than one, as only one of their 11 names can be found anywhere on the album aside from the playlist. That would be Daniel Ho, who solos on ukulele on the flavorful "Pineapple Mango" but is listed only as a member of that selection's seven-member vocal group.

The others, from singers Vince Gill and Rocky Dawuni to seven instrumentalists and even a tap dancer (Leo Manzari) who also raps, simply appear without fanfare (or any advance notice). The album's lone constant is Dan Radlauer, who wrote half a dozen of the album's handsome themes and arranged all of them. Apparently, Radlauer is not a die-hard fan of ballads, as you will find none here. The mood and tempo are invariably brisk and upbeat, which suits Liss, the Machine and its guests, "unexpected" or otherwise, like the proverbial glove.

Those visitors who do not sing play cello, mandolin, bassoon, violin, French horn, marimba and even jazz recorder—and every one of them is strong and impressive. Tali Rubinstein, she of the nimble recorder, starts the session with a bang, leaning hard into Radlauer's opening pitch on the high-stepping "Renaissance Woman" and knocking her marvelous solo out of the park. Gill, who earns his bread singing country music, is next up, slipping comfortably into the jazz idiom on his own engaging composition, "I'm Counting on You," to which tenor saxophonist Greg Armstrong appends a strong solo.

The guests keep on coming, each one as awesome and inspiring as the last: Eva Scow (mandolin) on her own saucy "San Joaquin," Wade Culbreath (marimba) on Radlauer's rhythmic "Knock on Wood," Dawumi, singing (with sharp solos by Armstrong on flute and Doug Meeuwsen on flugelhorn) on the vocalist's groove-heavy "Extraordinary Woman." Yet another visitor, violinist Nora Germain, ushers the session through its midway point, soloing eloquently on her suitably named "Violinspiration," after which Leo Manzari, one-half of the tap-dancing Manzari brothers, dazzles with his feet and voice, following his delightful tap with an evocative rap on Radlauer's lively "Tapped Out." While that is a tough act to follow, bassoonist Paul Hanson gives it the college try and passes with honors on Radlauer's bright and congenial "Reeds Between the Lines."

Ho's lyrical "Pineapple Mango" is next, featuring its author on ukulele, Armstrong on tenor sax and the aforementioned chorale. Guest cellist Tina Guo is stellar on the stylish "Strings in the Wind," as is Armstrong on flute. The band's last visitor is Chris Castellanos, whose sunny French horn solo on the tasty "French Fries" serves as icing on this special cake. As impactful as its guests are, the Big Band Jazz Machine is equally intense and outspoken, chaperoning its talented visitors stride for stride, while adding luminosity and firepower to the mix. The Machine's rhythm section, anchored by hard-working drummer Charlie McGhee, is especially assured and efficient.

In sum, this is contemporary big-band jazz at its pinnacle. The Jazz Machine is seamless and powerful, and while its guests may be "unexpected" they are no less welcome and pivotal to the album's success. Liss' seventh album as leader of the Big Band Jazz Machine is a charm, one in which he, Radlauer, the Machine and its guests readily sidestep every obstacle to create a masterful and timeless treasure.

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