Cassio Vianna Jazz Orchestra: Vida

As you can't always describe a book by its cover, neither can you invariably pinpoint with accuracy a jazz ensemble's locale by its name alone. The Cassio Vianna Jazz Orchestra, to choose a random example, is not from Italy—nor from anywhere else in Europe. Although born in Rio de Janeiro, Brazil, Cassio Vianna has lived in the United States since 2009 and is, in fact, a music educator and director of Jazz Studies at Pacific Lutheran University in Tacoma, Washington, near where his second big-band album, Vida, was recorded in March and August 2024.

Vianna writes pleasant and handsome music, much of which mirrors his Brazilian heritage. That's not meant to imply that there is nothing more than beauty to savor and enjoy; brisk and demanding ensemble passages are blended throughout, buttressed by bight and impressive solos, all in the finest big-band tradition. Vianna's well-honed ensemble readily conquers every one of them, regardless of tone, tempo or tenor. After all is portrayed and performed, it is clear that Vianna is a master of his craft, a worthy successor to such venerated gurus as Neal Hefti, Sammy Nestico, Shorty Rogers, Bill Holman, Hank Levy, Johnny Mandel, Pete Rugolo, Billy May, Marty Paich, Gerry Mulligan and many others.

Although Vianna and the orchestra need no help, neither do they take any chances, inviting the renowned alto saxophonist Eric Marienthal to solo on the pointed yet playful opening number, "Tocando a Vida" (life goes on). Marienthal delivers big-time, setting a high bar for everything and everyone to come. He is, as the show business adage affirms, a tough act to follow. Nevertheless, Vianna and the orchestra soldier on, burning on all cylinders to prove there is much more to Vida than one remarkable alto solo.

And so they do, starting with the endearing "Sea-Song" (complete with watery special effects) and continuing through the final notes of the dreamy "Mistlike." Five numbers are sandwiched between, including a brace of bold and electrifying flag-wavers—"Flight 962" and "Scrabble"—on all of which the ensemble is in letter-perfect form. Even when Vianna slows the pace, as he does on "Sea-Song," "Unwritten Letter," "In Her Garden" and "Mistlike," there is an abundance of lovely and radiant music to ingest and savor, not least of which is the charming and rhythmically animated "Choro for My Boys." In other words, there is nothing on the menu that is less than provocative and appetizing.

While a substantial reason for that must be ascribed to Vianna's excellent charts, the support given by the orchestra and soloists must not be underplayed, as they work overtime to burnish and brighten every number. Vianna, to his credit, gives almost everyone a chance to shine, clearing solo space for trumpeters Michael Van Bebber and Carter Eng, flugelhornists Keith Karns and Jared Hall, soprano saxophonist Tom Bergeron, alto Mark Taylor, tenors Alexey Nikolaev and Kareem Kandi, baritone Kate Olson, trombonist Conner Eisenmenger, guitarist Brian Monroney, pianist David Lee Joyner, drummer Mark Ivester and bassists Wagner Trindade and Clipper Anderson. None of them is less than engaging, with Taylor and Eisenmenger especially seductive on "Flight 962," Nikolaev, Joyner and Eng on "Scrabble." Ivester is another able soloist who enlivens the rapid-fire themes.

Vianna, a remarkable composer and arranger, leads an orchestra that is beyond reproach. Little wonder, then, that Vida stands as one of the foremost big-band albums of the year.

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