Lucid Culture


Sweeping Orchestral Big Band Jazz from Idan Santhaus

The big band compositions on Idan Santhaus‘ new Posi-tone album There You Are have steady tempos, bright colors and a slowly unfolding melodicism, sort of a reverse image of Bob Belden’s darkly panoramic Animation project. Santhaus honed his chops as a teenage flutist with the Haifa Youth Orchestra in his native Israel; as you might expect from someone with a classical background and a stint in Jim McNeely’s BMI Composers Workshop, his compositions are third-stream, straight down the middle between classical and jazz, sort of a Maria Schneider Junior. This is big band jazz with an orchestral sweep rather than beefed-up blues or swing, an ensemble project rather than a launching pad for a lot of expansive soloing – which isn’t a bad thing at all. If you can’t wait til Schneider’s next album, this will tide you over.

Much of the opening track, After All is a simple one-chord overture whose waves grow harder the brass rising over an insistent Jon Gordon alto sax solo. Tempo Rarely climbs out of a tensely suspenseful intro to rising and crashing flamenco allusions, then bookends a slinkily swinging, noirish interlude with a funky full-ensemble pulse. The title track begins with suspenseful low sheets punctuated by drum bursts, Santhaus’ own flute terse over a bossa beat. Frank Basile adds a goodnatured, even wry counterbalance on bari sax  as it builds.

Now I Feel Like It, Now I Don’t works variations on a catchy singalong hook around a moody bridge of sorts, Matt Garrison’s lingering tenor sax exchanging with Thomas Barber’s more carefree trumpet. Purple and Yellow, a slow late summer tableau sets resonant sostenuto harmonies under James O’Connor’s emphatic trumpet and another smoky excursion from Basile. A Place I Know brings back a summery bossa soul groove, a feature for Michael Dease’s lyrical trombone and Ben Kono’s lively soprano sax, pianist Deanne Witkowski underscoring it with a purist bluesiness.

Change of Season plays off a brightly funky central riff, Mark Small’s tenor solo following the ensemble on a darker trajectory, Andy Hunter’s trombone holding the center over a marionettish dance fueled by the high reeds. High Maintenance starts out as a lustrous ballad and morphs into a pouncing swing tune: it’s the most trad track here. The album winds up with Nothing Yet?!?, taking a somber minor blues riff slowly upward with a brooding bolero pulse. There are two ensembles here, one with eighteen members, the other with sixteen, many of the players appearing in both, tight and seamless all around.

October 10, 2013 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | 1 Comment