Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

A Mighty, Moody Album and a Lincoln Center Gig by the Scott Reeves Jazz Orchestra

The rain-slicked streetcorner tableau on the album cover of the Scott Reeves Jazz Orchestra’s latest release Without a Trace – streaming at Bandcamp – Is truth in advertising. In recent years the group have taken a turn into moody, brassy latin-inspired sounds, something they excel at. They’re at Dizzy’s Club on Sept 3, with sets at 7:30 and 9:30. Cover is steep – $35 – but like most A-list large jazz ensembles not named the Maria Schneider Orchestra, you don’t get many chances to see them. This time out the lineup includes singer Carolyn Leonhart; alto saxophonists Jon Gordon and Jay Brandford; tenor saxophonists Rob Middleton and Tim Armacost; baritone saxophonist Terry Goss; trumpeters Nathan Eklund, Dave Smith, Chris Rogers, and Andy Gravish; trombonists Matt McDonald, Jason Jackson and Matt Haviland; bass trombonist Max Seigel; pianist Roberta Piket; bassist Todd Coolman and drummer Andy Watson.

They open the album with a an expansively layered, brassy cha-cha arrangement of Kurt Well’s Speak Low, a feature for Steve Wilson’s allusive, melismatic alto sax, echoed by trumpeter Chris Rogers. Watson’s stampeding drums kick off a tasty series of chromatic riffs from the brass to wind it up.

With a stunningly misty wistfulness, Leonhart gives voice to the longing and angst in Reeves’ moodily latin-inspired title track, Jim Ridl’s tightly clustering piano ceding to Armacost’s more optimistic tenor solo. Likewise, they turn toward Vegas noir in Reeves’ broodingly bouncy reinvention of All or Nothing At All, following the bandleader’s bluesy, bubbling solo up to a haggard, white-knuckle-intense crescendo.

Incandescence could be a Gil Evans tune, maintaining a grim intensity throughout Reeves’ distantly Ravel-esque portrait of starlight over the French countryside. Vibraphonist Dave Ellson moves carefully, Ridl more menacingly, Wilson’s soprano sax peeking and glissandoing with a relentless unease.

Reeves based his own vampy arrangement of Wayne Shorter’s Juju on the composer’s most recent chart for the song and beefed it up with bright banks of brass. Tenor saxophonist Rob Middleton’s solo draws closely on Shorter’s own modally-charged work on the original.

Reeves then looks to Alberto Ginastera’s Piano Sonata No. 1 for the central hook for the album’s most epic track, Shape Shifter, with gritty close harmonies, Ridl’s Arabic-tinged piano and Reeves’ alto flugelhorn solo vividly bringing to mind the most cinematic side of early 60s Gil Evans – although a relatively free interlude with Ridl leading the randomness is a detour the song really doesn’t need. The brightly gusty closing cut, Something for Thad is a Thad Jones shout-out. Many flavors and lots to savor here.

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August 27, 2018 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment

The Dave Liebman Big Band’s New Album Is Gripping As Always

As Always, the new album by the Dave Liebman Big Band is characteristically rich and diverse, emphasizing lively interplay and striking, upbeat charts played by a first-class ensemble under the direction of saxophonist Gunnar Mossblad. Recorded live in concert in 2005 and 2007 in Colorado and Ohio, it features as many as nineteen players including longtime Liebman associates Vic Juris on guitar, Tony Marino on bass, Marko Marcinko on drums, Jim Ridl on keys and Scott Reeves (who also arranged a couple of the numbers here) on trombone and alto flugelhorn. Liebman’s soprano sax – and occasional flute – sail brightly over the dynamic arrangements. As much as this is a big band album, parts of it are remarkably quiet, which only enhances the intensity when they’re all going full tilt.

It opens with the aptly titled A Bright Piece, soprano sax swirls over big swells, to a funky groove with latin-tinged piano. This group has a sense of humor, a quality that rears its head frequently throughout this set, in this case the use of the bass clarinet soberly introducing a new variation after a bubbly Liebman solo. The title track is intimate despite the frequently blazing charts, with a pensively cinematic buildup to a lyrical ballad dynamics. Its more reflective sections between the big crescendos feature some particularly vivid interplay between Liebman and the piano or guitar.

Anubis is a showcase for the rich, chromatic intensity that Liebman has always excelled at, with some tremendoulsy interesting, subtly shapeshifting work by Marcinko behind the kit, moving almost imperceptibly from a clatter to a rumble. Liebman’s snakecharmer flute intro gets a slinky response from Jeff Nelson’s bass trombone, the band offering tinges of flamenco, funk and finally a baritone sax-driven groove where Liebman, back on soprano, goes flying over it. New Breed, an early 70s tune Liebman did with the Elvin Jones Group is genial, aggressive, cinematic postbop with cameos from just about everybody in the band and plenty of hard-driving, gritty Liebman work that feeds the flames for the rest of the crew to fan joyously.

Inspired by a Monet painting, Philippe Under the Green Bridge is as robust as a tone poem can get, another vivid example of Liebman’s wary chromatics with Charles Pillow on oboe adding an understatedly insistent, apprehensive edge before the fireworks begin and Liebman takes over. The album ends with Turn It Around, a tricky exercise in rhythmic interplay with a wry, twangy Juris solo. Liebman is currently on a five-day stand through 9/11 at Birdland at 8:30 and 11 PM with Steve Kuhn (piano), Steve Swallow (bass) and Billy Drummond (drums). Then he’s at the Blue Note on 9/13; playing the cd release show for his new small-combo cd on 9/17 at 55 Bar, and then the big cd release show for this one with the big band at Iridium on 10/6. Lots of chances to see a guy whose vitality and relevance has never dimmed over the course of a forty-year career.

September 7, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment