Jazz Improv Magazine (Trade Magazine) By Winthrop Bedford |
Rob Parton's Jazztech Big Band
TWO DIFFERENT DAYS-Sea Breeze. 805489-2055. Web: www.seabreezejazz.com. www.rparton.com. Soon; On a Misty Night; Speak Low; How Deep is the Ocean; Take The "A" Train; I'm Getting Sentimental Over You; Blue Daniel; Never Will I Many; My One and Only Love; Bernie's Tune; Blue Getz Blues; Two Different Days; She's Gone.
PERSONNEL: Bob Frankich, Bob Rzeszutko, Ken Partyka, Mark Colby, Brian Budzik, Ted Hogarth, saxophones; Rob Parton, Scott Wagstaff, Kirk Garrison, Mike McGrath, August Haas, Fred Powell, Marty Tilton, trumpets; Tom Garling, Tim Coffman, Andy Baker, Brian Jacobi, Dan Johnson, Bryan Tipps, Thomas
Matta, trombones; Don Stille, piano; Bob Rummage, guitar; Tim Fox, bass; Chris Siebold, drums.
By Winthrop Bedford
Two Different Days is the latest release by Rob Parton's Jazztech Big Band and it jumps out energetically. The first track features George Gershwin's "Soon," arranged by Don Schamber. Schamber also arranged several other standards on this release including "Speak Low," "How Deep is the Ocean," "Take the' A' Train," and "My One and Only Love." "Soon" is rendered as a medium up-tempo swing piece. The precision of the ensemble, and each of the sections is a highlight. More than that it is bolstered by impressive intonation, a driving rhythm section, and impressively articulated eighth note lines, authentically embodying what the heritage of this music is about. Schamber is one of several arrangers who contributed to the repertoire for this recording. One of my other observations is that this first arrangement suggested that Schamber has listened attentively to the Rob McConnell Big Band-which had its heyday in Toronto in the 1970s and 1980s. The ebb and flow of the dynamics, the development throughout his arrangement, the voicings, counterlines to the melodic line of a given section, the rhythmic approach all suggested McConnell's influence. One of the devices McConnell used was orchestrating a brass ensemble chorus, unaccompanied by the rhythm section. He would then build out of that and lead towards a tutti (full band) shout chorus or climax to end the piece. Schamber employs that effectively on "Soon."
One of the challenges of writing for big band is to create an arrangement that leaves spaces for solos-where the platform for soloists does not seem like the soloist is merely filling in some blanks, until the band can get back to the arranger's possible business at hand-of showing off his/her writing. That kind of arranging means knowing who the soloist is likely to be or that the soloist might be sensitive enough to understand the writer's approach and accommodate the particular arrangement accordingly. On the flipside of that is making sure that the writing is not merely window dressing for a selected soloist. Both concepts are challenging given the transient nature of players in today's environment not necessarily having long-time commit- ments to any band or ensemble.
Rob Parton's band does a remarkable job of maximizing their musical efforts in blending the creative needs and desires of the soloist and the hopes ofthe arranger for the ensemble.
"On a Misty Night" is one of my favorite Tadd Dameron compositions. Dameron's music is harmonically rich and gives experienced arranger's like Thomas Matta, much with which to create. Matta's arrangement works perfectly. The rhythm section, led by Don Stille's piano solo, sets the medium groove tempo-a two beat approach growing into 4/4 swing. The opening chorus sets up the entry of the saxes and trombones with supportive unison lines by the brass. Ron Ruvio offers a beautifully lyrical solo on flugelhorn, delightfully complementing Dameron's conception. Mike Smith turns in a fine solo on alto sax as well.
Schamber's turns Kurt Weill's "Speak Low" into an up-tempo samba. Leader Rob Parton takes the solo spotlight on this onedemonstrating his range on trumpet, and his good taste. "How Deep is the Ocean" opens quietly-as a ballad-featuring trombonist Tom Garling. The arrangement evolves into a medium swing pace with some dialog between the brass and saxes, and then Garling gets to stretch out. Schamber serves up a straight forward arrangement of Ellington's "Take the 'A' Train." This one has the requisite abundance of energy, and once again the ensembles, dialogues, rhythmic approach, and overall sound are reminiscent of McConnell's Boss Brass Big Band. Trombonist gets additional space to open upon Matta's fresh up-tempo, swinging arrangement of Tommy Dorsey's signature, ''I'm Getting Sentimental Over You." The saxophone soli a highlight driving, and crisply executed with passion.
The band switches gears to play an arrangement by Kirk Garrison of the late trombonist Frank Rosolino's, "Blue Daniel." This lyrical melody, features solos by trumpeter Kirk Garrison. Tenor saxophonist Mark Colby gets a chance to shine-his personalized and sometimes subtle sound, offering a foil to the surroundings. Leader Palion shines on Chris Madsen's arrangement of "Never Will I Marry"-a composition which I have often associated with Cannonball Adderley, because of his 1960s recording. Schamber's arrangement of the unforgettable ballad "My One and Only Love" is magnificent and a much appreciated change. It blossoms briefly into a bossa groove, and features Parton delivering a rich, lyrical solo with a big round sound. The title track, "Two Different Days," is composed and arranged by trombonist Tom Garling and is the one original of the thirteen tracks. An up-tempo feature, with blowing over longer harmonic rhythms.
Rob Parton's Two Different Days is an impressive big band release, with superb writing and ensemble playing from end to end.