Label: Self released, 2020
Personnel - Andrew D’Angelo: alto saxophone, bass clarinet, voice; Bill McHenry: tenor saxophone; Jeremy Udden: alto saxophone; Josh Sinton: baritone saxophone; Ryan Snow: trombone; Bryan Drye: trombone; Josh Roseman: trombone; Kirk Knuffke: cornet; John Carlson: trumpet; Jacob Wick: trumpet; Sasha Brown: guitar; Trevor Dunn: bass; Dan Weiss: drums + Nicole Federici: viola; Eric Biondo: beat box.
Alto saxophonist and bass clarinetist Andrew D’Angelo, reckoned as a force of nature for several reasons, finally releases this colorful, much-anticipated album mounted with his colossal 15-piece DNA Orchestra. All nine tunes in this program were previously recorded in different formats, but here they get new outfits and a special energy. His battle for life - he was diagnosed with a malignant brain tumor in 2008 - was won with the help of music, a crucial agent in his healing process. In addition to DNA project, D’angelo leads his own trio (feat. Trevor Dunn and Jim Black) and co-leads the quartet Human Feel (with Black, Chris Speed and Kurt Rosenwinkel).
The madly swinging “Free Willy”, the grand opening track dedicated to the drummer Matt Wilson and firstly heard on his album Humidity (Palmetto, 2003), is among the remodeled pieces. The orchestral arrangement is designed with splendorous ins and outs, and the featured soloists are Knuffke, who chips in with his habitual killing playing as soon as the music starts; trombonist Bryan Drye, who enjoys the rasping comping of guitarist Sasha Brown while improvising; and altoist Jeremy Udden, who expands his post-bop vocabulary with some warped sounds.
Both carrying curious titles and overcoming the 12 minutes, “Egna Ot Waog” and “Meg Nem Sa” are two of my favorite pieces. The former, written for bassist Ben Street, has a cautious start with buzzing horns, but quickly expands horizons with the precious assistance of Dunn’s cool, driving bass lines. Even if Brown causes some stir with his offbeat guitarism, the most incredible solo here belongs to tenorist Bill McHenry, whose neatly wrought blows end up in a rough-edged friction. “Meg Nem Sa”, in opposition, successfully blends prog-rock and avant-garde jazz and a lot more things, relying on constant rhythmic shifts that call for Weiss’ responsive and dynamic drumming. D’Angelo, who flies with a rocket-power propulsion, expanded this piece (which lasts less than three minutes on Tyft’s 2006 version) after the two brain surgeries he was subjected to. It was transformed in an intense musical journey.
McHenry composed “Norman” for D’Angelo (it’s his middle name) when he was sick in hospital. It’s a touching gospelized peace in the tradition of the late tenor player David S.Ware, here taken to heaven by the giddy, oblique trajectories of the bandleader.
Other highlights are “Big Butt”, a fun tour with fierce counterpoint and a hip-hop vibe (reinforced by beatbox artist Eric Biondo); and the infuriated “Marching Fvckers”, where baritonist Josh Sinton shines through.
Motivational, emotive and revolutionary, this work is replete with perpendiculars, tangents and intersections, embodying the force of character of a staggering, eclectic player/arranger who displays here a comprehensive range of his musical qualities.
** Read Andrew D’Angelo interview for JazzTrail **
Grade A
Favorite Tracks:
02 - Egna Et Waog ► 08 - Norman ► 09 - Meg Nem Sa