Label: Summit Records, 2020

Personnel - Charles Pillow: flute, alto flute, clarinet, alto sax; soprano sax, oboe, english horn; Scott Wendholt: trumpet; Alan Ferber: trombone; Chris Komer: french horn; Marcus Rojas: tuba; Todd Groves: bass clarinet, clarinet, flute; Vic Juris: guitar; Gary Versace: piano, accordion; Jeff Campbell: bass; Jay Anderson: bass; Mark Ferber: drums; Rich Thompson: drums; Rogerio Boccato: percussion + string ensemble - Hiroko Taguchi: violin; Whitney Lagrange: violin Lisa Matricardi: violin; Todd Low: viola; Orlando Wells: viola; Alisa Horn: cello; Allison Seidner: cello.

Even if Charles Pillow’s name doesn’t immediately ring a bell, you have probably heard him playing with central jazz figures as Maria Schneider, Dave Liebman, John Scofield, and more recently Brad Mehldau. Outside the jazz scope, the list of collaborations is equally vast and includes Paul Simon, Bruce Springsteen, Chaka Khan, and Jay-Z, among others.

Following Electric Miles (Summit, 2018), a tribute to the early electric phase of giant trumpeter Miles Davis, the woodwinds player gathers his dedicated large ensemble, concentrating on the orchestral chamber jazz genre. Here, he delivers a repertory with an equal share of originals and covers.

As expected, the classical intonations, enhanced by the presence of strings, are a bit all over the place. The opening piece, “While Pass Manchac” paints scenic landscapes with warm colors, mixing suave classical sonorities with the persuasion of jazz. The improvisers are trumpeter Scott Wendholt and Pillow on alto saxophone.

Classical impressions are even stronger on “Charlotte and Evan”. This composition, dedicated to Pillow’s children, brims with cellos and violins in harmonious communion. Resourceful pianist Gary Versace stands out on this one, and he shows his multifaceted skills by switching to accordion on Hermeto Pascoal’s “Bebe”. He embarks on a decorous conversation with Pillow, who blows the clarinet with lucidity, with the complementary percussion of Rogerio Boccatto and Rich Thompson fully manifesting underneath.

Pillow puts a lot of heart in the arrangements and Monk’s less-familiar composition “Oska T” is explored with bold counterpoint, reaching high peaks during the improvisations from tuba player Marcus Rojas and trombonist Alan Ferber.

Another magic moment occurs when the late guitarist Vic Juris brings his beautiful sound to Billie Holiday/Arthur Herzog Jr.’s plaintive song “Don’t Explain”. A docile flute accompanies him here, as well as on “Pee Wee”, a placatory medium-tempo waltz penned by drummer extraordinaire Tony Williams and immortalized by the Miles Davis quintet.

Equipoising the venerable and the thrilling, “Atchafalaya Fiction” sonically depicts the Atchafalaya basin, the largest wetland and swamp in the US, which is located in Louisiana. Driving us through subtle shadings, the ensemble puts the spotlight on Ferber and he doesn’t pass up the chance to shine with wonderful melodies expressed across several registers.

The competence of Pillow’s big band is indisputable.

Favorite Tracks:
03 - Don’t Explain ► 06 - Oska T ► 08 - Atchafalaya Fiction

Label: Mama Records, 2018

Personnel – Charles Pillow: alto and soprano sax, flutes; David Liebman: soprano sax; Colin Gordon: alto and soprano sax, flute; Luke Norris: tenor sax, clarinet; CJ Ziarniak: tenor sax; Karl Stabnau: bass clarinet; Michael Davis: trombone; Abe Nouri: trombone; Jack Courtright: trombone; Gabe Ramos: bass trombone; Tony Kadleck: trumpet; Charlie Carr: trumpet; Clay Jenkins: trumpet; Tim Hagans, trumpet; Julian Garvue: electric piano; Chuck Bergeron: electric bass; Mike Forfia: acoustic bass; Jared Schonig: drums.

Besides being a sought-after sideman in both pop and jazz genres, saxophonist Charles Pillow is also a qualified bandleader whose musical adroitness shines through on his latest work for large ensemble, aimed to celebrate the 50th anniversary of Bitches Brew and the strong heritage of the early electric period of Miles Davis’ music.

Conveniently entitled Electric Miles, the album features amazing soloists such as saxophonist Dave Liebman and trumpeters Tim Hagans and Clay Jenkins in a cross-pollination of jazz and rock with ample textural dimension. Aggregating 8 tightly structured compositions (four by Miles, three by Joe Zawinul, and one by Wayne Shorter), the program is competently handled by a 17-piece big-band comprising gifted multi-generational musicians with an unaffected ability to read and improvise.

Zawinul’s “Pharaoh’s Dance” opens with a deep-running tranquility, indicating that this music can be satisfyingly funkified with coolness and strongly boosted by legitimate solos. Pillow’s voice erupts with clarity after a short interlude that echoes trumpet riffs. Before him, it was Hagans who delivered a great solo with pure post-MIles intention.

Also penned by Zawinul and popularized by Miles, “In a Silent Way”, displays a blatant variation in the rhythmic intensity, having the inaugural docile atmosphere veering to an electrifying rock groove populated by Jared Schonig’s stupendous transition fills and Julian Garvue’s keyboard ecstasy. The drummer takes the liberty to embark on a short solo ride before concluding the piece with the rest of the band.

Rendered with grandiose counterpoint and delicious unison lines, “Bitches Brew” never boils over, except when Hagan's trumpet hits the stars. In turn, the solo-free “Sanctuary”, which honors Wayne Shorter, is filled with abundant serenity, in opposition to the relentless, outgoing moves of Miles’ “Spanish Key”, fueled with passionate improvisations from Jenkins and Pillow..

Coaxing wide dynamics with broader hooks “Black Satin” and “Yesternow” are set on fire due to Dave Liebman’s stunning flights on soprano. His discourses are designed with flashy outside efforts, lavish emotional crescendos, and brilliant resolve. While “Satin” thrives with the rhythmic magnetism of powerful bass lines and rocking drum fluxes, “Yesternow” is elegantly brought to life by a creamy alto flute.

Mr. Pillow shaped up Electric Miles with scrupulous arrangements containing fluttering horn lines and expressionistic individual solos. Everything flows with an electrifying poise.

Favorite Tracks:
01 - Pharaoh’s Dance ► 04 - In a Silent Way ► 07 - Yesternow