Ben Patterson Jazz Orchestra - Groove Junkies

July 1, 2024

Label: Origin Records, 2024

Personnel - Antonio Orta: alto and soprano sax; Mike Cemprola: alto sax, flute, clarinet; Tedd Baker: tenor sax, flute, clarinet; Xavier Perez: tenor sax, flute, clarinet; Doug Morgan: bari sax, flute, bass clarinet; Bill Mulligan: piccolo (#1), flute (#3); Brian MacDonald: trumpet; Kevin Burns: trumpet; Luke Brandon: trumpet; Alec Aldred: trumpet; Ben Patterson: trombone; Kevin Cerovich: trombone; Dave Perkel: trombone; Ben Polk: bass trombone; Shawn Purcell: guitar; Chris Ziemba: piano, Fender Rhodes, keyboards; Paul Henry: electric bass; Todd Harrison: drums, percussion; Fran Vielma: congas, percussion (#3,4,6).

Washington DC-based trombonist, composer, and arranger Ben Patterson is an adept of furious fluid dynamics, infusing his music with a relentless exuberance that permeates all six tracks of his new album, aptly titled Groove Junkies. Boasting a 22-year stint as the lead trombonist for the Airmen of Note, the premier jazz ensemble of the US Air Force, Patterson commands his vigorous 17-piece orchestra with rapture, counting on occasional additions of flute and percussion.

The album gets you off to an energetic start with a punchy arrangement of Chris Potter’s “Exclamation”, a dynamic fusion of jazz, funk, and rock elements played with breakneck propulsion. The track features audacious swagger in the magnetic solos from tenor saxophonist Tedd Baker and keyboardist Chris Ziemba.

“Interesting Times” develops in seven, anchored by regular groovy bass steps and wah-wah-infused keyboard comping that emerges from the ground. On this occasion, the soloists are alto saxophonist Antonio Orta and the bandleader, both of whom are exciting in their articulation and expression. “Cheese Hat” features a fierce funky groove interspersed with calmer passages, highlighting the work of electric bassist Paul Henry, who stretches out over staccato guitar chords and groovy twangs.

“The Way of the Groove” boasts a booming rhythm that mixes funk and Latin vibes, with extra percussion provided by Fran Vielma. Flutist Bill Mulligan drives a passage in the middle of the solos, which culminate eloquently with guitarist Shawn Purcell’s super busy rides. The closer, “Espiritu Valiente”, emphasizes the Latin spirit with frisky liveliness.

Patterson leads the orchestra with zest, exploring intense and gripping jazz territories without ever becoming cluttered. If you’re looking for maximum energy in big band jazz, Groove Junkies is a record to grab.

Favorite Tracks:
01 - Exclamation ► 02 - Interesting Times ► 03 - The Way of the Groove

Tobias Hoffmann Jazz Orchestra - Conspiracy

September 7, 2022

Label: Mons Records, 2022

Personnel includes - Tobias Hoffmann: composer; conductor; Patrick Dunst: alto and soprano sax, flute; Andy Schofield: alto sax, clarinet, flute; Robert Unterköfler: tenor and soprano sax, clarinet; Martin Harms: tenor sax, clarinet; Robert Bachner: trombone, euphonium; Jonas Brinckmann: baritone sax, bass clarinet; Jakob Helling: trumpet, flugelhorn; Kasperi Sarikoski: trombone; Vilkka Wahl: guitar; Philipp Nykrin; piano; Ivar Roban Krizic: acoustic and electric bass; Reinhold Schmölzer: drums, electronics, and more.

Tobias Hoffmann is a skilled bandleader, saxophonist, and modern composer born in Germany, whose work could be admired in the Vienna Spittelberg Jazz Orchestra from 2014 to 2017. Following Retrospective, an interesting work for nonet, he now conducts an 18-piece aggregation that swells and sprawls with potent compositions favoring musical interchange and organic unity.

Sparkling with color while sonically addressing the dangers of conspiracy theories, “Conspiracy”, which gave the album its name, is delivered at full force. It boasts a functional contemporary layout and resoluteness in the arrangement, which includes intricate tempos, challenging beat-cycle vamps and a tangible tenor saxophone solo unleashed by Robert Unterköfler.

Some pieces incorporate rock elements into the marrow of his style. This is the case of “Relentless”, which, bold in the pulse, revels in unisons, counterpoint, shifting passages and meter. It also squeezes in the most adventurous saxophone solo on the record, perfused with unpredictable intervals and resonant timbre by altoist Patrick Dunst. Another example is the closer, “Who Knows”, a danceable 4/4 jazz-rock number fueled by guitarist Vilkka Wahl, who strikes with a fusion-soaked improvisation upfront.

“Awakening” maintains a heartfelt, ruminative mood in its strangely familiar progression after a smooth introduction populated with strings and reeds. The pathos is endorsed by flugelhorn player Jakob Helling, but there’s a more optimistic grit as the time advances. By a contrasting effect and owing much to tradition, we have “December Song”, a soul-strutting piece inspired by Vince Mendoza, and “Trailblazers”, a fluid blues progression in six that pays homage to the legends of jazz. The latter grooves high with Jonas Brinckmann and Kasperi Sarikoski, on baritone sax and trombone, respectively.

This sort of ritual of transformation keeps going with the Darcy James Argue-influenced “Renegade”, a slow burn in nine with such a groove firmly in place. With the following number, “Impostor Syndrome”, the band propels the music forward again with a rollicking mass of horns, but also concedes a thoughtful unaccompanied passage for Austrian pianist Philipp Nykrin.
Hoffmann promotes a solid group ethos throughout this tautly constructed program.

Favorite Tracks:
01 - Conspiracy ► 05 - Relentless ► 08 - Impostor Syndrome

Todd Marcus Jazz Orchestra - In the Valley

August 10, 2022

Label: Stricker Street Records, 2022

Personnel - Todd Marcus: bass clarinet, composition; Greg Tardy: tenor saxophone; Brent Birckhead: alto saxophone, flute; Russell Kirk: alto saxophone; Alex Norris: trumpet; Alan Ferber: trombone; Xavier Davis: piano; Jeff Reed: bass; Eric Kennedy: drums.

American bass clarinetist of Egyptian descent Todd Marcus put his bold orchestral plans into effect in this new recording, In the Valley, commanding a supple nonet that includes experienced musicians with outstanding soloing credentials such as saxophonist Greg Tardy, trumpeter Alex Norris, trombonist Alan Ferber, and pianist Xavier Davis. The fusion of Middle Eastern music and both straight-ahead and modern jazz idioms borders on perfection.

With references to maqam music, “Horus”, titled after the ancient falcon-headed Egyptian god, inhabits a kaleidoscopic universe of fascinating sounds. One finds passages with understated Arabic and Latin touches, and dense layering of horns are complemented with compelling improvisations. Marcus flies East and West in profuse excitement, exposing the marvelous timbres of the bass clarinet; Norris blows his horn with hard-bop flexibility; and then there’s the eight-beat cycle bass groove that stimulates Eric Kennedy for some extra drum chops. Lastly, we have the horn players engaged in enthusiastic volleys.

In its depiction of modern-day Cairo, “The Hive” feels grandiose in posture and dusky in tone, bridging moods that evoke Grachan Moncur III and Jackie McLean. This mysterious aura coupled with an odd tempo doesn’t intimidate trombonist Alan Ferber, who launches the improvised statements with clarity. “Cairo Street Ride” is another piece inspired by the capital of Egypt, specifically its chaotic traffic. It’s infectious in the temperament and filled with heady tangents and crossings, moments of polyphony, parallel orientation, and stirring counterpoint. The featured soloists are bassist Jeff Reed, who often employs chromaticism in the narrative, and Tardy, who puts his soul on every note.

“Final Days”, an elegiac ballad, displays an instrumentation that shrinks and swells with conspicuous flute, mallet drumming, and wailing reeds. A nicely flowing conclusion is brought by the title track, whose punchy lines and odd meter help to invoke images of grandiose Egyptian sites.

Clear yet mystery-induced arrangements motivate beautiful ensemble playing throughout. This recording solidifies Marcus’ credentials as a creative composer. His imaginative vision fits our modern days.

Favorite Tracks:
02 - Horus ► 03 - The Hive ► 04 - Cairo Street Ride

Jihye Lee Orchestra - Daring Mind

March 22, 2021

Label: Motéma Music, 2021

Personnel - Jihye Lee: conduction, compositions; Ben Kono, Quinsin Nachoff, Rob Wilkerson, Jeremy Powell, Carl Maraghi: woodwinds; Sean Jones, Brian Pareschi, John Lake, Alex Norris: trumpet; Alan Ferber, Nick Grinder, Mike Fahie, Mark Patterson (#2,5): trombone; Jennifer Wharton: bass trombone; Adam Birnbaum, Haeun Joo (#2,5,8): piano; Sebastian Noelle: guitar; Evan Gregor: bass; Mark Ferber: drums.

After plunging our ears in this recording, there’s no way to deny that former pop singer Jihye Lee composes for jazz orchestra with unbridled imagination. Daring Mind is the follow-up to her debut release, April (2017), and includes nine compositions that, reflecting the bandleader’s first four years in New York, to be performed by the tight-knit orchestra that serves her writerly ambitions.

“Relentless Mind” shows off a mighty potential at an early stage, when a reciprocal orchestral responsiveness occurs on top of a leisurely rhythm with a focus on the beat. Trumpeter Sean Jones, who was the illustrious guest soloist on Lee’s first record, is also featured here, and the singing qualities of his statement are brilliantly matched by the outstanding trombonist Alan Ferber. Upon the improvisations, the invigorating 13/8 groove from where everything blossomed out is reinstated, and the final section gets a more attractive complexion on the grounds of this elegant underlay.

Each state of mind has created a contemporary musical setting that attempts to convey the exceptional array of emotions experienced by Lee. Take the example of “Unshakable Mind”, which, boasting a persistent bass pedal and folk melody at the outset, classifies as resolute and heavy. Taking advantage of the tune's unwavering pulsation, tenor saxophonist Ben Kono delivers a brawny speech that leads to a portentous finale.

As suggested by the titles, “Revived Mind” opposes to “Dissatisfied Mind”. The former employs elated folk intonations to salute the Earth and pay tribute to the nature, while the latter is an insane ride involving stout counterpoint, a burbling trombone emphasizing dark tones via droning effects, a dynamic drum solo, and magnetic baritone blows that announce the ending.

The blustery multiphonic extroversion of saxophonist Quinsin Nachoff makes a jaw-dropping entrance on “I Dare You”, whose lively pace and lush orchestration find an adequate counterbalance not just in “Suji”, which is elevated by Adam Birnbaum’s delicate pianism and loosen up by the brushes of Mark Ferber and the contrapuntal embellishments of guitarist Sebastian Noelle, but also in “Struggle Gives You Strength”, an R&B-flavored pop ballad.

Swamped in hard-swinging variations, the bluesy “Why is That” is probably the closest to tradition you will get here. Hence, don’t expect Daring Mind to be a traditional big band jazz record. Expect something more adventurous and glowing, and still very accessible.

Favorite Tracks:
01 - Relentless Mind ► 02 - Unshakable Mind ► 08 - Dissatisfied Mind

Ed Neumeister & NeuHat Ensemble - Wake Up Call

July 11, 2017

Label/Year: MeisteroMusic Records, 2017

Lineup: Mark Gross, Adam Kolker, Billy Drewes, Rich Perry, and Dick Oatts on reeds; Tony Kadleck, Dave Ballou, Jon Owens, Ron Tooley on trumpets; Marshall Gilkes, Keith O’Quinn, Larry Farrell, David Taylor on trombones; Steve Cardenas: guitar; David Berkman: piano; Hans Glawischnig: bass; John Riley: drums; John Hollenbeck: percussion.

Ed Neumeister, a former member of the Duke Ellington Orchestra, is a versatile trombonist, composer, arranger, and conductor who debuted The NeuHat Ensemble in 1983. Since then, the reputed band has accommodated several jazz luminaries such as Joe Lovano, Kenny Werner, and Don Byron, just to name a few. Subjected to alterations in its lineup throughout the years, the ensemble was reunited after Neumeister has returned to the US from Austria, where he taught for nearly 15 years. As a result, Wake Up Call holds out to eight evocative originals solidly orchestrated through airy and polished arrangements.

Striding with a soft backbeat, “Birds of Prey” brings flutes and other woodwinds to the forefront, assuming an innocuous nature and progressing with unabashed determination.

Interesting rhythmic accentuations spice up “Dog Play”, an Ellingtonian wallop that features the enlightened patterns and phrases of clarinetist Billy Drewes, Neumeister’s former bandmate in the Vanguard Jazz Orchestra.

Combining Brazilian rhythmic touches and lyrical clarity, “Locomotion” eschews any type of percussive turmoil to fixate on a vibrantly dancing interplay that astounds. This piece, composed in 1995 and previously recorded for the Jazz Big Band Graz record, exudes scented spring breezes with dulcet benevolence and optimistic oceanic textures, featuring delightful saxophone and trombone solos from Dick Oatts and Neumeister, respectively. The title track follows a similar pacifism yet slightly more concentrated in texture.

With an impactful dramatic punch, “New Groove” is buoyed by hi-hat cymbal and a groovy cadence of piano and bass. The tune features the singular verbalization of saxophonist Rich Perry intercalated with orchestral usurpations.

The title “Reflection” was well chosen for a piece that achieves the desired level of symphonic sophistication through beautiful counterpoints delivered in the form of cries, whispers, and hushed murmurs. On the contrary, “Deliberation” is a gently swinging piece propelled by a controlled bass sway plus ticklish brushed drumming, and adorned with non-colliding guitar and piano compings and horn unisons afloat. The improvisers are Mark Gross on alto saxophone and Neumeister on an explicitly verbalized muted trombone.

Leading with a strong musical discernment, Mr. Neumeister harmoniously paints several landscapes using distinct techniques and intensities. Although glancingly evocative of Duke, there’s room for a contemporary attitude, which makes of Wake Up Call a bracing album packed with pleasurable sounds to be discovered.

Favorite Tracks:
03 – New Groove ► 05 – Deliberation ► 06 – Locomotion

Hyeseon Hong Jazz Orchestra - Ee Ya Gi

June 26, 2017

Label/Year: Mama Records, 2017

Lineup includes - Hyeseon Hong: composition, direction; Ingrid Jensen: trumpet; Rich Perry: tenor sax; Ben Kono: alto and soprano sax, flute; Matt Vashlishan: alto sax, EWI, flute; Jeremy Powell: tenor sax, clarinet; Andrew Hadro: baritone sax; Ron Wilkens: trombone; Matt Panayides: guitar; Broc Hempel: piano; John Lenis: bass; Mark Ferber: drums.

The name Hyeseon Hong might not be very familiar to the jazz diaspora yet. However, this Korean jazz arranger and composer based in New York shows strong attributes in her debut album, Ee-Ya-Gi (meaning Stories), to get further and enchant the world with her genre-bending orchestrations. Moreover, she surrounds herself with a fantastic group of 18 musicians that make sure her musical stories are emboldened and get proper wings.

The band's lineup not only includes two habitués of Maria Schneider Orchestra, Ingrid Jensen on trumpet and Rich Perry on tenor saxophone, but also the multi-reedists Matt Vashlishan, member of the Dave Liebman’s Expansion quintet, and Ben Kono, who has been working regularly with Ed Palermo, as well as the sought-after drummer Mark Ferber whose percussive thuds and thumps can be found on records by trumpeter Ralph Alessi, his trombonist twin brother Alan Ferber, and Spanish bassist Alexis Cuadrado.

“Harvest Dance” opens the record with a full-bodied richness. Overflowing with contemporary moves, the sounds are elegantly layered within a harmonious combination of Korean melodic grace and Ellingtonian jazz fantasy. The improvisers in this piece are trombonist Dave Wilkens, whose vocabulary develops passionately after a wonderful solo entrance, and Jensen, who drills into the surface, using forceful attacks suffused with melody.

“Friends or Lovers” kicks in with robust power chords, with the similar tones of Pete Townshend and The Who, and advances with contrapuntal horn ostinatos over a bass pedal until acquiring a captivating swinging jazz flow. The first soloist jumping to the forefront is Kono, whose phrasing is delineated with straightforward melodies that take a convincing rhythmic course. The articulated guitarist Matt Panayides, who skillfully plays with pitches and intervals, immediately follows him and just before the rock curtains come down again to finish off the tune, Vashlishan brings his EWI to the spotlight.

This vibrant setting is softened on “Para Mi Amigo Distante”, a gentle yet colorful piece freshly dressed up with bossa nova outfits. The mellifluous melodic guidelines are reinforced through Kono’s soprano, whose easiness made me think of Toots Thielemans, but the tenor player Jeremy Powell fires it up a little bit.

Carrying a traditional Korean folk melody at its core, “Boat Song” moves at an arresting 6/4 tempo, featuring emotional vocalized laments and a beautiful, heartfelt solo full of intention by the veteran tenorist Rich Perry. This Oriental balminess diverges from the classical aromas of Broc Hempel’s piano on “Disappearing Into Foam”, a palpitating waltz inspired by Hans Christian Andersen’s The Little Mermaid.

The cartoonish melodies and strong rhythmic accentuations of “Trash Digging Queen” contrast with the delicacy of “Love Song”, the closing tune. Both feature Jensen’s wide-ranging dynamic lines.

Exhibiting an insatiable appetite for jazz-fusion, Ms. Hong proves to be a talented orchestrator and musical thinker who is not afraid to risk while crossing genre boundaries.

Favorite Tracks:
01 – Harvest Dance ► 02 – Friends Or Lovers ► 04 – Boat Song