The Way: Music Of Slide Hampton (Planet Arts Recordings)
The Vanguard Jazz Orchestra
Released April 1, 2004
Grammy Nominee Best Large Jazz Ensemble Album 2005
YouTube:
https://music.youtube.com/playlist?list=OLAK5uy_l4_Wvr5wlIUGKWf6m7Hn1Sy_BWtieJUBE
Spotify:
https://open.spotify.com/album/4KQeQ8cXKoDHiGkAKwX2QM?si=iNY2w43TQ1STDpeyNV4TSg
About:
In 1978, Jones left for Europe, while Lewis remained leader until his death in 1990. It is a testament to their leadership that the organization continues today, performing under the same high standards. One way to keep the band fresh is to keep its members excited about their repertoire, and by keeping its book stocked with new charts by different arrangers.
Track Listing:
1. You Asked for It (Slide Hampton) 8:42
Inspiration: Suite for Jazz Orchestra
2. Part I: One for Thad (Slide Hampton) 6:02
3. Part II: Strayhorn (Slide Hampton) 5:18
4. Part III: Gil (Slide Hampton) 7:05
5. Part IV: Dameron (Slide Hampton) 9:02
6. Past, Present & Future (Slide Hampton) 9:58
Slide Hampton, Grammy Award Best Instrumental Arrangement 2005
Grammy Nominee for Best Instrumental Composition 2005
7. The Way (Slide Hampton) 7:21
8. Frame for the Blues (Slide Hampton) 9:51
Personnel:
Conductor: Slide Hampton
Trumpets/Flugelhorns: Earl Gardner (Lead), Joe Mosello, Glenn Drewes, Scott Wendholt
Trombones: John Mosca (Lead), Luis Bonilla, Jason Jackson, Douglas Purviance (bass trombone), Slide Hampton (8)
Reeds: Dick Oatts (Lead alto and soprano saxophones, flute), Billy Drewes (alto and soprano saxophones, flute, bass clarinet), Rich Perry (Tenor saxophone, flute), Ralph Lalama (Tenor saxophone, clarinet), Gary Smulyan (Baritone saxophone, bass clarinet)
Rhythm Section: Jim McNeely (piano), John Riley (drums), Dennis Irwin (bass)
Additional Trumpet/Flugelhorn: Frank Greene
Recorded December: 1 – 3, 2003, in New Jersey
Produced by Douglas Purviance and Thomas Bellino
Engineer: Gary Chester
Assistant Engineer: Brian Dozoretz
Mastered by Alan Silverman
Design: Valerie Trucchia
Executive-Producer: Thomas Bellino
Review:
As Mitchell Seidel points out in his liner notes to The Way, New
York has grown accustomed to the Vanguard Jazz Orchestra’s presence at the
Village Vanguard every Monday night for the past 38 years. But this continuity
has neither made the band nor it’s repertoire the least bit stale or hackneyed.
It has relied on a formula of sorts. This formula consists of a constant flow
of new music or often radical arrangements of standard jazz repertory. In
keeping the Thad Jones legacy, the music is consistently harmonically and
rhythmically stimulating. It not only challenges the musicians technically but
it challenges audiences to be hip to what it is doing. It is, has been, and
hopefully will continue to be a band that takes chances in order to advance the
accepted sound of big band music in an ever-changing modern musical
landscape.
Certainly the band has its favorites, (which I have personally heard it play
time and again) including many of Jones’ classics and lesser known titles such
as “Little Man, You’ve Had a Big Day,” and “Quiet Lady,” but there is more
music in the band’s book than most of us can begin to imagine.
In its latest recorded incarnation, The Way: The Music of Slide
Hampton, the VJO has enlisted the writing skills of Locksley ‘Slide’
Hampton, the legendary trombonist-composer-arranger. What resulted is a
stunning album of tunes penned by Hampton with a suite for the VJO that is a
pastiche of four major composer-arrangers in the history of jazz. The suite
plus four other originals show Hampton’s facility in adapting himself and all
the techniques of writing for a big band to writing for a big band that has
tremendous dynamic control, technical prowess and most importantly its own signature
sound.
The album opens with a majestic layering of bell tones building up to a dynamic
climax quickly devolving from a symphonic sound to a briskly swinging vehicle
for lead altoist Dick Oatts, lead trombonist and musical director John Mosca,
and pianist Jim McNeely to blow on. “You Asked for It” is followed by a
four-part suite entitled “Inspiration: Suite for Jazz Orchestra.” Many
(including myself) got a sneak peek of this work at the VJO’s memorable
performance this past January in New York at the IAJE Convention. In
parentheses, it says “Inspired by John Coltrane.” A closer listen will bring
smiles to the faces of musicians and fans alike as they recognize the suite
follows the chord changes of Trane’s seminal “Giant Steps.”
Nods go appropriately to the best in the business of composition and arranging:
Thad Jones (fittingly), Billy Strayhorn, Gil Evans, and Tadd Dameron. If for
nothing else, Hampton’s suite serves as the perfect blowing vehicle for the
band’s numerous distinctive soloists.
Within the saxophone section alone we hear from each man. The hard-swinging
hard bop tenor of Ralph Lalama on “Part I: One For Thad” contrasts sharply to
the Bohemian and lackadaisical approach of tenorist Rich Perry who is
perennially swingin’ behind the beat on “Part II: Strayhorn.” We also hear
stark contrast between introspective altoist Billy Drewes (who plays some
killer flute on “Part II: Strayhorn”) and the always-creative and incomparable
harmonic weaving of Dick Oatts, whose articulation is in a class of its own.
His heavily swinging style is also quite behind the beat and should make
saxophonists everywhere want to head straight to the woodshed. As always
baritonist Gary Smulyan is at the top of his game as usual contributing only
one solo on “Part IV: Dameron,” which was the movement showcased at IAJE. The
band’s other star soloist is the inimitable Scott Wendholt who is probably the
busiest session trumpeter in New York. Wendholt plays with a slew of other big
bands in town including the excellent Gotham Jazz Orchestra and works in small
group settings as well.
I personally find it troubling that of a band comprised of all cats who can play, while the whole saxophone, trombone, and rhythm sections solo at one time or another, Wendholt is the only trumpeter to ever solo both on the album and live (this has been the case whenever I have seen the band in the past). I could understand it if the lead player wants to save his chops, but being in this group should warrant solo statements from every member of the band at some point. And though Oatts, Perry, Smulyan and McNeely are all excellent soloists, there should be more of an opportunity for the other band members to play out.
To continue on this rant, my biggest pet peeve with this band is the length of time this “herd” has gone without a personnel change. Additionally, the band is predominantly white. Just as Lincoln Center has been pressed to do, the VJO should consider having a bit more diversity within its ranks. There are certainly plenty of excellent players out there. And yes many of them can read too! There should also be a better balance of ages in the group representing the new generation of players and styles. Thad and Mel introduced so many players through this aggregation. The only young player in the band to my knowledge is trombonist Luis Bonilla. But then again these cats need all the work they can get. Thus my rant doesn’t provide any plausible solution for the dearth of work out there.
On the whole, though, the VJO retains its signature style with The Way. Combining the masterful writing of Hampton with first-rate meticulousness as a band, they have pulled off yet another effort worthy of a Grammy nod. Let’s hope they win it this year. We all know they deserve it.
Matt Merewitz (All About Jazz)
