Somebody New (Blues Back Records)
Wycliffe Gordon with the Dimartino Osland Jazz Orchestra
Released May 28, 2015
DownBeat Four-and-a-Half-Star Review
YouTube:
https://music.youtube.com/playlist?list=OLAK5uy_m94OBNm7g0b0t7XbLmntYgF4nF48g_xEU
Spotify:
https://open.spotify.com/album/6hEzDKP5DoMVRKxoEkjB5A?si=UDQBL9AER2aDWfUNRdThcA
About:
What have become another milestone in the mighty career of Wycliffe Gordon, the celebrated jazz trombonist and composer have gratefully impressed the music in 2015 when he released this ambitious big band project that got massive critical acclaim and became a blockbuster hit on the jazz charts that year. Recorded with The DiMartino- Osland Jazz Orchestra, Somebody New proudly showcases a set of original compositions and arrangements by Wycliffe where he strikes up the big band ensemble as they perform with high-swinging artistry and finesse. Beginning with the superlative opening track Herkie Jerkie, the stylish opening track proceed on a top drawer set of original compositions like his large ensemble takes of What You Dealin’ With, Wishing Well, Pops For President (his ode to Louis Armstrong), This Rhythm On My Mind and the title track, as well as upbeat versions on classic standards such as I Got Rhythm, That Old Feeling, Mood Indigo and Basin Street Blues, where Wycliffe and the big band pulls it off in style and grandeur. Although not new to big band music, Somebody New absolutely have something to offer as the arrangements ring out clearly with great stunning excellence, and Wycliffe not only plays the trombone, his signature instrument, but occasionally play a trumpet, tuba and even sings beautifully, while Vince DiMartino plays the trumpet and Niles Osland plays his saxophone, which helped made this ambitious masterpiece such a bonafide landmark in jazz and big band music. Also meant as a special homage to Louis Armstrong, Wycliffe and the orchestra has a tight, solid brassy sound and the ensemble arrangements maintains a deep in the pocket cutting edge mastery while the riffs behind his solos and vocals get top equal billing alongside DiMartino and Osland solid instrumental backings, as they contribute to the artistic fireworks to this different classic, one that is destined to be a truly timeless masterpiece.
Track Listing:
1. Herkie Jerkie 6:00
2. I Got Rhythm 3:37
3. What You Dealin’ With 6:03
4. Somebody New 4:16
5. That Old Feeling 5:10
6. If 3:33
7. Wishing Well 10:06
8. Pops For President 3:21
9. Mood Indigo 5:22
10. This Rhythm On My 6:39
11. Basin Street Blues 7:27
12. Hello Pops 6:06
13. Grease Bucket 6:34
Personnel:
Wycliffe Gordon: trombone, vocals, soprano trombone, tuba
Dimartino/Osland Jazz Orchestra
Vince Dimartino: co-conductor, trumpet
Miles Osland, Lawrence Nelson: alto saxophone
Gordon Towell, Doug Drewek: tenor saxophone
Lisa Osland: baritone saxophone
Rich Byrd, Rich Cook, David Hummel, Andrew McGrannahan: trumpet
Bradley Kerns, Josh Dargaville, Bill Kite: trombone
Louis “Hap” Bourgois: bass trombone
Raleigh Dailey: piano
Ross Whitaker: guitar
Danny Cecil: bass
Paul Deatherage: drums
Review:
Wycliffe Gordon is an acknowledged devotee of Louis Armstrong. The trombonist and bandleader has recorded many songs associated with Pops, and he also plays frequently in New Orleans, the city of Satchmo’s birth. His most recent recording, Somebody New, contains several tunes Armstrong recorded, as well as a handful of songs written in the New Orleans style. Gordon’s versions of “That Old Feeling” and “Basin Street Blues” break no new ground, but they are excellent in execution. Likewise, his original compositions take Armstrong’s music as a template and modernize the sound and feel. Gordon’s voice has a slight gravelly rasp, but he doesn’t fall into the trap of trying to mimic Armstrong. Songs such as “Pops For President” and “What You Dealin’ With” are successful attempts to take Armstrong’s unique phrasing and update for modern ears. The Dimartino/Osland Jazz Orchestra has a tight, brassy sound, and the arrangements stay deep in the pocket. The band swings in that conventional way that never gets old, blending well as it riffs behind Gordon’s vocals and solos. The exchanges between Gordon and the band on the opening “Herkie Jerkie” are especially captivating. Armstrong’s virtuosity was never separate from his desire to entertain, and he was able to accomplish both without sacrificing either. That balance is as undervalued as it is difficult to accomplish, and the musicians here should be commended for pulling it off.
David Kunian (DownBeat)
