Grooveyard

Spotting a Big Band in full swing is becoming an event, especially if, as in this case, the large ensemble dedicates itself to a post-bop repertoire that is almost entirely original and very well updated.

A question of costs, fees, logistics, of course, but be careful: the composer and arranger John La Barbera (born in 1945) is a world specialist in the field, he is not at all famous here but at Origin they know his value well, he distinguished himself with the glorious Buddy Rich orchestra and you can find his hand in a forest of orchestral works while in this case he directs in the 4th discographic episode his big band, active for a quarter of a century, giving space to the brothers Pat ( tenor and soprano sax ) and Joe ( drummer ), two jazzmen of the same generation and perhaps better known than the leader, with a series of notable collaborations in their career but always ready to return to the fold, in the most exquisite tradition of the family totally immersed in music, in this case branded NYC.


"Grooveyard" is the title of the entire work and is the song that opens the dance, recorded for the first time by the magnificent Texan Harold Land - a West Coast saxophonist who is absolutely worth rediscovering, or meeting in case you don't know him - a piece from 1958 here subjected to a sophisticated treatment that enhances a perfect vehicle to test the power, swing and elegance of the Big Band engine, which uses its horses at their best describing perfect trajectories within a medium tempo that unfolds like a sweet jaunt in the hills with a vintage convertible, but with a hybrid engine, with the guitar of a certain Brandon Coleman who I think I've met here for the first time and certainly won't be the last, a brilliant composer and soloist from Cincinnati who makes the journey even more enjoyable with brush strokes that invent a delicious panorama from the windows...


Of absolute value is the recovery of a totally forgotten page by Dave Brubeck, "For Iola", a ballad dedicated to his wife who also gave the title to his 1986 Concord album and which here sees a star shine, namely the magnificent pianist Renee Rosnes, one of the backbones, together with the glorious bassist, veteran of a thousand jazz battles Rufus Reid, of this large formation. Our "aunt Reneè", who we remember is married to that other piano phenomenon called Bill Charlap, contributes to the work with class and generosity. Also, with a series of brilliant solo ideas, divided between piano and keyboards, for example in the modal episode "Tranesome" or in "K's Delight", an express homage to Kenny Dorham, another inexhaustible source of inspiration for the director, who began his career as a trumpet player. The setlist couldn't be without some songs with strong Latin overtones, LaBarbera draws from Brazilian tradition and signs two compositions, "My New Summer Samba" and "Choro for Tiago", in which the leader's two brothers shine, Pat on tenor and Joe on drums, while it is Steve Wilson's Parker-esque alto and Clay Jenkins' trumpet that light up the swing glory of "Mandatory Blues". The bop march by Elvin Jones, at the end, is a song much loved in particular by the beat of drummer Joe La Barbera, whose career deserves a side note and who we often find in Italy with Dado Moroni's group, in practice Mandatory Blues is the perfect final theme song of an energizing album, arranged with meticulous dedication by one of the best experts of this "big band" format that we absolutely must not and do not want to give up.

Translated from Italian