Big Band

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The big band genre at JMA documents groups that work primarily with traditional big band arrangements, while our progressive big band genre is reserved for the more experimental bands. Nonetheless, this genre covers a wide variety of styles and musical eras and stretches from Fletcher Henderson in the 20s to to Brian Setzer in the 21st Century.

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Showing only albums and live's | Based on members ratings & JMA custom algorithm

STAN KENTON Adventures in Jazz Album Cover Adventures in Jazz
STAN KENTON
4.99 | 3 ratings
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STAN KENTON Kenton in HI-FI Album Cover Kenton in HI-FI
STAN KENTON
4.98 | 3 ratings
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STAN KENTON Standards in Silhouette Album Cover Standards in Silhouette
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5.00 | 2 ratings
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STAN KENTON Stan Kenton Conducts the Jazz Compositions of Dee Barton Album Cover Stan Kenton Conducts the Jazz Compositions of Dee Barton
STAN KENTON
4.95 | 2 ratings
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BUDDY RICH Time Out Album Cover Time Out
BUDDY RICH
4.95 | 2 ratings
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BUDDY RICH Big Swing Face Album Cover Big Swing Face
BUDDY RICH
4.95 | 2 ratings
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DUKE PEARSON Introducing Duke Pearson's Big Band Album Cover Introducing Duke Pearson's Big Band
DUKE PEARSON
4.90 | 2 ratings
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DUKE PEARSON Sweet Honey Bee Album Cover Sweet Honey Bee
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5.00 | 1 ratings
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STAN KENTON Live From the Las Vegas Tropicana Album Cover Live From the Las Vegas Tropicana
STAN KENTON
5.00 | 1 ratings
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BUDDY RICH Stick It Album Cover Stick It
BUDDY RICH
5.00 | 1 ratings
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BUDDY RICH Swingin' New Big Band Album Cover Swingin' New Big Band
BUDDY RICH
5.00 | 1 ratings
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JOE LOVANO Symphonica Album Cover Symphonica
JOE LOVANO
5.00 | 1 ratings
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The Blues is Alright
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UCF JAZZ ENSEMBLE
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Duke Ellington In Grand Company
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DUKE ELLINGTON
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big band Music Reviews

DIZZY GILLESPIE In Concert featuring Chano Pozo

Live album · 1954 · Big Band
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js
The end of the big band era was marked by the emergence of the small combo playing be-bop, thus the idea of a big band playing bop seemed ironic at best, and impossible at worst. Many critics felt the big band format would prove too cumbersome for the new fleeter style, but undaunted, Dizzy Gillespie went ahead and put together a very successful big band in the new idiom. “Dizzy Gillespie in Concert” is a very early Gillespie big band recording (1948), but it was not released until 1954. This was his band’s first appearance on the west coast and the excitement shows in the performances and in the enthusiastic crowd reactions. I’m sure the concert was great, but unfortunately this recording isn't. The soloists come through pretty clearly, and the rhythm section isn’t too bad, but the ensemble horns sound distant, and sometimes barely audible. Even by the standards of live recordings in the late 40s, this isn't great. In all fairness though, some people really enjoy this record, despite the sound.

The tunes on here feature well known Gillespie crowd pleasers. Possibly Dizzy felt that since the big band itself was a risk, he might as well go with material people already knew. The arrangements lean heavily on Dizzy’s role models, Ellington and Basie, but the fiery horn lines in odd rhythms reflect Gillespie’s interest in Machito and other Afro-Cuban band leaders. Dizzy takes this material and modernizes it with the fire of bop. The rapid high pitched unison horn lines foreshadow the coming of macho horn sections such as the bands of Maynard Ferguson and Bill Chase. As mentioned earlier, the recorded sound of the ensemble work is often murky or vague, but the soloists come through loud and clear. Along with Gillespie on horn, you get three great saxophonists, James Moody, Cecil Payne and Ernie Henry. The main co-star though is Cuban conga player Chano Pozo, who drives the band with syncopated double time rhythms. Pozo’s presence in general helps add to the already present Afro-Cuban flavor in Gillespie’s arrangements.

A lengthy song with “humorous” scat vocals and other occasional cheezy displays of obvious humor may not be to everyone’s taste. As mentioned earlier, there is a crowd pleasing element to this show, but big band bop is never profitable or commercial by a long shot. The potential buyer needs to weigh which one trumps: good music or bad recording.

DUKE ELLINGTON This is Duke Ellington

Boxset / Compilation · 1971 · Big Band
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js
“This is Duke Ellington” is a nice vinyl collection of the Duke’s work on RCA that spans the very beginning of his career and up to the mid 40s. This two LP set was never re-issued on CD (only 8 track, ha), but it can be found at a very low price on the internet or at your local used record store. If you have ever wanted some classic Ellington on vinyl, this may be the way to go because the original LPs will cost you an arm and a leg. A real nice plus here is that they left the recordings in their original mono format, no cheezy fake “re-channeled stereo” to weaken the sound.

For long time Ellington fans this collection probably has way too many well worn favorites, but for someone looking for an introduction or an overview, this set represents some of his most popular works. Sets like this, that place the tunes in chronological order, are invaluable for those who are curious about jazz’s development over the years. Over the course of these two LPs you can hear Ellington’s roots in the classic 1920s grow and expand during the swing era and then reach further abstraction in the mid 40s. What is missing from this set is Ellington’s more experimental longer works that take place later in his career, but there are plenty of exhaustive CD sets out there that get into all that, “This is Duke Ellington” is all about his hits.

There are plenty of highlights on here, but one standout is Ellington’s original “Caravan”. I’ve heard so many covers of this tune that I forgot how sublime the original is. Way ahead of its time, “Caravan’ introduced exotica before the genre had a name and borders on the avant-garde, especially for 1945. You can imagine young artists like Sun Ra and Les Baxter hearing this for the first time and recognizing a world of possibilities. Easily one of the most influential artists of the 20th century, Ellington stretched the blues into an abstract harmonic language that permeates modern music with its noire urban vibe. From early period saxophone driven King Crimson to latter period big band/RnB Prince, and of course including so many jazz innovators from Mingus to Don Ellis, Ellington is the beginning.

THAD JONES / MEL LEWIS ORCHESTRA Consummation

Album · 1970 · Big Band
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darkprinceofjazz
Consummation is a fantastic Big Band recording by the Thad Jones Mel Lewis Orchestra, A very contemporary for 1970 sound, lightly funky arrangements, but certainly not overly commercial, Roland Hannah's Electric Piano is sprinkled throughout to give it that dated early 70's sound, and once gain, I don't consider that a negative.

It's unusual that the album starts of with a ballad,"Dedication", and it's a nice one, it threw me off some though, I thought I had put side 2 on by mistake, but even so, it is a nice ballad, with a nice Thad Jones Melody theme, "It Only Happens Every Time", "Tip Toe" and "A child is born" close out side one with some upbeat swinging numbers.

Side 2 starts off with a very funky swinger "A Hunk of Funk", Easily reminds me of something that would be in the soundtrack of a 70" Cop thriller, "Fingers" a very up beat almost straight ahead bop piece, With an "I Got Rhythm" feel, Sounds like something The Francy Boland Kenny Clarke Big Band would do, The set closes with "Consummation" Tuba and french horns counter Roland Hannah's Piano to start of the piece, Thad comes in with he Melody, then Trombone joins the french horns, then the whole band joins in to the mix, This was a nice way to close out a very high quality big band recording.

Highly recommended to fans of Big Band with a toe in the popular music of the day, and the book end ballads are nice touch.

SUN RA Reflections in Blue

Album · 1987 · Big Band
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js
Very few artists span the entire history of jazz in quite the same way that Sun Ra has. Ra began his career as a bandleader and performer in the mid-30s, when big band swing was at its peak. He even worked for a while with Fletcher Henderson, the man who more or less invented the jazz big band in the 20s. Later in his career Ra went on to be one of the leading innovators in the avant-garde, introducing collective free improvisation, electronics and all manner of modern big band concepts. By the time the mid-80s rolled around you never knew what to expect from a Sun Ra concert, sometimes it could be very African, other times layers of sonic avant-garde sound, and other times bizarre trips to the past in which Ra and his band would fill the entire evening with classic swing and jump blues from a pre-TV era when jazz bands were some of the only known entertainment for dancers and revelers. If you ever witnessed one of these classic swing concerts you will know what a rare and valuable treat they were, a mood and atmosphere that no longer exists re-created without somberness by a crew that was mostly there the first time it all went down.

More than likely many fans of classic swing band jazz will be turned off by Ra’s far less than museum approach to this music. As usual, Ra’s sly humor and mischievous nature are in full effect and bizarre anachronisms exist such as the use of an ultra cheezy DX7 synthesizer on one cut, and guitar solos that sound more rooted in Chuck Berry than Charlie Christian also show that the band is not the least bit interested in some kind of musicological correctness, but instead are more interested in bringing back to life the sassy and casual cool attitude that this music had the first time around. The piano playing and arrangements are on the playfully dissonant side of things, and although the musicologist might say these dissonances are historically incorrect, I have a feeling that if you were actually at the drunken rowdy clubs, burlesque shows and whorehouses where this music originated, I bet you would have heard a lot more dissonance and random chaos than most polite retro big bands would lead us to believe in today’s antiseptic approach to jazz’s past.

This record is more fun than a drunk barrel of penguins from start to finish, jazz for partying, drinking and hell raising from a bygone era re-created by guys who were there dodging flying beer bottles back in the dens of sin of yesteryear.

DUKE PEARSON Introducing Duke Pearson's Big Band

Album · 1968 · Big Band
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darkprinceofjazz
Duke Pearson is one of the most underrated of all the pianists of Blue Note records, Influenced by Horace Silver and Bud Powell to lesser degree, Duke's Genius lies within his arranging abilities, and Introducing Duke Pearson's Big Band is Proof of that, in particular, Duke has a knack for subtle reworkings of standards, "Taste of Honey" is perfect example, with a tasty flute solo, and a surprise ending, The album kicks off with "Ground Hog" a playful funky number that has a contemporary feel, followed by "New Girl" with it's classic swinging theme, with a nice modal groove to solo off of, reminds me a bit of a Miles Davis style tune, "Miles Stones" comes to mind, I can't say enough about the album, and Pearson in general, I love the use of the flute in many of his albums, "Bedouin" and "Taste of Honey" get the treatment here, The former has a real Caravanesque exotic vibe, Other albums I highly recommend are, Sweet Honey Bee, Wahoo, and The Right Touch, all Blue Notes, and in My opinion, as good as anything put out on the label in the mid 60's.

You can also check Duke's Piano playing out on other sessions, Grant Green's Idle Moments, Johnny Coles's Little Johnny C, and Bobby Hutcherson's The Kicker, Duke was basically the house arranger for Blue Note throughout the 60's after the death of Ike Quebec, And Duke is a big part of the Blue Note legacy, Introducing Duke Pearson's Big Band is a nice place to start that investigation.

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