Big Band

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The Big Band genre at JMA is for large ensembles (generally ten or more musicians) who play in what best can be called a "big band style". The big band style involves breaking the large ensemble into separate sections, usually grouped by instrument, that then engage in call and response type figures with each other. These motifs can be arranged or improvised. The big band arranging style can also use repeating interlocking riffs by the various sections that provide a rhythmic groove for soloists. Early innovators in big band music include Fletcher Henderson, Duke Ellington, Count Basie and Benny Goodman. Modern big band leaders include Quincy Jones and Maynard Ferguson.

The Big Band genre at JMA also includes jazz influenced pop orchetra leaders such as Paul Whiteman, Glen Miller and the Dorsey Brothers. Modern big bands that are influenced by avant-garde music, 3rd stream music or other types of modern elements can be found in the Progressive Big Band genre.

big band top albums

Showing only albums and live's | Based on members ratings & JMA custom algorithm | 5 min. caching

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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BUDDY RICH Big Swing Face Album Cover Big Swing Face
BUDDY RICH
4.95 | 3 ratings
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STAN KENTON Standards in Silhouette Album Cover Standards in Silhouette
STAN KENTON
5.00 | 2 ratings
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CAB CALLOWAY Hi De Hi De Ho Album Cover Hi De Hi De Ho
CAB CALLOWAY
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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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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LEE KONITZ Lee Konitz-Ohad Talmor Big Band Featuring Orquestra Jazz De Matosinhos : Portology Album Cover Lee Konitz-Ohad Talmor Big Band Featuring Orquestra Jazz De Matosinhos : Portology
LEE KONITZ
5.00 | 1 ratings
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JOSIF WAINSTEIN JAZZ ORCHESTRA / ДЖАЗ-ОРКЕСТР ПОД РУКОВОДСТВОМ ИОСИФА ВАЙНШТЕЙНА Josif Weinstain Jazz Orchestra / Джаз-Оркестр Иосифa Вайнштейнa (aka Leningrader Jazz) Album Cover Josif Weinstain Jazz Orchestra / Джаз-Оркестр Иосифa Вайнштейнa (aka Leningrader Jazz)
JOSIF WAINSTEIN JAZZ ORCHESTRA / ДЖАЗ-ОРКЕСТР ПОД РУКОВОДСТВОМ ИОСИФА ВАЙНШТЕЙНА
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 Mercy, Mercy Album Cover Mercy, Mercy
BUDDY RICH
5.00 | 1 ratings
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This list is in progress since the site is new. We invite all logged in members to use the "quick rating" widget (stars bellow album covers) or post full reviews to increase the weight of your rating in the global average value (see FAQ for more details). Enjoy JMA!

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big band Music Reviews

FLETCHER HENDERSON Quadromania: Wrappin' It Up

Boxset / Compilation · 2005 · Big Band
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These Quadromania CD compilations are extremely inexpensive, which makes them suspect at first, but this four CD collection of Fletcher Henderson tracks called “Wrappin It Up” is surprisingly good, especially when you consider the bottom barrel price. Fletcher Henderson is probably the most under appreciated figure in popular jazz history. A contemporary and early band mate of Louie Armstrong, and a precedent for Ellington’s orchestra, Henderson’s importance in the development of jazz is topped only by Armstrong, Ellington and Charlie Parker. If Henderson remains a mystery to you, then this compilation will make for an excellent introduction.

Jazz music was at a peak in the late 20s and early 30s, when most of these tracks were recorded. The music had become far more sophisticated and arranged after leaving New Orleans for New York, but at the same time, this period of jazz was often more experimental and devilishly intense than much of the swing music that followed in the late 30s. Listening to these tracks reveals complex and difficult arrangements topped with crazy hot solos, all played with mind boggling ease and confidence by artists who often went on to more fame with the Ellington Orchestra and others. Coleman Hawkins is all over this collection, but you will also hear the early careers of Russell Proscope, Rex Stewart, Tommy Ladner, Buster Bailey, Don Redmond and many other greats. The recorded sound and flow from track to track is quite good. Some CD collections of older music feature jarring differences between tracks, fortunately there is none of that on “Wrappin It Up”.

Sometimes modern (especially Western) ears have a hard time hearing details in music like this. The big sound of rock and RnB that originated in the 70s becomes a barrier to understanding music from other time periods and cultures where ‘production’ is non-existent. Whether its Indonesian Gamelan, Bach harpsichord inventions, early blues or 20s jazz, the difference from post 70s music is remarkable, and sometimes preferred by some. The other barrier to understanding 20s jazz is its tonality. This was a time when the brightness of major scales was the dominate sound. Since the 50s, the minor blues scale has come to dominate Western music including hard bop, modern blues, hard rock, metal, modern RnB and hip-hop. Some may interpret the bright sound of late 20s jazz as ‘happy’, but a giddy cocaine fueled exuberance would probably be a more fitting description. This was, after all, music for gangsters and illegal partiers, and it was outlawed in many parts of the US.

The big difference in this music compared to jazz today is in the ensemble work. The guys in Henderson’s band traveled together and played long strings of one night gigs while playing the same tunes night after night. The way this band can move together while playing high speed complex syncopated arrangements is something you will not hear today because today’s musician has to play in four or five different ensembles just to keep busy and pay the bills. Unfortunately, the sort of commitment needed to play in an ensemble like this is not usually available anymore.

JIMMIE LUNCEFORD Lunceford Special

Boxset / Compilation · 1967 · Big Band
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About half of the Jimmie Lunceford compilations out there are titled “Lunceford Special”, named after his most popular song, so to specify which “Lunceford Special” this review is covering, it should be pointed out that this is from the Columbia Hall of Fame series released in the late 60s. Even non-jazz fans will recognize the names of Count Basie and Duke Ellington as being two of the greatest big band leaders of all time, but only the hardcore jazz fans know that in his heyday, Lunceford’s band was often more popular and more musically formidable than either of those two giants. Why Lunceford’s popularity has waned over time is easily explained by the fact that he passed away a couple decades before the other two, and did not get a chance to further improve his legacy and fame in the more promotion savvy 1950s-70s. More than likely, more passing of time will work to Lunceford’s advantage and hopefully he will eventually return to his place as big band leader supreme. To understand why Lunceford was so popular, you only have to give this record a spin and you will hear how hot and dynamic his band was.

While Ellington’s band was known for their smooth sound and classical ambitions, and Basie’s band was known for its hard rockin dance beat, Lunceford’s band fell in between the two. Lunceford’s band had a driving rhythm section which made them a favorite amongst the dancers, but their arrangements are deceptively complex, full of interesting change-ups, counter melodies and rhythmic juxtapositions. Their set material often featured popular sing along melodies for the dancers, cloaked in crazy jazz arrangements for the more serious listener.

Of the two sides of this LP, side two is the better. On this side we get less of the ‘jokey’ double entendre dirty lyrics of side one, and more arrangements that feature hot solos and complex ensemble work, and no vocals. Most of the tunes on here are from 1939, when the band was at a peak, but “Flaming Reeds and Screaming Brass” from 1933 is a real eye-opener with its fierce energy and bizarre arrangement that foreshadows Charles Mingus. Another top cut is title tune “Lunceford Special”, with its simple but effective repeating riff that conjures up instant images of dance floor mayhem. The sound on this album is not too bad, it sounds like a lot of high end was cut off of the eq to get rid of surface noise, there is always a trade off in dynamics when you do that. Also, the copy I have was ‘re-channeled’ for stereo, always a bad idea and an unfortunate practice that faded with the end of the 70s.

GREAT AMERICAN MUSIC ENSEMBLE It's All in the GAME

Album · 2016 · Big Band
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When you first listen to “Its All in the Game”, the premier recording by The Great American Music Ensemble led by Doug Richards, you are liable to think that here is a big band that can rival the Lincoln Center Jazz Orchestra, especially when it comes to an ability to span the decades. Then, upon reading a little background, it turns out that although this CD was not released until 2016, it was actually recorded in 2001! It is really hard to believe that a recording this strong was delayed for fifteen years, but such is the music business. On the positive side, its nice “Its All in the Game” finally saw the light of day because it still sounds fresh, and will probably be one of the best big band recordings released this year.

Doug Richard’s ensemble excels in three main areas,: radical reconstructions of well known tunes, inspired productions of older big band sounds that are hard to re-produce, and vocal numbers based around the stellar voice of Rene Marie. Looking at the first, many of the tracks on “Game” are well known standards such as “April in Paris and “In the Mood”, but these charts are chopped up with odd-metered rhythms, sudden tempo changes and all the other tools of the modern composer. Despite the difficult arrangements, the end result sounds energetic and fun in a manner that recalls Don Ellis in the late 60s. The second area involves an ability to re-create sounds of the past (especially Ellington) without sounding contrived. On “Stardust”, Jon Faddis’ screaming trumpet recalls Ellington Orchestra trumpeter Bubber Miley, a sound that is hard for many modern players to reach. On “When its Sleepy Time Down South”, violinist Joe Kennedy Jr recalls Ellington violinist Ray Nance, once again, it’s a violin style that you just don’t hear anymore. Unfortunately, in the time that this recording sat on the shelves, Kennedy passed away. Finally we get to the best, and that is the tracks that feature vocalist Rene Marie. Rene has a strong rhythmic approach, but her vocal attack is deceptively soft, the juxtaposition of the two is fascinating to listen to as she has to be one of the top vocalists in jazz today, and a perfect choice to lead a big band. Sometimes her soft but strong approach can sound like the great Betty Roche, who sang Ellington’s first version of “Take the A Train’.

The final plus about this recording is the production, everything on here sounds full and vibrant. So here we have excellent charts that seamlessly combine the classic with the modern, played by a virtuoso ensemble that is having a blast, there is nothing to complain about here, all the pieces fit, just hope that Doug Richards will now be encouraged to do more recordings like this.

THELONIOUS MONK The Thelonious Monk Orchestra at Town Hall

Live album · 1959 · Big Band
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When Thelonious Monk recorded “The Thelonious Monk Orchestra at Town Hall” in 1959, his career was at a peak, no longer a sometimes derided outsider, Monk had finally emerged as a ‘living legend’, and a recognized leading architect of modern jazz. The concert, at which ‘at Town Hall’ was recorded, received much attention because this was to be Monk’s first attempt at presenting his music in a big band format. Initial critical reception to Monk’s big band performance was somewhat tepid. Many felt that Monk’s band members didn’t really get his music, nor his feel for rhythm, but many years later, after our eardrums have been pummeled with barbaric volume, such idiosyncrasies are probably barely noticeable anymore, ha. But seriously, this recording has aged well, and although Monk’s orchestrations are not particularly revelatory, the combined effort of all the musicians on here results in an imaginative, if somewhat quirky, late 50s hard bop LP.

To get help orchestrating his first big band album, Monk enlisted longtime fan and big band arranger, Hal Overton. The two worked painstakingly on several Monk originals before they called in a band for some rehearsals and then the concert/recording. Despite his well deserved reputation as a composer and innovator, Monk’s orchestrations are not particularly remarkable, but as can be expected, a little bit odd. The choice of instruments favors the low end sounds, and Monk uses this to paint dark murky colors. Similar to his piano playing, much of Monk’s ensemble arrangements are almost simple and plain. His best use of the orchestra comes when he is able to add contrasting lines to his melodies, lines that were often only implied by his piano.

A big plus on here is Monk’s band mates, a virtual all-star crew of jazz talent at that time, including; Donald Byrd, Phil Woods, Charley Rouse, Pepper Adams and more. Phil Woods in particular shines with his ‘bird like’ flight on “Friday the 13th”. On “Little Rootie Tootie”, the entire front line of the band plays Monk’s original recorded solo as a unison solo. The end result of so many horns trying to stay together on such a jaggedy solo results in some humorous train wrecks. Monk’s playing is brilliant throughout, but especially on “Monk’s Mood” where his rhythmic shifts produce almost hallucinogenic effects. Overall, this isn’t one of Monk’s best, but it still rates high in his discography, and due to the big band format, partly as a curiosity.

DUKE ELLINGTON Ellington At Newport

Live album · 1957 · Big Band
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This review concerns the original version of "Duke Ellington and His Orchestra at Newport", which mostly consists of tracks done in a studio after the concert, with crowd noise added later in an attempt to make people believe they were hearing the actual recording of Ellington's performance at Newport in 1956. The real live recording was finally released in 1999, which makes this previous phony live album somewhat pointless now. If you don't already know the story, this is how all this happened.

Ellington’s performance at Newport in 56 was a smash success that turned around his lagging career and inspired so much enthusiasm that the concert almost ended in a riot of sorts. Eager to get a recording of this concert out to the public, Ellington discovered that the concert recording was marred by sloppy playing, and even worse, key solos had been played into the wrong microphones and barely recorded at all. Quickly Ellington pulled together another rehearsal and had the entire concert re-recorded fresh in the studio, except for the one piece that had gotten the crowd to its feet, “Diminuendo and Crescendo in Blue”. That one piece had featured a lengthy solo by Paul Gonsalves that Ellington wanted to preserve as is, even though you could barely hear Gonsalves at times because he was pointed towards the wrong mic.

When “Ellington at Newport” hit the shelves in 57, everyone assumed that was an actual recording of the Duke’s big comeback and the story could have ended there, but many decades later, someone miraculously discovered the tapes picked up by the “wrong microphone” (it was for a taping to be played over seas), all of a sudden the original concert was back again. To say this was one of the biggest musicological finds of the 20th century is practically an understatement. Next came the painstaking task of matching the various tapes together, but new developments in digital technology finally allowed the entire concert to be released in fairly good sounding stereo.

So in 1999 the complete “Ellington at Newport” was released with the entire 56 concert intact, as well as Ellington’s studio remake of the concert that had been the original album. Its fun to compare the two versions, the studio recording is tighter and more polished, but the live recording has so much energy and raw enthusiasm. Some sloppiness in the live recording is pretty bad, such as Johnny Hodges mangled opening note glide on “I Got it Bad”, but overall, the live recordings have more life than the studio ones.

Since the expanded complete version also contains the studio recordings that were used for the fake live album, is there any point in owning the original album at all. Possibly the best future for this album will be as a true oddity for those who like to collect oddities, because this original album is the only one that has the studio versions with fake 'liveness' added on. Possibly there is some sort of humorous camp value there. The recording of "Diminuendo and Crescendo in Blue", in particular" gets fairly comical with lots of added on crowd noise pulled from other parts of the recording. You almost expect someone to enter this musique concrete monstrosity and start saying 'number nine' over and over.

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