CHRIS STANDRING TRIO & ORCHESTRA - Wonderful World
Ultimate Vibe UVR013
Chris Standring (guitar); Geoff Gascoyne (bass); Chuck Berghofer (bass); Darek Oleszkiewicz (bass); Peter Erskine (drums); Harvey Mason (drums); David Karasony (drums); Kathrin Shorr (vocals ‘What A Wonderful World’); Randy Brecker (flugelhorn ‘Sunrise’), plus 19-piece string orchestra (Magnus Johnston, leader)
Recorded The Soul Kitchen, Sherman Oaks, California; Puck Productions, Los Angeles, California; Tribone Recording, Glendale, California, and London. Strings recorded Abbey Road Studios 21 March 2021
Charlie Parker did it and so did Wes Montgomery, and now Chris Standring is the latest jazz artist to record an album with a string section. In this case, it’s a 19-piece orchestra, tastefully arranged and conducted by bassist Geoff Gascoyne, who also plays on four of the eleven tracks. Standring is a British-born guitarist, who like John McLaughlin, moved to the US to achieve much success – Standring has had 13 Billboard Top 10 singles, including the smash hit ‘Bossa Blue.’ He has also played with artists such as Bob James, Dave Koz and Kirk Whalum. For this album he is joined by Gascoyne and some of LA’s top players.
Looking very dapper on the cover shot, Standring’s neat appearance reflects the album’s sleek, polished production, which isn’t to say that it is bland. The cover also harks back to the past with ‘Stereophonic’ printed above the album title. That said, this album was recorded in a way that reflects the impact of Covid-19 on how creatives collaborate, with the musicians recording their parts in several studios across California (only Standring’s guitar and Berghofer’s bass were recorded in the same studio). Gascoyne’s bass and the orchestra were recorded on another continent (London).
Standring has opted for a trio line-up (with just a couple of tunes featuring guest artists) and in the liner notes explains why he chose such a small line-up, “I wanted to give the strings a lot of space to shine but still play a very supportive role to the melody. And I wanted all the harmony to come from the strings. In that sense, it was important that the rhythm section instrumentation was sparse. So no piano.” Standring is prolific composer, but only wrote one tune, preferring to cover tunes from the Great American Songbook, and some contemporary composers, including Steely Dan’s Donald Fagen. Standring tends to stick closely to the original theme (no bad thing) and each tune is around 4-5 minutes in length. The liner notes state that Standring’s playing has echoes of George Benson, Grant Green and Pat Martino, but I can also hear Lee Ritenour and Larry Carlton in the mix.
The opening number, Antonio Carlos Jobim’s ‘ How Sensitive,’ combines sweeping, swirling strings with a samba beat, with Standring demonstrating his lightness of touch – he seems to caress the strings rather than strum them. In many ways, it sets the template for the album’s sound – Standring is more concerned with creating the right mood than demonstrating his prowess as a soloist, although there are short solo sections throughout the album. The drumming is light-touch rather than explosive, and the bass playing, as steady as a rock.
Cole Porter’s ‘Night And Day,’ is as light as a summer breeze and could easily fit the soundtrack to an old Hollywood movie, with Berghofer playing a short bass solo. ‘Autumn in New York’ has a dramatic opening, with strings and harp introducing Standring’s sublime guitar playing. ‘What A Wonderful World’ features the husky vocals of Kathrin Storr, who performs well on a number that Satchmo has made his own.
Other covers include ‘Green Dolphin Street,’ Bacharach and David’s ‘Alfie’ and Rodgers and Hart’s ‘Falling In Love With Love.’ Standring’s composition ‘Sunrise’ has a waltz-like feel and includes a fine solo by Randy Brecker on flugelhorn. Donald Fagen’s ‘Maxine,’ a ballad from his 1982 album, The Nightfly, finds Standring picking his way delicately through the melody – it’s a lovely rendition. The album ends with ‘My Foolish Heart,’ a gorgeous duet with Gascoyne on bass and Strandling on acoustic guitar, with harp and strings adding the sweetness on top.
The term ‘easy listening’ is often used as a derogatory expression, and while it can be applied to this music, it does not mean bland MOR or Mantovani meets Smooth Jazz. This isn’t ground breaking or challenging music, but who wants to always be challenged? Standring is an accomplished guitarist and this album represents another way for him to express himself and his talents. Approach this album with open ears and an open mind and you’ll find it a rewarding listen.
Reviewed by George Cole
Ultimate Vibe UVR013
Chris Standring (guitar); Geoff Gascoyne (bass); Chuck Berghofer (bass); Darek Oleszkiewicz (bass); Peter Erskine (drums); Harvey Mason (drums); David Karasony (drums); Kathrin Shorr (vocals ‘What A Wonderful World’); Randy Brecker (flugelhorn ‘Sunrise’), plus 19-piece string orchestra (Magnus Johnston, leader)
Recorded The Soul Kitchen, Sherman Oaks, California; Puck Productions, Los Angeles, California; Tribone Recording, Glendale, California, and London. Strings recorded Abbey Road Studios 21 March 2021
Charlie Parker did it and so did Wes Montgomery, and now Chris Standring is the latest jazz artist to record an album with a string section. In this case, it’s a 19-piece orchestra, tastefully arranged and conducted by bassist Geoff Gascoyne, who also plays on four of the eleven tracks. Standring is a British-born guitarist, who like John McLaughlin, moved to the US to achieve much success – Standring has had 13 Billboard Top 10 singles, including the smash hit ‘Bossa Blue.’ He has also played with artists such as Bob James, Dave Koz and Kirk Whalum. For this album he is joined by Gascoyne and some of LA’s top players.
Looking very dapper on the cover shot, Standring’s neat appearance reflects the album’s sleek, polished production, which isn’t to say that it is bland. The cover also harks back to the past with ‘Stereophonic’ printed above the album title. That said, this album was recorded in a way that reflects the impact of Covid-19 on how creatives collaborate, with the musicians recording their parts in several studios across California (only Standring’s guitar and Berghofer’s bass were recorded in the same studio). Gascoyne’s bass and the orchestra were recorded on another continent (London).
Standring has opted for a trio line-up (with just a couple of tunes featuring guest artists) and in the liner notes explains why he chose such a small line-up, “I wanted to give the strings a lot of space to shine but still play a very supportive role to the melody. And I wanted all the harmony to come from the strings. In that sense, it was important that the rhythm section instrumentation was sparse. So no piano.” Standring is prolific composer, but only wrote one tune, preferring to cover tunes from the Great American Songbook, and some contemporary composers, including Steely Dan’s Donald Fagen. Standring tends to stick closely to the original theme (no bad thing) and each tune is around 4-5 minutes in length. The liner notes state that Standring’s playing has echoes of George Benson, Grant Green and Pat Martino, but I can also hear Lee Ritenour and Larry Carlton in the mix.
The opening number, Antonio Carlos Jobim’s ‘ How Sensitive,’ combines sweeping, swirling strings with a samba beat, with Standring demonstrating his lightness of touch – he seems to caress the strings rather than strum them. In many ways, it sets the template for the album’s sound – Standring is more concerned with creating the right mood than demonstrating his prowess as a soloist, although there are short solo sections throughout the album. The drumming is light-touch rather than explosive, and the bass playing, as steady as a rock.
Cole Porter’s ‘Night And Day,’ is as light as a summer breeze and could easily fit the soundtrack to an old Hollywood movie, with Berghofer playing a short bass solo. ‘Autumn in New York’ has a dramatic opening, with strings and harp introducing Standring’s sublime guitar playing. ‘What A Wonderful World’ features the husky vocals of Kathrin Storr, who performs well on a number that Satchmo has made his own.
Other covers include ‘Green Dolphin Street,’ Bacharach and David’s ‘Alfie’ and Rodgers and Hart’s ‘Falling In Love With Love.’ Standring’s composition ‘Sunrise’ has a waltz-like feel and includes a fine solo by Randy Brecker on flugelhorn. Donald Fagen’s ‘Maxine,’ a ballad from his 1982 album, The Nightfly, finds Standring picking his way delicately through the melody – it’s a lovely rendition. The album ends with ‘My Foolish Heart,’ a gorgeous duet with Gascoyne on bass and Strandling on acoustic guitar, with harp and strings adding the sweetness on top.
The term ‘easy listening’ is often used as a derogatory expression, and while it can be applied to this music, it does not mean bland MOR or Mantovani meets Smooth Jazz. This isn’t ground breaking or challenging music, but who wants to always be challenged? Standring is an accomplished guitarist and this album represents another way for him to express himself and his talents. Approach this album with open ears and an open mind and you’ll find it a rewarding listen.
Reviewed by George Cole
