DOWN FOR THE COUNT - Swing That Music
Down For The Count DFTC004
Orchestra leader & pianist: Mike Paul-Smith with large orchestra including Max Fagandini (tb); Simon Joyner (t); Katie Edwards (as); Alex Western-King (ts, cl); Katie Birtill, Hannah Castleman, Callum Gillies (v) Kent, 24 March 2019.
Here’s an old -style nostalgia trip for anybody who loves the old big band Swing Era music of the thirties and forties. The DFTC orchestra is a big line up playing music mainly in the style of Count Basie and Duke Ellington but with single tracks associated with Goodman, Glenn Miller and company. Leading off the first selection, pianist leader Paul Smith launches into the old Louis Armstrong composition Swing That Music. I’m Beginning To See The Light is a vehicle for vocalist Hannah Castleman who sings with a smoky, jazz type voice and swings it neatly with the orchestra. This track also features guitarist Sam Ainslie who steps out of the rhythm section for a while to play solo. As for that rhythm section, complete, they manage a good indication of the way the original Basie band sounded on One O’Clock Jump, a real swinger in Basie mode throughout. Amapola is presented as a warm ballad with a good vocal by Katie Birtill and Callum Gillies takes over as a baritone voice on All Of Me.
Ellington’s Don’t Get Around Much has a biting alto sax solo from Katie Edwards with the band riffing cheerfully behind her. Perdido brings back Hannah Castleman who goes into a wild scat and Alex Western-King takes a flowing tenor sax solo. Bye Bye Baby is practically all voices with Callum Gillies taking care of the vocal and voice harmonies supplied by Katie Birtill, trombonist Max Fogandini and Simon Joyner. The arrangements are by leader Mike Paul-Smith and they stick closely to the originals penned by Basie, Ellingon and Goodman. Chatanooga is done very much in the Miller style. Although not very original or fresh, these tracks are done well as homage to the old big bands of the 30s and 40s and the arrangements are more than serviceable. Add to that some strong solo work and four very good vocalists and you have a disc that will likely please a lot of Swing Era enthusiasts.
Reviewed by Derek Ansell
Down For The Count DFTC004
Orchestra leader & pianist: Mike Paul-Smith with large orchestra including Max Fagandini (tb); Simon Joyner (t); Katie Edwards (as); Alex Western-King (ts, cl); Katie Birtill, Hannah Castleman, Callum Gillies (v) Kent, 24 March 2019.
Here’s an old -style nostalgia trip for anybody who loves the old big band Swing Era music of the thirties and forties. The DFTC orchestra is a big line up playing music mainly in the style of Count Basie and Duke Ellington but with single tracks associated with Goodman, Glenn Miller and company. Leading off the first selection, pianist leader Paul Smith launches into the old Louis Armstrong composition Swing That Music. I’m Beginning To See The Light is a vehicle for vocalist Hannah Castleman who sings with a smoky, jazz type voice and swings it neatly with the orchestra. This track also features guitarist Sam Ainslie who steps out of the rhythm section for a while to play solo. As for that rhythm section, complete, they manage a good indication of the way the original Basie band sounded on One O’Clock Jump, a real swinger in Basie mode throughout. Amapola is presented as a warm ballad with a good vocal by Katie Birtill and Callum Gillies takes over as a baritone voice on All Of Me.
Ellington’s Don’t Get Around Much has a biting alto sax solo from Katie Edwards with the band riffing cheerfully behind her. Perdido brings back Hannah Castleman who goes into a wild scat and Alex Western-King takes a flowing tenor sax solo. Bye Bye Baby is practically all voices with Callum Gillies taking care of the vocal and voice harmonies supplied by Katie Birtill, trombonist Max Fogandini and Simon Joyner. The arrangements are by leader Mike Paul-Smith and they stick closely to the originals penned by Basie, Ellingon and Goodman. Chatanooga is done very much in the Miller style. Although not very original or fresh, these tracks are done well as homage to the old big bands of the 30s and 40s and the arrangements are more than serviceable. Add to that some strong solo work and four very good vocalists and you have a disc that will likely please a lot of Swing Era enthusiasts.
Reviewed by Derek Ansell
