UNIVERSITY OF TORONTO ORCHESTRA - Sweet Ruby Suite: The Music of Kenny Wheeler
Featuring Special Guests:: Dave Liebman – saxophone; Norma Winstone – voice;
Saxophones - Naomi Higgins, Conrad Gluch, Patrick Smith, Connor Newton, Alec Trent; Trumpets - Austin Jones, Marie Goudy, Brad Eaton, Max Forster, Josh Stuckey; Trombones - Zachary Smith, Jared Kirsh, Modibo Keita, Collins Saunders
Rhythm Section - Josh Smiley – Piano; Christopher Platt – Guitar; Victor Vrankulj – Bass; Andrew Miller – Drums
Good to know that the great Kenny Wheeler is honoured in his own country.
The University of Toronto Jazz Orchestra is about five years old, directed by Professor Gordon Foote. It evolved from the Jazz Studies Program at the University of Toronto. The band’s library spans across the years and the students are encouraged to write their own pieces. This is not the first recording of the suite; it was recorded more than ten years ago by the Maritime Jazz Orchestra with Norma Winstone, John Taylor and Kenny Wheeler.
Wheeler’s writing has a unique special style. A band this size, brass heavy, could blaze and rave but the music of Kenny Wheeler never does that. He preferred to hold everything in reserve, bank the fire down and just enjoy the glow. Brad Eaton on both trumpet and flugel can sound alarmingly like Wheeler. Dave Liebman has a slightly wilder sound than is usual in a Wheeler composition. Norma Winstone does not seem to change or her voice to age. Here she sings words and also integrates her voice into the arrangements. Piano player Josh Smiley emerges in the suite and is both percussive and melodic.
The pleasure in the album is the sound of the ensemble. This is a group that can stand comparison with any now playing. The sections in the contrapuntal writing are well balanced enabling Wheeler’s intentions to shine through. Credit must go to the recording engineers. We are used to hearing Wheeler in a clean ECM sound environment. Spacious and detailed the music is allowed to shine through with its gentle surges and falls.
The other three pieces do not have the architectural sweep of the main suite. The opening of ‘Canter No 1’ with wordless Winstone and Liebman over the inventive driving rhythm section is surprising and enterprising.
The University of Toronto can be proud of its orchestra. It would be good to hear more of its excursions into its vast library.
Reviewed by Jack Kenny
Featuring Special Guests:: Dave Liebman – saxophone; Norma Winstone – voice;
Saxophones - Naomi Higgins, Conrad Gluch, Patrick Smith, Connor Newton, Alec Trent; Trumpets - Austin Jones, Marie Goudy, Brad Eaton, Max Forster, Josh Stuckey; Trombones - Zachary Smith, Jared Kirsh, Modibo Keita, Collins Saunders
Rhythm Section - Josh Smiley – Piano; Christopher Platt – Guitar; Victor Vrankulj – Bass; Andrew Miller – Drums
Good to know that the great Kenny Wheeler is honoured in his own country.
The University of Toronto Jazz Orchestra is about five years old, directed by Professor Gordon Foote. It evolved from the Jazz Studies Program at the University of Toronto. The band’s library spans across the years and the students are encouraged to write their own pieces. This is not the first recording of the suite; it was recorded more than ten years ago by the Maritime Jazz Orchestra with Norma Winstone, John Taylor and Kenny Wheeler.
Wheeler’s writing has a unique special style. A band this size, brass heavy, could blaze and rave but the music of Kenny Wheeler never does that. He preferred to hold everything in reserve, bank the fire down and just enjoy the glow. Brad Eaton on both trumpet and flugel can sound alarmingly like Wheeler. Dave Liebman has a slightly wilder sound than is usual in a Wheeler composition. Norma Winstone does not seem to change or her voice to age. Here she sings words and also integrates her voice into the arrangements. Piano player Josh Smiley emerges in the suite and is both percussive and melodic.
The pleasure in the album is the sound of the ensemble. This is a group that can stand comparison with any now playing. The sections in the contrapuntal writing are well balanced enabling Wheeler’s intentions to shine through. Credit must go to the recording engineers. We are used to hearing Wheeler in a clean ECM sound environment. Spacious and detailed the music is allowed to shine through with its gentle surges and falls.
The other three pieces do not have the architectural sweep of the main suite. The opening of ‘Canter No 1’ with wordless Winstone and Liebman over the inventive driving rhythm section is surprising and enterprising.
The University of Toronto can be proud of its orchestra. It would be good to hear more of its excursions into its vast library.
Reviewed by Jack Kenny
