YELLOWJACKETS + WDR BIG BAND - Jackets XL
Mack Avenue Mac1175
Russell Ferrante (piano, Fender Rhodes, synthesiser); Bob Mintzer (tenor sax, EWI, flute); Dane Alderson (bass); William Kennedy (drums); Paul Shigihara (guitar); Wim Both, Rob Bruynen, Andy Haderer, Ruud Breuls (trumpets); Ludwig Nuss, Raphael Klemm, Andy Hunter, Mattis Cederberg (trombones); Johan Hörlen, Kristina Brodersten, Olivier Peters, Paul Heller, Jens Neufang (saxes, woodwinds)
Recorded WDR Studio 4, Cologne, Germany November 4-9 2019
Extra large indeed. This album sees the jazz-fusion band Yellowjackets join forces with the widely acclaimed WDR Big Band from Germany. WDR has long track record in playing with jazz artists including, Gil Evans, Airto Moreira, Ron Carter and The Brecker Brothers, so it’s no surprise that this album is yet another highly productive collaboration. The musicians cover ten Yellowjackets tunes, eight of them re-workings of older numbers.
The Yellowjackets was formed in 1981 and what is amazing is the length of time most musicians stay with the band. Keyboardist Russell Ferrante is a founder member; woodwind player Bob Mintzer has been a band member for 30 years; drummer Will Kennedy joined the band in 1988, stayed for ten years, and then rejoined the band in 2010. Relative newcomer Dane Alderson, a 37 year-old Australian bassist, has been with the band for four years (such is his talent that he was asked to join the Yellowjackets on the strength of some YouTube clips the band had seen). It all adds up to incredibly coherent musical unit. XL is the band’s 25th album.
Although the album features eight Ferrante compositions, Bob Mintzer has played a pivotal role in the album’s development. He arranged seven of the tunes and conducted all of them. He’s also one the album’s three producers. Mintzer’s position as co-principal conductor of the WDR Big Band (a post he has held since 2016) explains how these two acts got together.
The addition of the WDR Big Band means that the revised arrangements can include new tones, colours, textures and harmonies, and these are used to full effect. What makes this album so enjoyable is that the WDR Big Band doesn’t sound like a mere backing band, and the horns really are an integral part of the music. They also add new fire and energy to the music. It’s also nice to see several WDR Big Band members given solo slots - this is a true musical partnership. To hear the impact of the WDR Big Band, take the opening tune, Downtown, a swinging number driven by Kennedy’s 16th note groove and Alderson’s walking bass line. On the original version, the stabbing horn lines are played on a synthesiser, but on this version, the real horns really pack a punch. The track also features an expressive bass solo by Alderson.
Dewey, a jazz-funk track dedicated to Miles Davis (it’s his middle name), is dominated by Mintzer’s Electronic Wind Instrument (EWI) which sounds like a cross between a synthesiser and a flute. The late Michael Brecker was also a big EWI fan, but it’s fair to say that many jazz musicians are wary of such electronic gizmos. However, Mintzer’s playing is both melodic and tasteful, and the track also includes solos by Ruud Breuls on open trumpet and Ferrante on acoustic piano.
The fact that there is such a rich catalogue to draw on means there is wide range of music on the album, from the shuffling Miles High (which reminds me of Tears for Fears’ Everyone Wants To Rule The World) to the glorious jazz/classical number Coherence (a new arrangement by Ferrante that was inspired by the music of Maria Schneider), to the sassy Imperial Strut, which includes Mintzer’s winding EWI, superb acoustic piano from Ferrante, and fizzing horn lines. The bluesy Even Song features a fine solos by guitarist Paul Shigihara and Dane Alderson. There are also two new numbers, the uptempo One day, and Tokyo Tale, a midtempo groove featuring a gutsy tenor sax solo by Paul Heller, with Ferrante soloing on the Fender Rhodes.
This is a highly impressive amalgamation of two musical forces. Let’s hope that in 2021, the two of them can share a stage together. In the meantime, this album makes for an enjoyable feast of music.
Reviewed by George Cole
Mack Avenue Mac1175
Russell Ferrante (piano, Fender Rhodes, synthesiser); Bob Mintzer (tenor sax, EWI, flute); Dane Alderson (bass); William Kennedy (drums); Paul Shigihara (guitar); Wim Both, Rob Bruynen, Andy Haderer, Ruud Breuls (trumpets); Ludwig Nuss, Raphael Klemm, Andy Hunter, Mattis Cederberg (trombones); Johan Hörlen, Kristina Brodersten, Olivier Peters, Paul Heller, Jens Neufang (saxes, woodwinds)
Recorded WDR Studio 4, Cologne, Germany November 4-9 2019
Extra large indeed. This album sees the jazz-fusion band Yellowjackets join forces with the widely acclaimed WDR Big Band from Germany. WDR has long track record in playing with jazz artists including, Gil Evans, Airto Moreira, Ron Carter and The Brecker Brothers, so it’s no surprise that this album is yet another highly productive collaboration. The musicians cover ten Yellowjackets tunes, eight of them re-workings of older numbers.
The Yellowjackets was formed in 1981 and what is amazing is the length of time most musicians stay with the band. Keyboardist Russell Ferrante is a founder member; woodwind player Bob Mintzer has been a band member for 30 years; drummer Will Kennedy joined the band in 1988, stayed for ten years, and then rejoined the band in 2010. Relative newcomer Dane Alderson, a 37 year-old Australian bassist, has been with the band for four years (such is his talent that he was asked to join the Yellowjackets on the strength of some YouTube clips the band had seen). It all adds up to incredibly coherent musical unit. XL is the band’s 25th album.
Although the album features eight Ferrante compositions, Bob Mintzer has played a pivotal role in the album’s development. He arranged seven of the tunes and conducted all of them. He’s also one the album’s three producers. Mintzer’s position as co-principal conductor of the WDR Big Band (a post he has held since 2016) explains how these two acts got together.
The addition of the WDR Big Band means that the revised arrangements can include new tones, colours, textures and harmonies, and these are used to full effect. What makes this album so enjoyable is that the WDR Big Band doesn’t sound like a mere backing band, and the horns really are an integral part of the music. They also add new fire and energy to the music. It’s also nice to see several WDR Big Band members given solo slots - this is a true musical partnership. To hear the impact of the WDR Big Band, take the opening tune, Downtown, a swinging number driven by Kennedy’s 16th note groove and Alderson’s walking bass line. On the original version, the stabbing horn lines are played on a synthesiser, but on this version, the real horns really pack a punch. The track also features an expressive bass solo by Alderson.
Dewey, a jazz-funk track dedicated to Miles Davis (it’s his middle name), is dominated by Mintzer’s Electronic Wind Instrument (EWI) which sounds like a cross between a synthesiser and a flute. The late Michael Brecker was also a big EWI fan, but it’s fair to say that many jazz musicians are wary of such electronic gizmos. However, Mintzer’s playing is both melodic and tasteful, and the track also includes solos by Ruud Breuls on open trumpet and Ferrante on acoustic piano.
The fact that there is such a rich catalogue to draw on means there is wide range of music on the album, from the shuffling Miles High (which reminds me of Tears for Fears’ Everyone Wants To Rule The World) to the glorious jazz/classical number Coherence (a new arrangement by Ferrante that was inspired by the music of Maria Schneider), to the sassy Imperial Strut, which includes Mintzer’s winding EWI, superb acoustic piano from Ferrante, and fizzing horn lines. The bluesy Even Song features a fine solos by guitarist Paul Shigihara and Dane Alderson. There are also two new numbers, the uptempo One day, and Tokyo Tale, a midtempo groove featuring a gutsy tenor sax solo by Paul Heller, with Ferrante soloing on the Fender Rhodes.
This is a highly impressive amalgamation of two musical forces. Let’s hope that in 2021, the two of them can share a stage together. In the meantime, this album makes for an enjoyable feast of music.
Reviewed by George Cole
