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CD |
| 4.565 Ft
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| 1. | On The Edge
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| 2. | Isfahan
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| 3. | That's All Right!
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| 4. | Virgo
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| 5. | The Chopper
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| 6. | Ain't Nothin' Nu
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| 7. | Teen Town
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| 8. | Ceora
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| 9. | 111-44
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| 10. | Angel Eyes
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| 11. | The Third Degree
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Jazz
Recorded October 22 & 23, 1997 at Avatar Studios, NYC
Soloist:
1 John Fedchock, trombone
Rich Margitza, tenor saxophone
Allen Farnham, piano
2 John Fedchock, trombone
Mark Vinci, alto saxophone
3 Charles Pillow, soprano saxophone
Scott Wendholt, trumpet
Dave Ratajczak, drums
4 John Fedchock, trombone
5 Scott Robinson, baritone saxophone
John Fedchock, trombone
Tony Kadleck, trumpet
6 Greg Gisbert, trumpet
John Fedchock, trombone
Rich Perry/Rick Margitza, tenor saxes
7 George Flynn, bass trombone
Lynn Seaton, bass
Scott Robinson, baritone saxophone
8 Allen Farnham, piano
John Fedchock, trombone
9 Mark Vinci, alto
Tim Hagans, trumpet
10 Rich Perry, tenor saxophone
11 Greg Gisbert, trumpet
John Fedchock, trombone
Rich Perry, tenor saxophone
As a follow-up to the New York Big Band CD, trombonist John Fedchock has gone that disc one better, not so much in improvising the band or song selections, but infusing more energy and excitement into the proceedings. As a mature player who also writes, he offers hefty charts that his players can dig their musical teeth into. He's also able to put his own modern, mainstream stamp on the jazz of this 20-25 piece band. It's not a head-solos-tail ABA proposition; instead, charts are written to fill cracks, intersect, or connect solos, and to create transitions between segments.
Fedchock wrote four of the 11 tracks. The title cut is a good, wailing swinger a la Count Basie, Thad Jones, or Mel Lewis, as is "The Chopper" for Woody Herman. As the leader, Fedchock takes artistic license to solo extensively, but on a bluesy, shuffling "The Chopper," baritone saxophonist Scott Robinson obliges with a big, scattishly low-slung solo contrasting the trombonists quick-witted improv. A Latin mambo-cha cha with Charles Pillow's puckish soprano and Scott Wendholt's tumbleweed trumpet solos is the centerpiece of "That's All Right!," while "The Third Degree" is a high flying number a la Kenny Clarke/Francy Boland, with Rich Perry's solo very much like Joe Henderson in soul and stance. The standards have different perspectives from various modern jazz aspects. Lee Morgan's "Ceora" has the standard slight Brazilian feel with wafting flutes joining upper register horns and reeds, and an active, energizing solo by pianist Allen Farnham. "Virgo" by Wayne Shorter is lush and exotic, while a nice bluesy version of Billy Strayhorn's "Isfahan" best displays Fedchock's warm sound and Mark Vinci's lithe alto work. The Jaco Pastorious number "Teen Town" has Fedchock playing the second line melody on his trombone -- a tricky, difficult part written for an electric bass (more capable of playing this fast), but Fedchock pulls it off. The highlights are the Thad Jones piece "Ain't Nothin' Nu" with Fedchock's original chart, the hardest swinger of the date with Greg Gisbert's fleet trumpet solo, and Rich Perry & Rick Margitza squaring off on individual tenor sax solos. An interp of Oliver Nelson's "111-44" is precious, a power-packed chart loaded with soul and dynamics, where the band acts as if it was written for them -- again Vinci and piquant trumpeter Tim Hagans get the spotlight on this tune that has been neglected in the larger Nelson repertoire. Then there's "Angel Eyes," echoing love and regret with high-end drama and dynamics to suit the disparity between these two undeniably linked emotions. Highly recommended, and a must-buy for those who cherish this style of music. ~ Michael G. Nastos, All Music Guide
John Fedchock
Active Decades: '90s and '00s
Born: Sep 18, 1957 in Cleveland, OH
Genre: Jazz
Styles: Big Band, Hard Bop, Post-Bop, Swing
A talented bop-based trombonist, John Fedchock is also quite notable as a big band arranger. Fedchock graduated from Ohio State University and the Eastman School Of Music. In the 1980's he spent seven years playing and touring with Woody Herman's Orchestra and, although he had chances to solo, it was his swinging charts that gained him the most attention. In addition, Fedchock toured with Gerry Mulligan's Concert Jazz Band, Louie Bellson's Big Band and Bob Belden's Ensemble among others. Fedchock has been active as a clinician (conducting seminars and workshops), a freelance soloist and a busy arrangercomposer. In 1992 he released his first recording as a leader (New York Big Band on Reservoir) which displayed both his playing and writing talents. Throughout the next six years, a steady playing schedule helped Fedchock improve his chops and develop a more distinct style, which made 1998's On the Edge a notable improvement on his previous album. Brimming with energy and excitement, the record kicked off a steady release schedule that included 2000's small group session Hit the Bricks and 2002's technically impressive No Nonsense.
---Scott Yanow, All Music Guide |
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