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| 1. | Audacity
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| 2. | Point No Point
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| 3. | Early Light
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| 4. | In A Big Way
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| 5. | What Did You Dream?
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| 6. | 11th Hour (for Michael Brecker)
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Jazz
Recorded: December 5-6, 2009, University of Northern Colorado Recording Studio; Greeley, CO
Dan Gailey Jazz Orchestra:
Saxophones
John Gunther, alto/sop.
Steve Owen, alto/sop.
Don Aliquo, tenor
Peter Sommer, tenor
Wil Swindler, baritone
Trumpets
John Davis, lead
Vern Sielert
Al Hood
Steve Leisring
Kevin Whalen
Trombones
Nat Wickham
Paul McKee
Dave Glenn
Gary Mayne
Rhythm
Dana Landry, piano
Steve Kovalcheck, guitar
Erik Applegate, bass
Jim White, drums
Gray Barrier, vibes
(on "Early Light")
Produced by Gene Aitken
Recorded by Greg Heimbecker
Mixed by Jim Linahon at
LMP Studios, Claremont, CA
Mastered by Robert Vosgien at
Capitol Records, Hollywood, CA
Liner notes by Dr. Chuck Berg
Cover design by John Bishop
Best known to the jazz world as the composer/arranger of challenging charts played by top ensembles around the globe and the 20-year director of the award-winning jazz program at the University of Kansas, Gailey's writing has been formally recognized by awards such as the IAJE's 1996 Gil Evans Fellowship. In this, his long overdue debut album, the Dan Gailey Jazz Orchestra gives body and soul to an inspired program of originals whose art and craft call to mind the exotic colors of Ellington, the throbbing pulse of Basie, the open-ended modernism of Gil Evans and the adventurous reframings of the big band tradition by Maria Schneider.
While Origin Records focuses on the Northwest, the offshoot label OA2 has a habit of finding exceptional jazz hidden away in the Midwest. A case in point is Dan Gailey, a jazz director from the University of Kansas who has a following as a composer for large ensembles. Here, he gets a chance to show off the reason behind his following. The album opens with "Audacity," mixing the grandiose fanfares of 1970s big bands with bubbling lead horns coursing their way through the proceedings. With "Point No Point," the tempo and tone drop dramatically, keeping a touch of the grandiose in the proceedings but reducing the sound as if on a dimmer switch. There's a nod to straightforward smooth jazz in "Early Light," and with "In a Big Way" a groove develops that brings the pacing back bit by bit while giving the focus to the saxes. After a reflective piece in the title track, the album finishes with a move away from big-band sounds in the final track, with careful explorations from the saxes again, probing the scales and finding all sorts of flourishes, all sorts of interesting motives. This is one of those albums that can't quite decide what genre it falls into -- whether it's modern small-group jazz with a focus on melody, or a tribute to large-ensemble jazz with its large-scale melodies and parallel lines. Either way, the writing and performances are outstanding, and put together a nice glimpse of both worlds for the listener.
---Adam Greenberg, All Music Guide |
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