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| 1. | The Endless Search Suite: Pt. 1 The Endless Search
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| 2. | The Endless Search Suite: Interlude
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| 3. | The Endless Search Suite: Pt. 2 Inside Your Heart/Pt. 3 Where It Starte
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| 4. | Sleeves
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| 5. | Passage Noir [Live]
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| 6. | Haitian Fight Song [Live]
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| 7. | Creole Love Call [Live]
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Jazz / Post-Bop, Straight-Ahead Jazz
Seattle Repertory Jazz Orchestra is:
MICHAEL BROCKMAN lead alto & sop. saxophones, clarinet
MARK TAYLOR alto & tenor saxophones
HADLEY CALIMAN tenor saxophone
TRAVIS RANNEY tenor saxophone, clarinet
BILL RAMSAY baritone saxophone
SCOTT MACPHERSON alto saxophone (6)
SCOTT BROWN lead trombone
DAVID MARRIOTT, JR. trombone
DAN MARCUS trombone
BILL ANTHONY trombone
DAVID BENTLEY bass trombone
CESAR AMARAL lead trumpet (1-4)
ANDY OMDHAL (1-4), lead (6)
DENNIS HALDANE trumpet
JAY THOMAS trumpet
THOMAS MARRIOTT trumpet
CLARENCE ACOX drums
PHIL SPARKS bass
RANDY HALBERSTADT piano
BILL ANSCHELL piano (5)
JON HANSEN tuba (5)
The Seattle Repertory Jazz Orchestra presents the recorded premiere of an important and remarkable new suite for large jazz ensemble created by the legendary saxophonist and composer, Jimmy Heath. Commissioned by the SRJO and first performed in Seattle in 2006, "The Endless Search" is written in three movements and is destined to be one of the great pieces of jazz repertoire from this century.
Produced by Michael Brockman and Clarence Acox
Tracks 1-4 recorded by Howard Mostrom at Triad Studios, Redmond, WA, Assistant Engineer: Mark Trutanich
Tracks 5-7 recorded live by Jim Wilke, Hatchcover Productions
Mixed by Howard Mostrom
Mastered by Rick Fisher, RFI/CD Mastering
Cover photograph by Robert Wade
Cover design and layout by John Bishop
After a guest spot with the Seattle Repertory Jazz Orchestra in 2001, longtime sax player Jimmy Heath went back to work at Queens College. Letting a few years pass, the SRJO came back with a commission -- an attempt to create new music for the older structured form of big-band jazz. The result was a three-part tour de force of harmony that manages to showcase the formidable horns of Seattle individually without simply resorting to solos. This is one of the key differences between the movers in the realm of modern big band and those who simply rehash the traditions -- the emphasis on individual voices and their interplay beyond the requisite solos. Though there's a core of almost ambient trombones and sax riffs, the instruments move out of their swooning, swerving lines to attack other musical elements regularly. Along with the outstanding set from (and featuring) Heath, the album throws in a bonus with live recordings of "Haitian Love Song" (which uses the deeper horns incredibly) and "Creole Love Song" (which brings the big-band aesthetic back to its roots, but uses Ellington's composition to highlight individuals yet again). There's a smoothness to any big-band recording, but the SRJO, especially with Heath at the compositional helm, falls into the realm of Tadd Dameron more than Lawrence Welk. This is outstanding music with a bevy of fine musicians behind it. ~ Adam Greenberg, Rovi |
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