Jazz
Andy Taylor Handwriting
Annie Melton Photography
Brent Wallarab Arranger, Conductor, Soloist, Trombone, Composer, Producer, Group Member
Bryson Kern Drums, Group Member
Celeste Holler-Seraphinoff Horn, Group Member
Cole Porter Composer
Edgar Sampson Composer
Frank Glover Group Member, Saxophone, Sax (Tenor), Soloist, Clarinet, Sax (Soprano), Woodwind
Freddie Hubbard Composer
Glenn Miller Composer
J. Allan Hall Executive Producer
Jack Helsley Group Member, Bass
Jason Miller Group Member, Trombone
Jeff Conrad Trumpet, Group Member, Flugelhorn
Joey Tartell Trumpet, Group Member, Flugelhorn
Loren Schoenberg Liner Notes
Loy Hetrick Trombone, Group Member
Luke Gillespie Piano, Group Member, Soloist
Mark Buselli Flugelhorn, Group Member, Trumpet, Soloist
Mark Hood Engineer, Mastering, Assistant Producer, Associate Producer, Mixing
Mike Hackett Trumpet, Group Member, Flugelhorn
Mike Stricklin Saxophone, Group Member, Woodwind
Ned Boyd Woodwind, Saxophone, Group Member
P.J. Yinger Art Direction, Design
Ray Noble Composer
Rich Dole Trombone
Richard Dole Trombone (Bass), Group Member
Rob Dixon Sax (Tenor), Soloist, Sax (Soprano), Woodwind, Group Member, Saxophone
Tom Meyer Group Member, Woodwind, Saxophone
* This contemporary, introspective jazz orchestra explores the colorful, impressionistic, and transparent orchestrations of new and classic big band literature set to paper by Brent Wallarab.
* Wallarab, jazz specialist for the Smithsonian Institution and assistant professor of music in jazz studies for the prestigious Indiana University Jacobs School of Music, presents a fine collection of original jazz orchestra compositions and arrangements with the long-standing Buselli-Wallarab Jazz Orchestra.
It's hard to know where to begin to assess a recording such as this - the cohesion and sheer excellence of the ensemble work, the clear narratives of the compositions, the inspired solo work, or the unity of the program as a whole. The best place may be with the co-leader, Brent Wallarab, who, tilting against the winds of popular culture, has somehow managed to not only survive, but thrive with the creation and sustenance of a major jazz orchestra that can hold its own with any comers.
With the profusion of jazz education over the last several decades, it is now no longer unusual to encounter bands such as this, stocked with first-rate players who could hold their own in any of the major centers for jazz around the world. Indeed, Indiana University has for years been a bastion of jazz, through the pioneering work of David N. Baker, and in many ways this record is a tribute to the long line of graduates who have come out of his classes and ensembles. One of the most accomplished of these is Brent Wallarab, who through his encyclopedic knowledge of the jazz tradition, and his own trombone playing, is perfectly placed to take the jazz orchestra well into the 21st century. A serious (serious enough to have a lot of joy on the way) student of Americana and other aspects of culture around the world, Brent is an insatiable reader, avid consumer of cinema (especially classic Japanese filmmakers such as Kurosawa and Ozu), and in general, someone who simply can not be boring.
So it comes as no surprise that he found inspiration in the work of two masters of the compelling narrative, Mark Twain and Charles Dickens, to give birth to the concept of the Suite Storytelling. As the composer notes: "For the Suite Storytelling, each movement is a tribute to influential short stories/storytellers from my youth. The Glass Tree is for JD Salinger. His short stories often featured members from several generations of the Glass family. Tabellae ex Terra is latin for "Letters From The Earth" by my man Mark Twain. Mezzanine is from "The House With The Mezzanine" one of my all-time favorite Anton Chekhov short stories. Sketch For Boz is for Charles Dickens. His early pen name was "Boz" and one of his first publications was a collection of short pieces called "Sketches By Boz". All of these writers were heavy influences on me as a very young lad. The Suite Storytelling is not programmatic. Dickens and Twain, through their characterizations, insight into humanity, and use of humor, invoked similar delights for me so the two pieces to them ("Tabellae" for Twain and "Boz" for Dickens) use the same harmony/chord progression. But they also had their own totally unique voices obviously hence the very different takes. "Mezzanine", for Chekhov, is from his story "The House With The Mezzanine" and from the first time I read it, I associated it with "Alone Together" and have always wanted to write something that combined the influences. The big band suite, Suite Influence, are three songs that were from the LP collections my mom and dad bought me when I was a young child that hooked me into the music of the 30's and 40's.
--Loren Shoenberg |
