The pen can be mightier than the horn on these recent releases of sophisticated large ensembles, both put together by inventive alto saxists.
Alto saxist and composer Jon Gordon brings together a 9-10 piece group for ten highly rewarding originals that are musical stories within stories. The result is a kind of Gil Evansy sophistication of harmonies, as on the pulsating “Counterpoint” or the suavely swinging “Havens”, with just enough room for soloing to keep things loose. The sections weave around in palpable textures on the fluid “Modality” while Gordon puffs over the loose pulse of the dark “Pointillism”. Elliptical impressions are created over Will Bonness’ piano on “Sunyasin” , while there’s a mellow cadence for him on “ Dance”. Dreamy soundscapes abound on this pastoral pleasure.
Remy Le Boeuf puts together an inventive big band conducted by Gregory Robbins, filled with rich and panoramic Coplandesque moments. There’s an elegiac “Union” that give spotlight to Le Boeuf and bassist Matt Aronoff, while tenorist Dayna Stephens veers through the modal tidal wave of the stirring “Face Value. There are moments of stark B-Movie atmospheres as on “Rumpus”, with pianist Martha Kato standing under the street lamp, with Julia Easterling giving operatic vocals for her aria on the glorious title tune. The rhythm section of Peter Kronreif/dr, Kato/p and Aronoff/b take you on a varied journey during “Secondhand Smile” with the sections getting dramatic and bold on “Neener Neener”. Brilliant and bright.