Big bands still have fresh things to say. Here are a handful of exciting albums…
Alan Ferber composes and arranges all of the material on the six exciting pieces, which range from a Latin and brassy “Impulso” to a free and aggressive interchange between tenor sax and Mark Ferber’s drums on “Jigsaw.” Guitarist Anthony Wilson is featured 
on the elliptical “She Wont Look Back´and there are excellent multi-hued sections going back and forth on “Late Bloomer.” Mature and accessible.
Conducted by Vince Mendoza, the WDR is featured in concert form through seven pieces form 2014. The percussion gets folksy for the sweet reeds and brass on “Choros #3” and a soul groove with punchy trombones makes for a strong title track. The rhythm team of John Goldsby/b, Hans Dokker and Frank Chastenor/key is muscular on “Daybreak” and delivers a gentle pulse on “Little Voice.” Lots of pastels and impressions.
Obscure Ellington compositions team up with the WDR Big Band conducted by Rich DeRosa, with Garry Dial’s piano, Dick Oatt’s soprano sax, alto sax and flute mixing with arrangements of the Ducal compositions. Bona fide Ellington colors are felt on the easy swing of “Hey, Baby” with Oatts’ soprano, while team swaggers like the vintage late 50s team on “Let The Zoomers Drool.” Some hints of Such Sweet Thunder occur on the processional I Like Singing” while the sections brag in brass and the sax section is velvety on “Introspection.” Modern tones are also in evidence during “Just A Gentle Word From You Will Do” and “I Must Be Mad.” The Duke would have definitely approved.
Speaking of approval, Thelonious Monk is probably dancing in heaven if he can hear the big band interpretations that keyboardist john Beasley is putting to his compositions. This is the second volume of the idea, and the concepts aren’t wearing thin at all. You get things like a hip-hoppy “Brakes’ Sake” which includes Dontae Winslow both blowing his trumpet and delivering a street rap, while Dianne Reeves is richly elegant with Beasley’s piano on “Dear Ruby.” Regina Carter’s violin sways with the brass on “Crepuscule with Nellie”, and a read of “Evidence” goes from soft and quietude to a white knuckler while Kamasi Washington’s tenor and Conrad Herwig’s trombone ride up and down the roller coaster. Ellingtonian hues are felt on “Light Blue” and the team gets snappy on a funky “I Mean You.” This one’s as much a keeper as the first one. YAY!