Analysis, Band I

In the latter half of the '90s, Phil Collins' career hit a bit of a sales slump, and instead of shamelessly chasing after another number one single, he decided to change pace and try something different. Returning to the drums, he assembled the Phil Collins Big Band, reviving the sound of such idols as Buddy Rich and Sonny Payne, but largely sticking with his original material. After a brief European tour in 1996 (which happened to feature Quincy Jones as conductor and Tony Bennett as vocalist), he created a new version of the band featuring several accomplished jazz and studio musicians in support – notably alto saxophonist Gerald Albright, but also guitarist Daryl Stuermer, tenor saxophonist James Carter, and pianists George Duke and Brad Cole, among many others, in varying roles.

This project had its genesis back in 1983 with a Benson promise to Count Basie that he would record an album in his style, a promise partially fulfilled the following year with 20/20's "Beyond the Sea." Focusing on standards that steer commendably clear from tunes normally associated with Basie, Benson takes on the dual challenge of big-band singer and lead guitarist and succeeds with authority in both roles. The robust playing of the Basie band under Frank Foster poses absolutely no problems for Benson's muscular guitar, for he punches out the notes and octaves in irresistibly swinging fashion (for prime mature Benson, check out "Basie's Bag"). As a vocalist, he sounds solid and debonair, blending well with Basie vocalist Carmen Bradford on "How Do You Keep the Music Playing?" There are two deviations from the format, though.

When one hears of an album titled Big Band Trane, it is assumed that the music will either be of songs by John Coltrane orchestrated for a full big band or pieces performed in his style. As it turns out, the Bob Mintzer Big Band only plays three tunes that have anything to do with the great tenor ("My Favorite Things," "A Love Supreme-Acknowledgment" and "Impressions") along with seven unrelated Mintzer originals. The leader himself does not solo on any of the 'Trane pieces and, despite some fiery soprano by Roger Rosenberg on "My Favorite Things," those three songs are disappointingly routine with the orchestra sounding like a professional college stage band.

For over forty years, Carla Bley has written music that infuses jazz traditions with her own personality. She continues to lead a variety of ensembles, from small combos to large-scale big bands. With Looking for America, Bley returns to the big band format. Totaling 18 pieces, the group is a rich blend of 13 horns, two keyboards, and a rhythm section. She has worked with many of the featured musicians for decades, and Bley consequently composes and arranges with their individual voices in mind.

During August 2015 the WDR Big Band performed an impressive concert of large ensemble jazz crossed with African timbres and rhythms, at the Cologne Philharmonic. The guests also included Rhani Krija on percussion, Henry Dorina, electric bass, Woz Kaly, vocals and Jean-Philippe Rykiel, keyboard. The pieces were arranged and conducted by Michael Mossmann. The music is presented by Mokhtar Samba: it is about vibrant rhythms and hypnotising melodies. As Samba feels very close to the music of his ancestors, his pieces are naturally heavily influenced by the elementary power of African rhythms.

Joe Sample is the golden boy of American fusion-jazz, but his recent project Children of the Sun is not as sunny as the title might imply. Stimulated by a visit to the Caribbean island of St. Croix, he started to look particularly into the subject of slavery – a part of his own family history. Sample has been planning this project since 1995, and will bring his composition to the Berlin audience with the NDR Bigband (the Hamburg Radio Big Band), arranged by Jorg Achim Keller.