John Fedchock

The trombone is an instrument that seems to attract a certain type of practitioner. Musicians who choose this particular horn as their passion tend to be open-minded, playful and, more often than not, extroverted. It shouldn’t be a surprise that bass trombonist Jennifer Wharton fits this description to a tee. Naturally, she takes her enthusiasm for the horn seriously and hopes to spread her joy to the public with her infectiously fun recording, Bonegasm.

Maria Schneider Jazz Orchestra - Evanescence (1994) {Enja ENJ-8048 2}
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© 1994 Enja Records ‎| ENJ-8048 2
Jazz / Experimental Big Band / Post-Bop / Modern Big Band / Progressive Jazz

Maria Schneider's debut as a leader is quite impressive. Her complex arrangements of her nine originals are most influenced by Gil Evans and Bob Brookmeyer, although her own musical personality shines through. There are strong solos from tenors Rick Margitza and Rich Perry, trumpeter Tim Hagan, altoist Tim Ries, and particularly pianist Kenny Werner, but it is the moody ensembles that most stick in one's mind. Schneider's arrangements are often dense, a bit esoteric, and thought-provoking; this music may need several listens for one to grasp all that is going on.

This set, which is the best of the Woody Herman Orchestra's Concord recordings, celebrates his 50th year as a bandleader, quite an accomplishment. No guest stars are needed for this set, which shows just how strong a big band he still had. With tenor-saxophonist Frank Tiberi gradually taking over leadership duties (today he leads the ghost Woody Herman Orchestra) and trombonist John Fedchock contributing the arrangements, the band was in fine shape even if the leader was aging. Whether it be "It Don't Mean a Thing," John Coltrane's "Central Park West" (a great arrangement) or Don Grolnick's "Pools," every selection is excellent.

Steven Feifke (pianist, composer, arranger/orchestrator and conductor) and Bijon Watson (lead trumpet) have joined forces to bring together a big band featuring some of the most well known names in all of jazz. These two artists are "frequent-flyer-mile" performers in a number of internationally acclaimed large ensembles and noticed one small problem in each one: there is almost no generation gap! The longstanding tradition spearheaded by artists like Art Blakey and Horace Silver of hiring the "young guns" for an ensemble has all but disappeared in recent years. In creating "The Generation Gap Jazz Orchestra," Bijon and Steven make the objective of this band to strengthen that tradition of mentorship that has shaped and defined the jazz idiom since its earliest beginnings.