Known for his big-band or
small ensemble recordings, Frank Wess uses a nine-piece band for the first time
in his long, storied career to make easy going swinging jazz in the tradition
of his former boss, Count Basie. The masterful tenor saxophonist, arranger, and
most notably, composer, has assembled an impressive group, featuring trombonist
Steve Turre, saxophonists Scott Robinson, and Ted Nash, trumpeters Terell
Stafford and Frank Greene, and the dynamite rhythm section of drummer Winard
Harper, bassist Peter Washington, and especially impressive young pianist
Gerald Cannon. Together they play original music and standards with the Basie
stamp firmly embossed. The tart, compact, internalized sound of Wess on the big
horn is a factor in contrasting the otherwise sweet sounds. His world-class
flute playing is also featured in spurts, though a "hook 'em horns"
gesture on the cover photo as he holds his silver wind instrument might lead
you to believe it's featured on the date -- it is not. Wess is clearly the
leader and frontman, playing basic main stem melodies and solos on the title
selection, "Sara's Song" and "You Made A Good Move," all
relaxed swingers arranged by drummer Dennis Mackrel (who does not perform on
the date) that are fairly concise, have space for another select soloist, and
vary to certain degrees in either united effect, or stratifying the horns.
"Backfire" is the wailer, upbeat bop at its finest, rambling a bit
but focused, based on the changes of "I Got Rhythm," and featuring a
surprise coda based on the title. The standards include Scott Robinson's
uniquely charted intro tacked on "Fly Me to the Moon," or the flute of
Wess stepping forward on a modified "Sweet & Lovely" with the
horns backing him up. Pianist Cannon is one to be heard closely on this
recording, as he is capable of all melodic, emotional, or rhythmic duties and
responsibilities required. He's also quite original at such a young age --
perhaps the next Kenny Barron? Two tracks feature Wess in only a quartet
setting with a different rhythm section including Harper, pianist Michael
Weiss, andd bassist Rufus Reid, including a lengthy version of the overwrought,
somber "Lush Life," just about the saddest tune ever, wrapped in thin
silver tin foil, ultimately fragile, with Wess on tenor, and observant,
lovelorn piano interventions. The obligatory Basie-type tune "Tryin' to
Make My Blues Turn Green" ends the set in a shuffling along and out style.
This is a good effort, not as great as others Wess has made over the years, but
the high-level musicianship is a constant reminder that he's very much in the
mainstream jazz ballpark, and still has a valid perspective many years after
this music was out of trendy and trumped up electronic induced vogue. If you
are a fan of Frank Wess, this recording will please you to no end. ~ by Michael
G. Nastos, AMG.
Labeth Music, 101, 2009
Recorded 10th June, 2008 at
Nola Recording Studios, New York
Musicians:
Frank Wess - Tenor Saxophone,
Flute, Arranger (#5,7)
Frank Greene, Terell Stafford
- Trumpet
Steve Turre - Trombone
Ted Nash - Alto Saxophone,
Flute
Scott Robinson - Baritone
& Bass Saxes, Flute, Arranger (#8)
Gerald Clayton - Piano
(#1-3,5,6,8,9)
Michael Weiss - Piano (#4,7)
Peter Washington - Bass
(#1-3,5,6,8,9)
Rufus Reid - Bass (#4,7)
Winard Harper - Drums
Tracks:
1. Once Is Not Enough {Frank
Wess} (5:39)
2. Sara's Song {Frank Wess}
(8:22)
3. You Made A Good Move
{Frank Wess} (7:37)
4. Dementia, My Darling
{Frank Wess} (6:59)
5. Sweet And Lovely {Gus
Arnheim, Harry Tobias, Jules Lemare} (5:46)
6. Backfire {Frank Wess}
(9:11)
7. Lush Life {Billy
Strayhorn} (9:40)
8. Fly Me To The Moon [In
Other Words] {Bart Howard} (2:50)
9. Tryin' To Make My Blues
Turn Green {Frank Wess} (6:37)
Total Time: 62:44
Credits:
Producer - Frank Wess
Engineer - Bill Moss, Jim
Czak
Photography - Ed Berger
Design - Michele Kane
Art Direction - Wayne Simmons
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