© - Steven A. Cerra, copyright protected; all
rights reserved.
Today is the
release date for Phil Woods with the DePaul University Jazz Ensemble: Right to Swing on
Graham Carter’s Jazzed Media label [JM1061].
According to
Graham’s press release:
“A dynamic,
swinging set of big band and "Little Big Band" performances featuring
newly crafted arrangements of works by jazz icon Phil Woods. The brilliant
performance of alto saxophonist and composer Phil Woods, the DePaul Jazz
Ensemble and Jazz Nonet (i.e. - The Phil Woods Ensemble at DePaul University ) is beautifully captured in these studio
recording sessions.
The title piece,
Woods' classic five-movement "Rights Of Swing", distinguishes itself
from the original 1961 recording in a beautifully re-orchestrated arrangement
for nonet that includes some new material in each movement.”
And Bob Lark, the
Director of the DePaul University Jazz Ensemble, wrote in his insert notes to
the disc:
“Since the time of
the original recording, Phil has re-worked each of the movements to his Rights
Of Swing, supplementing and at times embellishing the original score
with fresh ensemble material. The intention of our ensemble, and that of Phil,
was not to imitate the 1961 version of the work. Indeed, many of the revisions
- at times subtle, and at other times extensive - were created by Phil during the
summer of 2011 in preparation for this recording. We expanded the band to
include vibraphone (David Bugher), piano (Pete Benson), bass (Matt Ulery),
drums (Keith Brooks), trumpet (Dave Kaiser), trombone (Andy Baker), tenor
saxophone (Sean Packard), baritone saxophone (Mark Hiebert), and alto saxophone
(Phil Woods & Brent Griffin). As a result, Phil created a new treatment of
his masterpiece with the addition of some background and ensemble passages, and
interesting, fresh voicings.
The opening
movement, Prelude, establishes the
dynamic nature of the work with an up-tempo swing groove and demanding ensemble
work. Woods' solo sets the table, demonstrating a mastery of sound, pulse,
dynamics, articulation - and the ability to listen to his fellow musicians.
Vibraphonist Dave Bugher, trombonist Andy Baker, and pianist
Pete Benson play well-structured solos that showcase their fleet technique. Throughout
the five-part piece, the rhythm section team of Keith Brooks (drums), Matt
Ulery (bass), Benson and Bugher provide tremendous energy, drive and nuance.
Contrasting
favorably with the more energetic movements is the second movement Ballad. Trumpeter Dave Kaiser plays the melody with warmth, and
follows with a solo improvisation that remains sensitive to the arrangement.
Woods' improvisation showcases his legendary sound in a hauntingly rich
harmonic and rhythmic statement.
The third
movement, African Violets, is a jazz
waltz that features a syncopated, eighth-note based theme. Solos by Pete Benson
and Sean Packard are energetic and display a contemporary vocabulary.
Eighteen-year-old alto saxophonist Brent Griffin plays a dynamic solo that belies
his youth, while Phil plays a solo that is both stimulating and inspired. Woods
added much new material to this movement, including a beautiful ensemble chorus
that follows the solo improvisations.
Scherzo, the fourth movement of the suite, is a moody, medium-tempo
groove with passages in 6/8 and 4/4 meter. Phil's solo improvisation is
soulful, patient and subtle; it sets the table for the student solos. Each
soloist effectively reflects the context of Woods' arrangement, with the
ensemble performing with fine attention to the nuances of jazz style.
Finale recalls the opening motif from the opening Prelude
movement, albeit with a slight alteration. The angular - and difficult -
melodic line is presented by the ensemble at a brisk tempo, followed by solo
improvisations that reflect the energy and intensity of the arrangement. And
Phil plays a solo that showcases his unparalleled ability to swing - the lion
roars! ….”
In addition to the
five-part Right to Swing suite, the Jazzed Media CD includes five, more
original compositions by Phil, two of which he arranged – Hank Jones and Blues for
Lopes – and Weak End arranged by Carl Kennedy, Pairing Off arranged by Paul
Dietrich, and Casanova arranged by
Cormac McCarthy, all of whom are student arrangers at DePaul.
“RIGHTS OF SWING
is Phil Woods' first large-scale composition, and this performance represents
a striking growth in Woods as a player as well as a writer. It is impossible to
separate Woods as an improvising jazzman from his work as a composer-arranger.
"He's developed so much as a soloist," says Quincy Jones, "that
he continually creates very logical melodic lines, and unlike many jazzmen who
just string licks together, Phil actually does compose as he plays. Conversely,
he thinks in blowing terms when he composes so that his writing does have the
feeling and the impact of improvisation. With Phil, writing and playing is like
a marriage—a marriage that works."
Nat Hentoff
produced the 1961 session of Rights of Swing for Candid Records
which has been reissued on CD in Japan as Candid TECW-20491.
Here’s are Nat’s
opening remarks from the original LP’s liner notes.
© - Nat Hentoff/Candid Records, copyright
protected; all rights reserved.
I've been an
admirer of Phil Woods since he began recording in the middle-1950's, as my DOWN
BEAT reviews of the time indicated. For one thing, he was one of the very few
young altoists who was much more than a shadow of Charlie Parker. Obviously
indebted to Parker—as are all modern jazzmen—Woods, however, was very much his
own man from the beginning of his recorded work for Prestige and other labels.
His conception was furiously personal as was his slashing, fiery tone. And
there was never any question of his enormous capacity to swing. My only
reservation then was an occasional tendency in his work to fierce impatience so
that he sometimes didn't wholly finish what he began. There were also a
pervasive hunger and raw emotion in this playing that were stingingly
stimulating but which seldom settled down into mellowness or tenderness. In
the past couple of years, Woods has broadened and deepened his emotional
message without losing the urgent individuality of his earlier playing. "I
don't think," Phil said recently, "that I'm quite the angry young man
I once was. I'm realizing more and more about the range of expressive
possibilities in music. They used to call me strident, for example, and I don't
think that applies any more. Yet, I still intend to keep playing strongly and
with, let us say, gonads."
Concomitant with
Phil's expansion as a player has been his exultant discovery of the pleasures
of writing. He had been writing originals for several years, but during his
period with the Quincy Jones band—in which he is a featured soloist —Phil's
desire to write became a passion. "When we were in Europe ," Quincy recalls, "Phil started turning music
out night and day. And this was real writing. As I said before, the writing
reflected his playing—direct, driving lines that were extensions of his
blowing. Writing, furthermore, is natural for him. He has the feel for it, the
knowledge, and the sense of how to organize the horns in thoroughly jazz terms.
Now that he's added a great deal of experience to so sound an instinct he's
become capable of producing as ambitious and successful a piece as this is.
Phil's RIGHTS OF SWING contains organic development, variety of moods and
colors and clarity of lines and voicings. Furthermore, it's so much an
extension of him that it can't be categorized. It's simply Phil Woods."
This is not, to
elaborate on Quincy 's point, "third stream" jazz. Phil's writing, like his
playing, is based solidly on jazz traditions. By temperament, Phil is not an
avant-gardist. He believes that much development remains possible within the
main lines of the jazz language from early blues to the present. But he's also
not a conservative. His concepts are fresh, viable, and intensely personal.
From his
colleagues in the Quincy Jones band, Phil selected Benny Bailey, Sahib Shihab,
Julius Watkins, Buddy Catlett and Curtis Fuller (except for the final section
on which Willie Dennis played trombone. Added to the rhythm section were Osie
Johnson and Tommy Flanagan. Woods' solos are consistently powerful in their
authoritativeness, emotional force, melodic continuity, and individuality of
conception. Benny Bailey is characteristically big and wide-ranging in tone
(note, for example, his statement in the BALLAD) and penetratingly personal in
execution. Shihab is robust and sometimes sardonic on baritone and full-bodied
on flute. Fuller is incisively fluent, as is Dennis, while Julius Watkins again
demonstrates how completely and pungently he had made the French horn into a
jazz instrument. The rhythm section is exceptional in its understanding of all
the strands in this mosaic and its capacity to keep the time flexibly alive. A
key factor in the performance was Quincy Jones, who conducted the ensemble and
gave invaluable advice.
This album, to
recapitulate, is in no other stream but that of Phil Woods who, in turn, is
wholly committed to the rights of jazz.
—NAT HENTOFF”
Here’s an
audio-only track of Prelude as
performed by Phil Woods and the DePaul University Jazz Ensemble:
You can compare it
with the original version of Prelude on
this audio-only track:
Order information
is available at http://www.jazzedmedia.com/
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