This terrific live vinyl captures the complexities of large ensemble jazz!
Anthony Wilson Nonet – House Of The Singing Blossoms – Sam First Records (distr. by AudiophileUSA) 180-gram stereo double vinyl, 81:29 *****:–
(Anthony Wilson – guitar; C.J. Camerieri – trumpet, French Horn; Alan Ferber – trombone; Nicole McCabe – alto saxophone; Bob Reynolds – tenor saxophone; Henry Solomon – baritone saxophone; Gerald Clayton – piano; Anna Butterss – bass; Mark Ferber – drums)
Jazz guitarist, composer and arranger Anthony Wilson has been recording as a band leader and session player for nearly three decades. He is known for his extensive work with Diana Krall, Gerald Wilson, and Jacintha. Additionally he has recorded with Mose Allison, Herb Alpert, Chris Botti, Kenny Burrell, Charles Lloyd and Paul McCartney among many others. Wilson has received several commissions as a composer from a variety of organizations including International Association For Jazz Education, Los Angeles Philharmonic Association, The Henry Mancini Institute and Jazz At Lincoln Center. Among his influences are Duke Ellington, Wes Montgomery, Gil Evans, Ry Cooder and T-Bone Walker. His meticulous arrangements are integral to his jazz legacy.
Sam First Records has released a double 180-gram live recording of Wilson’s 9-instrument lineup that has been one of his preferred formats. Anthony Wilson Nonet – House Of The Singing Blossoms was recorded over two nights (3/22 and 3/23) at the Sam First club in Los Angeles. Wilson has other albums, arranged for this format. Side A opens with a swinging version of Gerald Wilson’s ‘Triple Play”. The sophisticated approach combines the improvisational gravitas of small groups with the precision of big band aesthetics. Pianist Gerald Clayton start things off with a rollicking solo. Then the tightly arranged horns/reeds join in before a tonal stretching alto saxophone pushes the intensity and hands it off to a tenor run and then baritone. It is unbridled energy and it is sustained. Wilson’s guitar is fluid and punctuated. A certain highlight is Joe Zawinul’s “In A Silent Way”. Here, the horns are not as focused, and Wilson establishes an expressive melancholic lead. It is atmospheric as a primarily quartet translation. A second Zawinul composition, “Walk Tall” is funky blues with soulful resonance and lively breaks showcasing freer explorations. It pairs cohesively with the prior track.
Side B takes on Bennie Wallace’s “Bordertown”. This is classic soul jazz with considerable muscle. It represents small group expanding to a nine-piece sinewy, almost New-Orleans jazz statement with saucy trumpet and saxophone (great baritone accents). Clayton’s solo is magnetic. A certain surprise is the cover of The Beatles’ “Because”. Wilson sets up the melody, and the horns and reeds provide a rich, warm counterpoint. The instrumentation is layered and never overpowers the intrinsic melody. The title track is a sprawling ambitious performance. There is a certain gritty edge at the core and Clayton piano solo is diverse and is complemented by the full band. Touches like deliberate horn/reed interludes, hypnotic 3/4 signature change and medium-swing guitar notation make this special.
Wilson’s arrangement skills are on full display in the original, “Blues For Wandering Angels”. This complex number begins slowly with ethereal notation. The harmonic relationship between horns and reeds is palpable. It has an Ellington-esque bluesy sophistication and Bob Reynolds excels on tenor. Clayton’s versatile piano directs the tempo changes, and there is a raw tonal quality. Trombone notation and shading help to build a swagger. There are dynamic counterpoints, harmonies and interludes with some free form improvisation. Wilson and Reynolds exchange rhythmically. On Keith Jarrett’s “Yaqui Indian Song” (the first of two covers), Wilson, Clayton and Ferber distill melodic nuances and the full band integrates discreetly into the jam. The second number “Le Mistral” combines different motifs and jazz styles. Wilson’s lyrical solo is paired with Clayton’s soul jazz elocution. Ferber’s trombone is vibrant and Wilson returns with another memorable run. Each time the horns and reeds engage, a brawny resonance envelops the musical tapestry. The finale, “Simple Song” kicks off with a harmony-layered intro that is anything but “simple”. The saxophones are a clear focus on this track. There is multi-dimensional musical imagery and even some verbal chanting. Ferber executes another passionate solo and Clayton’s poignant runs are amazing.
Sam First Records has become an important force in the promotion of live jazz. The sound mix (recorded at 24/96) is clear with excellent instrumental separation. Bernie Grundman’s mastering has produced a pristine soundscape with space and dynamic range. There are no discernible hisses or pops. The gatefold packaging and protective inner sleeves are superior.
Highest recommendation!
—Robbie Gerson
Anthony Wilson Nonet – House Of The Singing Blossoms
TrackList:
Side A: Triple Chase; In A Silent Way; Walk Tall
Side B: Bordertown; Because; House Of The Singing Blossoms
Side C: Blues For Wandering Angels; Introduction & Yaqui Indian Folk Song
Side D: Le Mistral; Simple Song.
