Rayna's Dance
See the CD Liner Notes below
Order direct from Full Spectrum Jazz Records, Inc.:
calmeida@sbcglobal.net
"A second helping of invigorating big-band jazz from the
marvelous San Francisco-based ensemble Full Spectrum."
Liner Notes
Established in 1996,
FSJ remains dedicated to performing the “Full Spectrum” of big band
jazz repertoire. Comprised of Silicon Valley high-tech professionals, FSJ has
garnered a reputation of delivering unique collections of music at local
performances and radio broadcasts around Northern California.
In addition to keeping the big band genre alive and
contemporary, we have a few other objectives in our charter. Although
jazz festivals and corporate events are FSJ's bread and butter, local
festivals and civic center and park concerts are personally important
to us because of the joy we feel when bringing our music to the communities
in which we live and work. Seeing children, teens, and adults young and
old dancing on the grass as we play tells us we are reaching across multiple
generations. We are working to bring FSJ performances into area schools
to reach children with the wonder of live music early in their lives.
We are committed to providing a quality ensemble for local composers'
works, giving them a place to hear their work-in-process. This has the
added benefit of adding some wonderful, new material to our repertoire.
Performances and internet broadcasts for radio stations
KCSM-FM (San Mateo), KPFA-FM (Berkeley), and KGO-AM (San Francisco) have
allowed us to connect with audiences well beyond the Bay Area. We appreciate
their support and look forward to continuing to reach out to big band
jazz fans, wherever they can be found—or created! As
evidenced by this recording and our prior album, First Time Out, the band
savors a wide range of styles and genres, from early Sammy Nestico swing,
through 1980’s fusion, up to modern-day original compositions. So hold on
to your seat and enjoy the ride as we present Full Spectrum Jazz’s
latest…Rayna's Dance.
1. Ya Gotta Try
Composer/Arranger Sammy Nestico; features Walter
Bankovitch, piano; Chuck Wasekanes and Paul Paternoster, tenor sax; Carlos
Almeida, drums
Many of the FSJ players grew up listening to the great performance big
bands of the 70’s and 80’s. Among the favorites were the Maynard Ferguson
Bands, Stan Kenton Orchestra, Woody Herman’s Thundering Herd and, of course,
the Buddy Rich Band. We have many of Buddy Rich’s hit charts in our book
and decided to put one of our all-time favorites, Ya Gotta Try, on this album.
The FSJ opening of this well-known Nestico standard is our own little twist on the
original. One of the key elements to FSJ’s driving energy lies in the
relentless drumming of Carlos Almeida. In this version of Ya Gotta Try, you get a very good taste of what Carlos brings to any
big band that he drives. In Buddy Rich’s band, the only other
guy that was in a spotlight with leadership status was the lead trumpet
player. Buddy’s personal favorite was Dave Stahl because of his consistency,
precision, and high-note chops. A one-time student of Dave Stahl
and one of his biggest fans, Dan Hallock, shares the lead book
in FSJ and you can hear the influence clearly on this track (remember, the double
high A at the end is not in the original ink, but Dave Stahl always played it
— and so does Dan). You can clearly hear that we were striving for the
Buddy Rich interpretation rather than the more reserved Count Basie one!
Soloists are Walter Bankovitch, piano, Chuck
Wasekanes and Paul Paternoster, tenor sax.
2. In the Evening (When the Sun Goes Down)
Composer Leroy Carr, Arranger Frank Mantooth; features Duane
Lawrence, vocal; Walter Bankovitch, piano; Chuck Wasekanes, tenor sax
FSJ is proud to have one of the Bay Area’s finest
vocal artists, Duane Lawrence, performing with us on a
regular basis. Duane’s energy and musical artistry are no better
demonstrated than on In the Evening. This arrangement
was originally commissioned by the Strategic Air Command Notables, Offutt
AFB, Nebraska, and was subsequently recorded by Frank Mantooth with Kevin
Mahogony on vocals in 1992.
Anyone who has ever loved knows how it feels
when a lover has gone, and might feel like shouting out that feeling as
Duane does in this gospel and blues tune. Walter Bankovitch takes the piano solo. As the pianist with the Oakland
Interfaith Gospel Choir, Walter is very familiar with the gospel blues
style of this chart. Frank Mantooth, one of the most prolific modern day
big band composers and arrangers, characteristically adds a unique twist
to his arrangements, and the interlude section of In
the Evening provides that twist. Chuck
Wasekanes’ tenor solo leads into the interlude, highlighted by Roger
Levinson’s Harmon-muted trumpet melody. FSJ knew that Duane was going to
be the vocalist for the band
the first time he showed up at rehearsal. He came prepared with a complete
book of arrangements by some of our favorite artists. In the Evening is
just one of the many tunes in Duane’s book that
the band likes to play for the “band” part, not just Duane’s great vocals.
3. Love Letters
Composer Victor Young, Arranger
Paris Rutherford; features Walter Bankovitch, keyboard; Sebastian Lanson,
guitar; Paul Paternoster, tenor sax; Dan Hallock, trumpet
Love Letters is Victor Young’s
title theme song from a romantic 1945 drama starring Joseph Cotton and
Jennifer Jones. As a matter of fact, this song was the highlight of an
otherwise somewhat “artificial soaper” and Victor Young’s rendition is
the movie’s “only real asset,” according to film critic Leonard Maltin.
The original lyrics were:
Love letters
straight from your heart,
Keep us so near while apart,
I'm not alone in the night,
When I can have all the love you write,
I memorize every line,
And I kiss the name that you sign,
And, darling, then I read again right from the start…
These lyrics must
have been in Paris Rutherford’s mind when he arranged this rock ballad
big band version for the Dallas Jazz Orchestra. It was specifically arranged
to feature several members of DJO, including trumpeter and leader Galen Jeter
for the first time on a DJO album. Similarly, this is the first FSJ recording
to feature Dan Hallock, performing a soaring trumpet solo,
in addition to the guitar work of Sebastian Lanson, piano of Walter Bankovitch, and tenor of Paul Paternoster
Galen of DJO was kind enough to allow us to record
this unpublished chart. Paris Rutherford
teaches jazz arranging as an associate professor of music at the University
of North Texas since 1978 and was a former member of the Dallas Symphony
trombone section. Elton John and Bonnie Raitt recorded this composition
on their 1993 Duets album.
4. Miles Files
Composer/Arranger Steve Wiest; features Sebastian
Lanson, guitar; Paul Paternoster, tenor sax; Mike Humphrey, trombone
This piece
is written in the style of the modern Miles Davis fusion sound. It features
trombone and tenor (Mike Humphrey and Paul Paternoster) in
a small group statement of the tune that builds to high powered intensity.
After two solo sections (one fusion, one straight-ahead), there is a third
explosive solo section where the brass alternate John Scofield-like phrases
with drums and percussion fills. The trombone section (Bill Rhea,
Mike Humphrey, Craig Dunwoody, and Steve
Fitzsimons) delivers a forceful finish.
Steve Wiest
composed Miles Files in 1985
during the time he played trombone and arranged for the Maynard Ferguson
Band, with whom he made two recordings. He played with the University
of North Texas One O’Clock Lab Band, where he received his Master’s Degree
in Jazz Studies and was featured on seven recordings, one of which includes
this tune. Steve is now Director of Jazz Studies and Trombone at the University
of Wisconsin at Whitewater.
5. Moonlight in Vermont
Composer Karl Suessdorf, Arranger Frank Mantooth; features
Duane Lawrence, vocal; Scott Hecker, trumpet; Chuck Wasekanes, tenor sax
Another Mantooth
arrangement that the band loves to back Duane on is Moonlight
in Vermont. A Frank Mantooth arrangement commissioned by the Jazz Members Big Band,
this chart features the band letting loose on a straight-ahead shuffle. Scott
Hecker plays the Harmon-muted
trumpet dialog with Duane. Chuck Wasekanes, tenor sax,
obviously feels at home soloing against this groove since he spends much
of his time performing with Cross
Currents, his own local fusion group and a real favorite of the Bay
Area jazz club scene.
An earlier
arrangement recorded as a ballad by Frank Sinatra was in Duane's mind
even as he performed this modernized funky love song with a nod toward
Al Jarreau in a relaxed shuffle rock style.
6. Rayna’s Dance
Composer Roger Levinson, Arranger Howard Cespedes; features Roger Levinson, flugelhorn and trumpet; Mike Humphrey, trombone
The title track of this CD, Rayna’s
Dance, is an original composition by Roger
Levinson. Several days after his first child’s birth, Roger needed
to get some time to play his trumpet. This drive is something that all
musicians can relate to. Instead of jumping into the standard warm-up
and exercises, he decided to just “noodle.” Well, the overwhelming experience
of the preceding days took hold of all of his musical thought and Rayna’s
Dance was born. The tune was spontaneous, but Roger knew that it would
stick.
Soon afterwards, Roger commissioned
FSJ’s good friend and colleague, Howard Cespedes, to take the tune and
arrangement outline and fill in the holes. After a couple of interactions,
Howard said, “OK, I think I know what you’re looking for.” Several months
later, Rayna’s Dance was delivered,
and that was that. No edits. No changes.
Roger’s rubato flugelhorn introduction
is the first statement of the
melody and represents the anticipation of the arrival of a first child.
The arrangement then follows Rayna’s increasing passion for music and
dance, accentuated by the percussion of guest artist Brad Ranola.
As an infant, then toddler, Rayna loved music and would
dance enthusiastically. As she has grown, her enthusiasm has grown as
well, as does the intensity of the arrangement, with solos by Roger on trumpet and Mike Humphrey on trombone. The piece builds to a
climactic end, where three trumpets
take turns on the final sustained high note phrases; first Andy
Scott, then Dan Hallock,
and then Roger, as if there
were no end to Rayna’s Dance. As one of the original compositions
on this CD, Rayna’s Dance was
chosen as the title track to highlight the importance of our families
to the FSJ members.
7. Ill Wind (You’re Blowin’ Me No Good)
Composer Harold Arlen, music, Ted Koehler, lyrics, Arranger Sammy Nestico; features Duane Lawrence, vocal
Duane Lawrence delivers clever lyrics to tell
the story in this soulful
ballad, using the concept of a bad wind as a metaphor for a troubled relationship
that you can't stay away from. This arrangement was recorded by Sarah
Vaughn in 1981 with the Count Basie Orchestra.
8. First Circle
Composers Pat Metheny, Lyle Mays, Arranger Robert Curnow; features
Walter Bankovitch, piano
First Circle reminds us of what Stan Kenton’s bands would
have sounded like playing
a Pat Metheny and Lyle Mays composition. The many colors, powerful soloists,
and range of dynamics from quiet and pensive to roaring, would have fit
right into Kenton’s unique style. FSJ carries on the Kenton tradition of a
wide-ranging repertoire that challenges
the musicians as well as the audience. This particular arrangement, acclaimed as one of the best
big band arrangements ever done, is rhythmically complex. Right from the
start, alternating 12/8 and 10/8 bars of 3-2-3-2-2 and 3-3-2-2 patterns
tells you this is not your father’s big band arrangement. There are constantly
shifting meters and sounds from the various sections, creating an intellectually
stimulating tone poem of continually increasing waves, with a driving
modern beat beneath all.
9. Stiletto
Composer/Arranger Dean Boysen; features Ruben Salcido,
flute; Scott Hecker, trumpet; Chuck Wasekanes, tenor sax
Dean Boysen's original
composition Stiletto was first
conceived in 1977. His first inspiration became a set of chord progressions
and a melody that were crafted into what is now the swing bridge section.
According to Dean, “The chords came to me instantly during a rehearsal
break at Marriott's Great America in 1977. I was hooked.” Listening to
and performing music that spanned from big band to Chuck Mangione, Chick
Corea and Jerry Hey, it wasn't until 1987 that the multitude of inspirations
and ideas became a complete composition. Finding a group capable of performing
it properly became the next challenge. This is where FSJ came into play—13
years later!
Fred Urrutia, FSJ
co-founder and bari sax, played tuba in a brass quintet with Dean and was
familiar with Dean as a composer. When Dan Hallock invited
Dean to sub for him, Dan asked him to bring in several of his charts for
the band to read. Off the closet shelf came Stiletto.
After the first reading that night, the band felt this music was a perfect
selection for our next CD.
We opened up the beginning a little to let Ruben
Salcido blow the flute solo, and Scott
Hecker and Chuck Wasekanes both get a chance to solo
over this Brazilian-feeling Latin chart.
10. Going to Chicago
Composer William “Count” Basie, music,
Jimmy Rushing, lyrics, Arranger Quincy Jones; features Duane Lawrence, vocal;
Andy Scott, trumpet
We chose this tune because it's a
connection to the great big bands and vocalists of the past. The original
Jimmy Rushing rendition of Going
to Chicago was actually quite risqué, as the lyrics refer to, shall
we say, a “lady” of questionable character. The lyrics were cleaned up
in Peggy Lee's version, recorded in the 1960's, but Duane had
the Jimmy Rushing rendition in mind and tried to capture some of the
grittiness of the original. Andy
Scott is featured on plunger-muted trumpet.
11. Licked Clean
Composer/Arranger David Metzger; Steve Tyler, trombone; Sebastian
Lanson, guitar; Anthony Pickard, alto sax
A bass/piano/bari
hook recurs throughout this greasy melody line. The funk shuffle features
a unison bass/trombone/bari line. Both are anchored by Fred
Randolph on bass and Fred Urrutia on bari sax.
Commissioned by Hemet High School, this
rendition features our guest artist Steve
Tyler, who previously taught on the faculty at the Dick Grove School
of Music, toured as lead trombonist for the orchestras of Mel Torme, Bill
Watrous, and Harry James, and worked for many years as a freelance musician
in the Hollywood entertainment industry. Steve is currently Director of
the Jazz program at De Anza College and the evening bands at West Valley
College.
email: calmeida@sbcglobal.net
Telephone: (408) 891-0426 |
