The result is a wide-ranging brassy expression that has a David Amram (Manchurian Candidate) or Don Sebesky (George Benson's White Rabbit) feel. The large ensemble's collective personnel consists of Seneca Black (tp); Matt Holman, Dave Smith and Russ Johnson (tp,flhrn); Tim Hagans (flhrn/solo on first six tracks); Alan Ferber, Mike Fahie and JC Sanford (tb); Chris Olness (b-tb); John O'Gallagher (sop,as); Ben Kono (as,fl,cl); Quinsin Nachoff (ts,cl); Dan Pratt (ts,fl,cl); Carl Maraghi (bar,b-cl); Jeremy Siskind (p,el-p); Nate Radley (g); David Ambrosio (b); Bill Stewart and Owen Howard (d); Andrew Rathbun (dir,comp); Luciana Souza and Aubrey Johnson (voice).
I can't recall the last time I heard an album this exciting on such a large scale. Rathbun has a firm command of the colors in the brass section, sifting trombones together with French horns and topping them with trumpets and Tim Hagans' flugelhorn. The reeds have a misty feel, filling the spaces with texture. Bill Stewart's drums are quite busy throughout and keep the arrangements on edge. On the first CD, Souza adds a Flora Purim-feel on her vocals, which hearken back to the 1970s.
The reeds play a central role on the second CD, jumping around like wild hares. If you listen carefully, Johnson's vocal on the second CD mirrors the high-pitched instrumental tones, which is fascinating, especially on the song known only as I. Her voice gives these tones a warm, glowing value.
Recorded in 2016 and released earlier this year, Atwood Suites is a must own. The album is a feast for the ears and is perfect for autumn. Having interviewed Margaret Atwood, I can say that the music is as gentle and as tough as she is. If you dig orchestral work, this one worth exploring.
JazzWax clips: Here's a promo for the album...
And here's Two Islands I and Two Islands II...
This story appears courtesy of JazzWax by Marc Myers.
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