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Reviewers: Tony Augarde [Editor], Steve Arloff, Nick Barnard, Pierre Giroux, Don Mather, Glyn Pursglove, George Stacy, Sam Webster, Jonathan Woolf



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SEATTLE REPERTORY JAZZ ORCHESTRA

Jimmy Heath: The Endless Search

Origin 82565

 

 


1. Part 1 The Endless Search
2. Interlude
3. Part II Inside Your Heart/ Where It Started
4. Sleeves
5. Passage Noir
6. Haitian Fight Song
7. Creole Love Call

Jimmy Heath, Hadley Caliman - Tenor saxes
Michael Brockman - Lead alto sax, soprano sax, clarinet
Mark Taylor - Alto sax, tenor sax
Travis Ranney - Tenor sax, clarinet
Bill Ramsay - Baritone sax
Scott Macpherson - Alto sax (track 6)
Scott Brown, David Marriott. Jr, Dan Marcus, Bill Anthony - Trombones
David Bentley - Bass trombone
Cesar Amaral, Andy Omdahl, Dennis Haldane, Jay Thomas, Thomas Marriott - Trumpets
Clarence Acox - Drums
Phil Sparks - Bass
Randy Halberstadt - Piano
Bill Anchell - Piano (track 5)
Jon Hansen - Tuba (track 5)

 

Jimmy Heath is one of the great tenor saxophone players in jazz and he is also a very skilled arranger and composer. He has played in many of the most famous groups in jazz as a sideman and soloist and also served many, including Dizzy Gillespie, as composer/arranger. From his soloing on this record alone it is easy to see why he has such an enviable reputation. His improvisations are exquisite and worth the price of the album on their own. The same goes for his arranging and composing skills which provide the Seattle Repertory a challenging task, which it is well up to.

This version of The Endless Search was recorded in December 2007; the orchestra had played the suite at concerts a year earlier and here they sound entirely comfortable with the music.

Sleeves was written by Jimmy Heath in 1984 and it is based on a re-harmonisation of Autumn Leaves. Passage Noir was written By Michael Brockman whilst in Paris. Haitian Fight Song is a Charles Mingus composition: this arrangement by Sy Johnson, was recorded by the Mingus Band in 1999. Creole Love Call is one of the great Duke Ellington classics played at a slightly faster than normal tempo. It demonstrates the versatility of this great orchestra to adapt to any period of jazz and pull it off. The audience obviously appreciate it!

Looking at the sleeve photographs, the SRJO has musicians of all ages, who all have the consummate skills required to play the best in big-band music. I originally approached this CD with some trepidation, for fear that it would turn out to be the kind of music that is phenomenally difficult to play, but hell to listen to. That is certainly not the case; this music is very accessible and played by a band of excellent musicians.

Don Mather



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