What's that you say? A New York-based Jazz Orchestra as admirable as this one whose recording debut was delayed for more than twenty-five years? There ought to be a law! Well, in this case it wasn't the law but a lawyer who sidetracked the orchestra's debut for so many years. His name is Brett Gold, and he set aside his trombone and dream of leading a band while in college, following instead his parents' wish that he pursue a more practical (and financially rewarding) career as an attorney.
Even as Gold flourished in the field of international and corporate tax law, however, the dream never died, and he decided at last to assemble an orchestra to perform a number of the songs he had written and arranged while looking forward to the "someday" in which his long-held aspiration might become a reality. The result is Dreaming Big, a bright and always engaging mosaic of prismatic colors, harmonies and rhythms that marks the arrivalbetter late than neverof a bold new voice on the big-band scene.
As for the music itself, Gold takes his cue from Ellington, Strayhorn,
"
data-original-title="" title="">Don Ellis, Thelonious Monk and such film composers as Bernard Herrmann, David Raksin and Ennio Morricone, having studied composing and arranging with Mike Abene,
"
data-original-title="" title="">Mike Holober at the BMI Jazz Composers Workshop. The opener, "Pumpkinhead, P.I." is one of two twelve-tone compositions (the other is "Infinity Row"). There's a stylish mambo ("That Latin Tinge"), a slow waltz ("Stella's") and a faster one ("Lullaby for Lily"), songs inspired by Thelonious (the playful "Monkfish," featuring
"
data-original-title="" title="">Frank Basile's rumbling baritone sax), those Hollywood composers ("Theme from an Unfinished Film") and even Shakespeare ("Exit, Pursued by a Bear," a slow blues based on a stage direction from The Winter's Tale). The ambitious eleven-minute finale, written with Gold's Moroccan sister-in-law in mind, depicts in musical terms the Arab-Israeli war of 1948.
The orchestra is razor-sharp, with impressive solos along the way by Basile; tenors
"
data-original-title="" title="">Scott Neumann. As debuts go, meticulously planned and superbly executed. Let's hope we don't have to wait twenty-five years for an encore.
Pumpkinhead, P.I.; Stella’s Waltz; Dream Moon; Al-Andalus; Lullaby for Lilly; Exit, Pursued by a Bear (Slow Drag Blues); Infinity Row; Theme from an Unfinished Film; That Latin Tinge; Monkfish; Nakba.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
Go Ad Free!
To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.