BE BOP BIG BAND

Carl Saunders has been leading big bands on a part-time basis ever since he was a youth, originally using arrangements given him by his uncle Bobby Sherwood. He had an occasional orchestra during his Las Vegas years and in Los Angeles ever since settling there in 1984. In 1999 Saunders finally recorded his big band, and the CD is on the Sea Breeze label.

Although several writers contributed charts for Be Bop Big Band, (Larry Dominello, Bill Rogers, John Boice, John Hall and Mike Barone plus two from Jackson Stock), it is the five arrangements by Herbie Phillips that set the mood for this rewarding project. The late Phillips, a close friend of Saunders from his Las Vegas years, was a talented trumpeter and arranger-composer who loved bebop. One of Saunders’ main motivations in recording his orchestra (in addition to being justifiably proud of the band) was the opportunity to showcase Phillips’ work.

The set gets off to a blazing start with Herbie Phillips’ “Compilation,” an exciting romp based on the chords of “I Got Rhythm.” There are rewarding solos from five of the band’s top improvisers: Saunders, the great altoist Lanny Morgan, trombonist Bob McChesney, tenor-saxophonist Jerry Pinter and pianist Christian Jacob. Ivan Lins’ most famous composition, “Love Dance,” is a particularly appealing arrangement by Larry Dominello that spotlights Saunders’ solo talents. Johnny Mandel’s “Emily” is usually taken as a slow ballad but Bill Rogers recasts it as a medium-fast jam, featuring the very fluent trombone playing of Andy Martin.

“I’m All For You” is a Carl Saunders original based on the chords of a familiar jazz standard for which its title is part of the lyrics. Jackson Stock’s chart swings hard and has superior solos from altoist Morgan and Saunders. Phillips’ “Perceptive Hindsight” has attractive chord changes and spots for three of Los Angeles’ better soloists (tenor-saxophonist Doug Webb, trumpeter Ron Stout and pianist Christian Jacob) to stretch out. As with the other selections, the ensembles are outstanding, very clean and swinging.

Quite a few of the sidemen in Carl Saunders’ orchestra have opportunities to solo, including four different trumpeters (which is quite unusual for a group that has a trumpeter as its leader). Saunders’ “Never Always,” arranged by Jackson Stock, has spots for Ron Stout and altoist Brian Scanlon. Phillips’ “Some Bones Of Contention” matches together two of the finest trombonists around. Andy Martin and Bob McChesney display their distinctive but complementary styles in solos and tradeoffs.

Herbie Phillips’ “Strike Out The Band” is not the same as Gershwin’s “Strike Up The Band!” Jerry Pinter and Bobby Shew (who played trumpet next to Saunders in the 1966 Buddy Rich Big Band) are the solo stars although it is the driving ensembles that set the intense mood for the piece. “Autumn In New York” (arranged by John Boice) is a ballad feature for Saunders, who has long had the ability to make every note count. John Hall’s “Dearly Befuddled” (no relation to “Dearly Beloved”) has some worthwhile Doug Webb tenor and a heated piano solo from Christian Jacob. The last of the Phillips pieces is “An Apple For Christa,” which lets one hear veteran trumpeter Bob Summers, Lanny Morgan and Andy Martin play speedy improvisations over the tricky chord changes.

Be Bop Big Band ends in the same way as Carl Saunders’ first two recordings as a leader, with a blues. His “Baby Blues” (arranged by Mike Barone) extensively features the leader, who shows once again that he is one of the major trumpeters around today.