Jazz the Works of Michael

Jazz

The works of Michael Mossman, Rachel Eckroth, Charlie Parker, Earl MacDonald, and Bob Berg reveal how varied and nuanced the jazz genre can be. Michael Mossman's "Partido Blue" opens with a few bars of drums before the whole ensemble comes in together: first a delightful panoply of horns playing overlapping melodies. The feel is syncopated, enhanced by the subtle bass line in the background. A tuba adds depth to the bass, which remains in a perfect pocket throughout the piece. "Partido Blue" is an uplifting piece with a strong percussive feel to the horn parts. The multiple horn sections are richly layered, which adds depth and texture to the music. Accompanied by woodwinds, the horn section works at several different registers throughout the song. "Partido Blue" is further punctuated by several changes to rhythm, time signature, and instrumentation. Thus, "Partido Blue" has excellent dynamics and so does "Out of the Blue (OTB)." A tasteful alto saxophone solo about one-third of the way through the piece is mellow and integrates well with the predominant trumpet. Undulating rhythms, richly layered horn and woodwind sections, syncopation and dynamics make Michael Mossman's music delightful to listen to.

Rachel Eckroth's "Monday was a Good Day" and "Long Road" are sultry, soft piano pieces with accompanying bass and drum. Piano is fully featured throughout the Eckroth songs, which fall short of being titillating in spite of the well-structured and composed piano parts. Pianist Eckroth retains a solid connection with the bass register on the piano, and works well with the bass player in both "Monday was a Good Day" and "Long Road." Moreover, in both "Monday was a Good Day" and "Long Road," Eckroth varies the time signature to enhance the dynamics of her work. In spite of her skillful playing, the Eckroth compositions remain less than compelling.

On the other hand, Earl MacDonald's "Bad Dream" is a lovely, languishing and varied piece with a lyrical opening. The song remains lyrical throughout, with prominent melodies played by saxophone and trumpet starting the piece on an uplifting note. "Bad Dream" is also structured around a series of stellar solos, while the melodies are tightly punctuated by percussive horn hits. A ubiquitous high hat adds a textural percussion throughout "Bad Dream." One quarter of the way through the piece a piano solo features treble register melodies and walking scales. The long solo is an impressive and varied one. The pianist brings in bass chords that blend with the bass player's walking bass line. After the lengthy piano solo, a tasteful trumpet solo livens up "Bad Dream." Next, a bass solo features only the skillful bass line and jazz drum brushes helping to keep time. Wrapping up the piece, the clarinet, trumpet, and other horn and woodwinds come in together and reprise the opening melody.

Jazz legend Charlie Parker lightens up any soundscape. Parker's bebop harmonies and rhythms set the stage for contemporary jazz greats. In "Moose the Mooche," a walking bass line and steady jazz drumming back up the playful saxophone and trumpet melodies. The saxophone and horns interact with each other harmonically but their parts are not freestyle but rather skillfully executed with purposeful rhythms.