A Journey Back To Potent Swing, Bebop & Big Band In the Modern Age
Sometimes when I see the tag or description “big band,” or “swing” I cringe a little. Maybe it’s just another modern band or orchestra going through the motions of emulating another era’s music — never understanding the gig, the mood, the feel, the soul of it. Where it came from, why it was popular, why it was so engaging. And the sad thing is that many of the musicians are always accomplished. There is a difference between jamming, improvising and just emulaing. No matter how great you are on the clarinet, do you understand why Benny Goodman was a giant on the licorice stick? Licorice stick? What? You never heard of Benny Goodman? And not knowing who Benny Goodman is true, because I have spoken to students who play clarinets and that part of their music education is not always evident. Last year I met with five students of drums and I casually mentioned if they had ever seen Buddy Rich or Gene Krupa live on YouTube tapes. The answer was “never heard of them.” How is this possible?
But, playing this kind of music is more than just listening to what’s been recorded and trying to re-record them, or even harder, write your own in the spirit of which the originals were made. It’s alright to say you were influenced by Brian Setzer Orchestra, the Royal Crown Revue, the Cherry Poppin’ Daddies, and Big Bad Voodoo Daddy and a host of others who are quite adept at this still popular music — despite some lesser educated people who consider this novelty music. Novelty? Maybe they should try and play it then.
But there are musicians who understand the recipe. They get it. Trumpeter Mike Field does not play like Miles Davis, but then that was bebop, jazz, jazz fusion, cool jazz and many others. No, Mike Field is a Canadian jazz trumpeter who is entrenched in swing. To my ears anyway. Not necessarily entirely 1940’s – but, closer to some hybrids of the 1950’s. Another trumpet player Steve McDade is featured as well. The instrumental has that Tony Mottola – Les Paul cool tone guitar playing that supports Field warmly in many of his tunes. In this regard, Toronto-based Joey Goldstein (who has worked with Pat Metheny) holds down the fort along with lead guitarist #2 – Craig Stull. Lots of excellence and expertise here.
This album has already reached the top of the Canadian jazz charts and has been nominated for a Toronto Independent Music Award (TIMA) — so, that said, it’s not a bunch of admirable young lads who “think” they can swing. They do swing.
Alright, a little dissection: The album opens with the title track “Attic Jump,” a hand-clapping, toe-tapping instrumental with dynamic Goldstein guitar stinging just under the surface. Vern Dorge’s & Paul Metcalfe’s saxes are warm and deep with a melody that charges through with full band swing. Back and forth and then into Goldstein’s guitar take — fiery, versatile and it never loses the grip on the groove of the tune. More sax in the right balance with Scott Alexander’s bass thud like a plodding dinosaur charging your sorry ass — just before Mike Field wails in on trumpet like a gliding bird. The finger-snapping energy in this opener is infectious. As the song proceeds all the primary instruments converge with sparks. Steve Heathcote’s drums stimulate the players and these guys are nothing short of proficient musicians – who also…more importantly understand the roots of swing. Many of the originators of swing are dead today but you can’t convince me they wouldn’t embrace these young men hard with tears in their eyes as their music is taken into the 21st Century to new ears — with respect and verve by each of these musicians.
Track two swings off with slashing lead guitar, full power house lineup of brass and tight drums. “Five Days in Hermosa,” resplendent with a cool upbeat that is relentless. Joey’s lead guitar spews out so many notes it’s hard for an ear to catch them all. This is not brass like the band Chicago, Ides of March or Blood, Sweat & Tears, Dreams, or Ballin’ Jack. This is like the remnants of swing as recorded and interpreted in the 1940’s and 1950’s. I say that because it doesn’t have the dust of the earlier big band jaunts. Though at times, with intricate piano runs, the blare of a trombone, wail of a trumpet and bellow of saxes – it has that classic “Swing, Swing, Swing,” inspiring thread running through it. Boy, that was a song that just never got old. I played it for students who are thirteen and fourteen and they asked me to play it over and over again, their smiles one of the biggest rewards I ever saw. Then I play them “In the Mood,” “One O’Clock Jump,” Artie Shaw’s “Nightmare.” Maybe one day, they will play with a Mike Field.
Track three is the most melodic – “Train Station Frustration,” – it has a nice funky understated groove. A little Latin at the beginning, and all the instruments just recorded pristinely and intense. For some reason it reminds me of Chuck Mangione — at his peak — with “Feel So Good,” and the dynamic track “The Children of Sanchez.” Drummer Davide DiRenzo lays down some great beats throughout this song. This is the dazzling playing that gets your lazy blood flowing fast. Latinos will already be up and dancing while you think about it – but, you will eventually.
“Melodic Storm,” is a basic ensemble performance with generous amounts of trumpet, a driving drum beat, and then when the lead guitar enters the fray it seems to all come together. Excellent tone and lyrical. Mike’s trumpet is Herb Alpert-like at times — and while Alpert was not considered a great trumpet player, I always thought his contribiution to music was how he showed trumpet enthusiasts how melodic the trumpet could be played. Mike gets a generous amount of good sound from his instrument. He hits excellent high notes with clarity followed by a very warm sax work by Jeff King. When the trumpet plays with the sax it’s invigorating. The drums frame all their playing as the piano adds even more melody. This is a great arrangement. The uniformity in the performance is to be admired…the understanding of what this genre was and is today — while shaking off the potential commercial urge — is to be admired. Mike Field stradles the sound of Alpert and Mangione but, he is never far from the source. He even ends the tune with a single high note the way Chuck used to do with his fluegelhorn.
“Dance of the Biometrics,” is driven by a Russian-type traditional melody. Excellent piano by Mark Camilleri. Mike’s trumpet here is still reminiscent of Herb Alpert (“Flamingo,” & “A Taste of Honey”), but, in a more challenging way. Vern Doreg’s sax maintains it’s highly jazzy deep tone with some wonderful wailing. Davide DiRenzo’s heavy handed but, accurate and clean drums have a tight grip on the rhythm. A total delight to listen to. It seems that be-bop, swing and big band music has a natural reassurgance every twenty years — it grips a new set of ears.
“Interlude (Intro to the Last Trip Home)” is just a short piano interlude that bridges the music on the collection cleverly. “The Last Trip,” has up tempo Dixieland-type drums, good brass but, the piano dominates this tune and Mark is clearly in charge with some wonderful runs. More graceful lead guitar (Geoff Young) comes in, and the bass by Scott Alexander is finally heard with its big sound. As well, William Carn’s bellowing trombone and Vern Dorge’s snaking clarinet is marvelous. These men know how to play swing, boogie-woogie with that necessary Dixieland feel. They are just so proficient. Their diversification shines here.
Back in a retro groove, definitely inspired by the swing of the 40’s, “High Altitude,” has that “Salt Peanuts,” type of drive. The piano continues in its high water mark in this jazz. It’s the language of another time but it seems our feet, fingers and hands have always understood it. That legacy left behind by Louis Armstrong, Artie Shaw, Bix Beiderbecke, Count Basie, Duke Ellington and Harry James and the like — too numerous to mention. Mike Field’s disciplined solo forces you to snap your fingers, bop your head and tap your toes. He has a slight Al Hirt (“Java,” & “Cotton Candy”) quality to his melodic trumpet playing though his playing is more intricate and not as commercial. Field plays in a fuller tone similar to the incredible Italian jazz-trumpet player Nini Rossi (“Il Silenzio” – on YouTube) who worldwide sold ten million copies of this jazz tune. Few are familiar with his work here in America — but, how many jazz trumpeters can claim those kinds of sales? How many even know who Nini is? I thought so.
“Autopilot,” has more ensemble playing with retro swing – and it satisfies. They just can’t miss with this formula. The band is so tight you can’t even run a razor blade through it. The style lends itself obviously, and gratefully, to each musician to take a turn at exemplarily solos. Each add their taste, and their creativity to the overall composition. Each contributes remarkable moments and no one over powers, or overplays. It’s like the miraculous performance (on YouTube) of one of Billie Holiday’s last, live TV performances on a black & white CBS Television presentation in the 1950’s. She performed, seated on a stool, “Fine and Mellow,” with several greats of saxophones, trumpet, bass and piano surrounding her. Taking their respective turns at total musical perfection. Watch Billie as she peruses each musician lovingly as they took their solo. It had to be one of the most endearing televised moments. She virtually acknowledged, pleased and happy, as each added their special touch to her greatness. If Mike Field lacks anything – he needs a fulltime, female jazz vocalist to add to the ambience of the milk and whiskey performances so evident by his wonderful band. I admire Field for allowing his musicians the generous space to solo on his record. He must have lots of respect for each performer because Field at no time even suggests that “this is my record.” I believe this is what makes this Mike Field record so great and rewarding for a listener. I never heard of any of these players – but, I know them now.
Track ten is the upbeat “One Time in Tibet,” – a jive tune and it’s totally in the tradition of the jazz greats. I’m just not convinced that this music is dead in 2016 with people like this playing it. It has that sway as rich as “In the Mood,” by Glenn Miller. What a New Year’s Eve it would be to have a band like this to entertain you, to stimulate your legs to get up and dance. Music is like medicine and this music is a great tonic. This is not music of my generation – but, my parents were right when they explained it to me. Through the years I caught pieces that moved me – even by accident. The Hotel Orchestra, Zim Zemarel’s (“Walking Home” – available on Spotify) – what a great tune that would be for Mike Field to consider.
Several years ago the musician Joe Jackson released an album called “Body and Soul,” in the tradition of the old big bands and his instrumental “Loisada,” – had a wonderfully recorded, great, moody and intense trumpet performance. Then, the beautiful and spectacular instrumentation of “Be My Number Two.” Two great songs. (Also available on Spotify).
They were a little more commercial in nature, but his swing-big band intent was genuine. Well produced and engineered and balanced the same way as a Mike Field performance. Saxes, trumpet, bass and piano – all recorded dynamically. Alright, maybe many of these Mike Field tunes are not Americana-folk-roots music. But, then if you really dissect them they are a folk music of America. Afterall, isn’t this the place where blues and jazz were born – in America. And hasn’t the world adopted and appreciated it? Then yes, this music is a folk music. And Canada (part of North America) has a righteous man performing it all with respect and magnetism. There isn’t a grain of opportunistic music here. It’s all true to its inception.
The jazz pianist Barry Harris once said: “…part of being an artist is that you don’t let anyone dictate how you’re supposed to play. And you don’t worry about reflecting the times because the true artist transcends the times.”
The concluding tune “Sing to the Evening,” features a vocal by Sophia Perlman.
Pensive, moody and dusted with a deep sincere interpretation she sings the song with all the respect of the great jazz singers. In Italy, there is a Canadian-Italian singer Daniella Nardi who is mining this very genre today. She is having much success with her own jazz band as well. Why is it so many foreigners are so good at interpreting our own music? Maybe they realize just how important, essential and wonderful this music truly is. No emulating the past – they continue in the tradition. They allow those innovators footsteps of the 40’s and 50’s scene to continue to walk. And they are all doing a remarkable job. Mike Field is there…and he makes a deep impression with his musical footsteps. Sophia is also worth exploring. Mike…don’t let her get away.
Just as it is important how an album opens and what kind of song it is – the closing tune should also be a song that lends some identity. An impression. While the entire Mike Field album is a fascinating collection – it closes with a meditative jazz-tinted beauty. It is increasingly evident that this band must scale even higher levels. There is nothing claustrophobic about their performances, but they are in competition with some vigorous new music out there and some closed, resistant minds. I’m confident with some persistence — and as time goes by Mike Field’s band and its precision playing, unifying coolness, their love of the music, its insistant good feeling, rhythmic pulse — will find its young audience because their feet won’t lie. And if there’s a dance floor….they don’t have to know the style is over seventy years old.
“Attic Jump,” is a 46-minute excursion of where this type of jazz is today.
It sounds like it still has legs, plenty of blood vessels feeding the nerves. Anyone who thought they’d be stuck listening to the old stuff, will find rewards in this refreshing well-preserved genre of jazz as performed by Mike Field — who loves melody in his die-hard jazz music and he is a reliable gatekeeper.
The album was produced by Shelly Berger and Mike Field. Tracks 1-10 were arranged by Shelly, and the final track was arranged by pianist Mark Camilleri and Mike Field. Mike Field has two other albums available: “Rush Mode,” & “Ashes.”
Website: http://www.mikefieldjazz.com/music
Facebook: https://www.facebook.com/mikefieldjazz
SoundCloud: https://soundcloud.com/mikefieldjazz
Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.
John Apice / No Depression / July 2016