The UNT program began in the late 40s, when big bands dominated the musical landscape, and has long included a different rehearsal group for nearly every hour of the day. It is in this musically supercharged environment that talented young musicians have experienced preparing new work, collaborations with guest artists and frequent performances. Daily music nurturing at such a high professional standard has produced memorable bands over the years and this edition of the One O’Clock Lab Band is undoubtedly one of the school’s finest. Leader Alan Baylock, known for his own groups and arrangements, is co-producer and director here and he has assembled a particularly well-conceived set bristling with depth and conviction. The foundation of a great big band is the drummer and the lead trumpeter. John Sturino, whose arranging chops are also on display here, demonstrates a high level of expertise in the art of swing, as well as the sensitivity he brings to ballads. Lead trumpeter Nick Owsik knows phrasing and style, and possesses the necessary power to generate excitement when needed.
The opener, Mr. Sturino’s arrangement of Victor Lewis’ “Hey, It’s Me You’re Talkin’ To,” is a rousing invitation to join the party, showcasing each section of the band individually, as well as the group itself.
The excitement continues on the title track “The Rhythm of the Road,” multi-instrumentalist Brandon Moore’s composition and arrangement, featuring a relentlessly swinging shuffle groove and challenging chord changes expertly navigated by soloists Brian Woodbury on trombone, lead alto Kyle Bellaire, and drummer Sturino. Moore also arranged Chris Potter’s pensive “Train,” which features him on tenor, Daniel Pinilla on guitar, and vocalist Marion Powers, who is elegantly woven into the ensemble tapestry.
“Blues for Kazu,” composed and arranged by Brandon Moore, was written for trumpeter Kazunori Tanaka, a native of Tokyo. Mr. Tanaka is an old musical soul whose heart lies deeply in the blues, his plunger work recalling Cootie Williams. Jazz is played all over the planet these days and this edition of the group includes musicians from the US, Canada, Colombia, Cuba, Japan and Taiwan, proving once again that our homegrown art form has a message that resonates globally.
The band also includes vocalist Marion Powers, whose silky take on “A Flower is a Lovesome Thing” is a tasteful contrast to the group’s more hard-driving, brilliantly crafted arrangements.
Professor Rich DeRosa, who comes from a family of jazz educators, contributed his composition “Birds of a Feather…,” and in addition to his teaching chops, Mr. DeRosa’s flair for robust composing and his world-class arranging acumen have few peers. Pianist Paul Lees really shines here, pulling the rhythm out of the big band, taking us to new musical ground.
Alan Baylock’s demanding “Without a Doubt” is a marvel, with a “take no prisoners” absolutely cooking alto solo from Sam Cousineau. “Bachianas Brasileiras No. 5,” a Heitor Villa-Lobos composition arranged by lead trombonist Brian Woodbury, is a fascinating blend of musical styles which showcases trombonist DJ Rice.
The set closes with Brandon Moore’s arrangement of John Coltrane’s moody “After the Rain.” In a 10/8 time signature, it’s an introspective way to close the recording that broadens the set’s expressive range.
Featuring noteworthy, perfectly executed arrangements and soloists who play far beyond their years, Lab 2018 | The Rhythm of the Road demands repeated listening. Although skeptics have long believed big band jazz is no longer relevant, this recording offers proof that the big bands are alive, well and flourishing.
