Northeast Wisconsin Music Review

Performance: Big Band Jazz

Birch Creek Music Performance Center

Egg Harbor , WI

August 3, 2007

Basie, Ellington and Miller Vol II: Jazz II in full Flight

Faculty and students alike seemed to be running on jet fuel as Birch Creek’s second jazz session jelled powerfully this third night out. First, another group of students matched the higher standards exemplified by this year’s first session gathering. It is clear: the more altitudinous Birch Creek’s reputation, the better the young musicians who are drawn here. The ensemble playing in the gazebo beforehand and both student bands, Studio and Lab, were well-honed, executing sharply and offering lively solo work. These bands, in common with their first session counterparts, produced bigger, bolder sound than heard before at the campus, another mark of performance advancement. Given this kind of start, these budding young artists can take even greater advantage of the superb tutelage provided by the Birch Creek faculty.

Those very faculty members brought their own blistering power to the evening’s main course, a liberal sampling of themes made famous by the above-mentioned trio of band leaders. From the opening measures of “Jumpin’ at the Woodside,” one had all the necessary confirmation that this was another of Birch Creek’s truly best big bands. Searing solos by lead alto David Bixler, tenor saxophonist Doug Stone and trumpeter Clay Jerkins lit the way through this romp that had all the lift and buoyancy of the original. A brisk segue to “American Patrol” preceded a sizzling take on “Take the A Train,” sung with sumptuous and assertive singing by Mardra Thomas and more exciting solo moments from Bix and Jenkins, both of whom were full-out fiery in their pleadings. “Satin Doll” afforded the incomparable rhythm section to further illuminate the Ellingtonian pulse (very different from the Basie beat). Pianist Reggie Thomas, guitarist Rick Haydon, bassist Jeff Campbell and drummer Rich Thompson are so engaged and sophisticated in their art that no nuance escapes them, nor does any element of passion remain unexpressed. With such a foundation, the rest of the band is prodded, inspired and freed to fly high. “Shiny Stockings” (with some subtle, radiant contributions from Reggie Thomas) and “In the Mood” finished the first half with unflagging energy.

Part two began with “Basie Power” by Ernie Wilkins (one of Basie’s finest later period arrangers), fortified by strong solos from Reggie Thomas, trombonist Rick Culver and tenormen Doug Stone and Jack Finucane. Other prime attractions were a “Li’l Darlin’” even more lush and tonally refulgent than any heard from the Basie ensemble that premiered it. Intonation, always a precise matter for Birch Creek bands, was spot-on, enabling composer Neal Hefti’s harmonies to register with magical effect. Duke’s “In a Mellow Tone” featured, among other wonderful things, a solo by baritone saxophonist Andy Ament: good ideas, handsome tone. Guitarist Rick Haydon led with a keen-edged solo and trombonist Steve Horne lent a mellow, full-toned solo turn to enhance the tune. Reggie Thomas’s lovely, posh arrangement of “That Sunday, That Summer” gave wife Mardra another opportunity to lavish her beguiling, ever-fresh artistry on an appealing standard. “April in Paris” and “Don’t Git Sassy” sent the evening headlong toward its forceful finish with more exceptional solo intervals from Clay Jenkins and some scintillating ripples and fills from the inimitable Reggie. A fast, created-on-the-spot blues served as an encore, with another feverish solo from David Bixler and stunning drum work from Rich Thompson to make manifest just why jazz is such a compelling art form.

At Birch Creek it’s heard in its purest, most vital form – time after time. (Erik Eriksson)