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| With "Jazz Passion & Satin Latin," JIMBO ROSS, Legendary Jazz Violist, Returns to His Roots At a concert during the mid-1970s, Don Ellis introduced JIMBO ROSS as "the only jazz violist in captivity." Nearly a half-century later, there aren't many jazz musicians who have taken up the viola, which is both the "big brother to the violin, " and the middle voice in both string quartets and orchestral string sections. While violists usually play the inner harmonies when grouped with other instruments, they are sometimes the most passionate believers in the power of music. Ross credits those repetitive orchestra parts for giving him a deep appreciation for functional harmony. Many great composers, including Bach, Mozart, Beethoven and Hindemith played the viola and wrote music for other violists. Some violists took their passion for music into their professional lives including legendary producer John Hammond and music critic Jeff Bradley. And a few brave souls decided to become jazz musicians, including Lois Martin, Mat Maneri, and Leroy Jenkins. But even adding in those violinists who occasionally doubled on viola, Ross had a corner on the market as one of the only working jazz violists in Los Angeles. Over the years, Ross has built an impressive list of credits, working with a vast group of performers including Don Ellis, Frank Sinatra, Sarah Vaughan, Barbra Streisand, Bob Dylan, The Band, Ray Charles, Ella Fitzgerald, Shirley Horn, Tony Bennett, Stevie Wonder, The (Dixie) Chicks, Chick Corea, Coolio, Marty Paich, David Foster and many others. One of his earliest bands was a Django Reinhardt-styled gypsy jazz group, with Ross playing solos in the style of violinist Stephane Grappelli on viola. After his year-long tenure with the Don Ellis orchestra, during which he performed on the group's final two albums, Music from Other Galaxies and Planets and Live at Montreux, Ross co-led a group which was the first house band for the legendary L.A. jazz club, Vine Street Bar & Grill. Ross' new album, JAZZ PASSION & SATIN LATIN, hearkens back to his jazz roots with an accessible playlist of Great American Standards, jazz classics, and original compositions. Sharing the front line is guitarist JOE GAETA, pianist STUART ELSTER, bassist PETER MARSHALL, and drummer RON WAGNER. After deciding the tracks and then performing the arrangements live, the band entered the Sonic Boom Room studio and recorded the tracks together (with minimal overdubbing and no track-stacking) over a four-day period. Ross plays a modified copy of a classic viola, reproduced on a 3-D printer, and dually upgraded with a 5th string to extend the upper range of the instrument, and an electronic pickup to allow it to be heard alongside the other instruments. The album opens with the Victor Young movie theme, "Delilah, " based in part on the classic arrangement recorded by Clifford Brown and Max Roach. Ross plays a powerfully swinging solo over a background that alternates between straight-ahead swing and Latin. Elster's chorded solo sparkles, while Gaeta's single lines provide strong rhythmic momentum for the group. The familiar ballad "Polka Dots and Moonbeams" lets the band play pretty. Ross creates elaborate curlicues around the melody in the first chorus, segueing into a fully developed improvisation in the second and third, before returning to the tune in the final 16 bars. Wes Montgomery's original "Jingles" inspires another great solo from Ross, featuring long phrases over the complex formal tune structure. Elster's piano leads to Gaeta in a solo which pays homage to Montgomery's influential style. "Don, the Working Man" is a Gaeta original which starts with a rubato viola introduction before moving into waltz time. Ross plays the gentle melody with care, before soaring into his solo. The composer follows, making much of the alternating styles built into his arrangement. The Barry Harris tune, "Lolita, " is set over Marshall and Wagner's grooving samba beat. Gaeta's solo moves from single lines to block chords a la Wes, followed by Ross' rhapsodic inventions and Elster's crystalline solo. The band's treatment of "The Night Has a Thousand Eyes" is reminiscent of Stan Getz's arrangement from the album The Dolphin. In addition to being a great movie theme (and subsequent jazz standard), "Emily" became the favored name for daughters of jazz musicians. The combo's waltz-time setting does great justice to this beloved Johnny Mandel melody. Peter Marshall makes the best of his solo opportunity on this track. Another venerable standard, "Indian Summer, " is presented in a fresh swinging arrangement, far removed from its traditional ballad setting. Wagner trades thoughts with the other soloists before the recapitulation. Joćo Donato's "Know It All" (from a Wes Montgomery LP) and Gerry Mulligan's "East Lag" (from an Oscar Pettiford date) are both lesser-known tunes that are happily resurrected here and deserve further coverage on jazz gigs and recordings. "My Man's Gone Now" is a dramatic highpoint from the Gershwin opera Porgy and Bess. While the band's arrangement is generally lighter than the original version, the soloists wring out the emotions in their heartfelt performance. Sam Jones' snappy original "Says You" is another neglected tune from an old Wes Montgomery album. The group brings the tune to life with energetic solos and fine ensemble swing. The album concludes with a charming setting of the Ernest Lecuona melody "The Breeze and I, " here arranged in long meter with the melody flowing over a brisk undercurrent. In addition to this stellar jazz quartet, Jimbo Ross also leads his Bodacious Band, which covers a wide range of styles ranging from Chicago blues to New Orleans Zydeco, with stops for R&B, funk, and soul. Clearly, Ross' musical explorations will not end anytime soon. JAZZ PASSION & SATIN LATIN will be available digitally on selected platforms on August 23, 2024. Physical copies will be available at Bandcamp. Online: Bodaciousrecords.com/about-jimbo-ross Facebook.com/jimboross write your comments about the article :: © 2024 Jazz News :: home page |