The 14 Jazz Orchestra – The Future Ain’t What It Used To Be
Labels:Dabon Music LLC
Number of Tracks:11
From the Album:The Future Ain’t What It Used To Be
Available Date & Time: Apr 01 2019 12:00:00 EDT
Impact Date: n/a
We are excited to announce the launching of The 14 Jazz Orchestra's new YouTube site (The 14 Jazz Orchestra) with new videos from our recent recording, The Future Ain't What It Used To Be. We have opened up our site with 2 compositions by Chick Corea, Blue Miles and Armando's Rhumba, featuring Latin Grammy Winner Ed Calle on Tenor and Soprano Sax, along with Ed Maina (Alto Sax & Piccolo) and Drummer Lee Levin. YouTube users can find the videos by searching "The 14 Jazz Orchestra", get a direct link at the band's Facebook Page, or at our website, 14jazzorchestra.com.
We are currently working on the music for a future recording release, circa 2021. In the meantime, listeners can continue to follow our music on CD, Downloads, and by Streaming through all the major distributors.
Thank you for your continuing support.
Dan Bonsanti & The 14 Jazz Orchestra: The Future Ain’t What It Used To Be | Jazz Journal
This is the second album (the first was Nothing Hard Is Ever Easy (reviewed in Jazz Journal, April 2016) by arranger, saxophonist and educator Dan Bonsanti.
Every member of the 14 Jazz Orchestra is a graduate of the University of Florida’s prestigious Frost School of Music. Nine of the album’s themes were arranged by Bonsanti. Special guests include Randy Brecker, Danny Gottlieb, and Mark Egan.
Proceedings start with Chick Corea’s Armando’s Rhumba, with Ed Maina’s piccolo solo as a highlight. Firewater features guest tenor Mark Colby and trumpeter Cisco Dimas. Chick Corea’s composition Blue Miles features Jim Gasior’s blues-inflected piano, followed by straightahead orchestral choruses, Ed Maina’s wailing alto and Ed Calle’s authoritative tenor, with crisp punctuation from drummer Jack Ciano. Jobim’s haunting Triste starts with, and maintains, a pulsating bossa nova rhythm, with lilting flute by the versatile Maina.
Perhaps the standout track is a mischievous and witty cover of Tennessee Ernie Ford’s hit, retitled 16 Tons (Give Or Take), with funky guitar licks from Tom Lippincott, muted trumpet by Ray Chicalo and Peter Brewer’s down-home baritone solo. Also well worthy of attention are Wayne Shorter’s original Dance Cadaverous with solos from Gasior and trombonist Dante Luciani, and Seventh Sign with Mark Egan on bass and Danny Gottlieb on drums.
Rice Pudding is an out and out swinger from start to finish, with more blues-flavoured guitar from Lippincott, Randy Brecker’s high-voltage electric trumpet, and guest drummer Marko Marcinko keeping everyone together. The closing track, the evergreen ballad I’ll Be Seeing You, arranged by Bonsanti, showcases Rick Margitza’s evocative tenor and the versatile Maina on flute.
If your preference is for present-day big bands staffed by highly competent musicians playing carefully crafted arrangements, then Dan Bonsanti and his numerous disciples should be preaching to the already converted.
Proud to announce our 12th week on the JazzWeek (Top 50 Jazz Radio Play) Chart. It's been a great run, peaking at #5 and remaining in the top 18 for 9 weeks. Special thanks to all the creative artists and engineers whose talents made this recording project possible.
Additional information about the ensemble, players, director, and the recording sessions for this project is available online at our website www.14jazzorchestra.com
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