Artist: Kenichi Tsunoda Big Band
Album: Savanna
Genre: Big Band, Post-Bop
Released: 1997
Quality: FLAC (image+.cue)
Tracklist:
- For Takemitsu (Tsunoda) - 10:25
- Savanna (Tsunoda) - 7:04
- Waltz for Eriko (Tsunoda) - 6:20
- Concierto de Aranjuez: Spain (Rodrigo-Corea) - 8:36
- Cherles River (Tsunoda) - 4:27
- You'd Be So Nice to Come Home To (Porter) - 5:37
- Caravan (Ellington-Tizol) - 5:54
- Broadway Jam (Tsunoda) - 5:14
- Manteca (Gillespie-Fuller-Pozo) - 6:35
- My Romance (Rodgers) - 4:58
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Despite the economic difficulties in sustaining a large ensemble, trombonist, composer, and arranger Kenichi Tsunoda has kept his stellar, Tokyo-based big band together for over a decade. Showing off the band’s versatility, Tsunoda presents a program of his own compositions, a combination of the First Movement of “Concierto de Aranjuez” and Chick Corea’s “Spain,” as well as smart arrangements of standards such as “Caravan” and “You’d Be So Nice To Come Home To.” The well-drilled ensemble includes a number of able soloists such as tenor saxophonist Tatsuya Sato, flutist Seiji Tada, alto saxophonist Keiji Hori, and pianist Yuichi Inoue.
From abrupt changes in tempos and dynamics, to interludes of Latin percussion, to brass and reed section choruses without the rhythm section, Tsunoda’s arrangements are full of surprises, all of which make sense. For example, the melody of his lovely ballad, “Cherles River,” is passed between alto, tenor, and trombone, with the full band entering only on the last few bars of the piece. These changes create additional interest without breaking the mood or affecting the overall flow.
On Richard Rogers’ “My Romance,” Tsunoda accomplishes a near perfect melding of ensemble and soloist. Guitarist Yoshiaki Okayasu slowly engages the tune by himself followed by the band—minus rhythm—playing the same melody, sounding as if they are floating in space. Okayasu reappears with piano, bass, and drums, and plays the tune in medium tempo groove with accompaniment by the brass and reeds. After an extended improvisation, he fades out, the band returns once again slowly and sans rhythm, to play the melody one last time.
Review by David A. Orthmann