John Fedchock's New York Big Band: Like It Is

MAMA Records
By Ric Bang
Buy CD: Like It Is

Hot darn! 

When you’re truly great, you can follow a previous “fantastic” effort with one that’s even better.

This is the fifth release from John Fedchock’s New York Big Band. I’ve reviewed and enjoyed them all, and this one’s no exception. And no surprise: Some of the artists in this unit have been together for 20 years!

Fedchock was part of Woody Herman’s wonderful Herds for years, as both an instrumentalist and chief arranger, so it’s no surprise to expect great jazz from him. This release contains five tunes from the Great American jazz and classics songbooks, along with five originals by Fedchock, who also arranged everything. The classics include “You and the Night and the Music,” “Never Let Me Go,” Duke Ellington’s “Just Squeeze Me,” Cedar Walton’s “Ojos de Rojo,” and the oldie “For Heaven’s Sake.”

Of the Fedchock originals, “Ten Thirty 30” was drawn from Clifford Brown’s music and solos. 

I regard Fedchock as the premier trombonist playing today, which also has been for decades. The tone he gets from his horn is to die for; it’s clear, clean and just plain gorgeous. 

In his day, Tommy Dorsey wasn’t really considered a jazz artist, but he sure had a great tone. Just listen to Fedchock on “Never Let Me Go”; he’s warm and lush. He also swings with the best of them; his solos on five of these charts really groove.

One key factor of Fedchock’s arrangements is the “room” he makes for solo work by his instrumentalists. His charts here include almost 20 solo passages, covering all of the unit’s sections. 

It should be noted that his drummer, Dave Ratajczak, made his final recording during this session; he died just four months later. He was, in the jazz vernacular, a tasty and swinging artist.

Fedchock also fronts smaller groups, in addition to this big band. I probably have most of his albums in my library, which I’m sure is the case with any true jazz collector; Fedchock is great in any venue.

The John Fedchock Quartet: Fluidity

Summit Records
By Ric Bang
Buy CD: Fluidity

I’ve always been partial to jazz trombone. During the big band era, I was knocked out by artists such as Bill Harris, Bob Brookmeyer, Carl Fontana, Bill Watrous, Frank Rosolino, Kai Winding and J.J. Johnson; these days, it’s John Fedchock. 

Born during the latter years of that wonderful era, Fedchock studied at Ohio State University and the Eastman School of Music. He began his career in the 1980s, touring with Woody Herman’s Thundering Herd for seven years, during which time he was a featured soloist, musical director and arranger. 

Fedchock also worked with the likes of Thelonious Monk, Gerry Mulligan, Louie Bellson and the Manhattan Jazz Orchestra. These days, he fronts his own big band and smaller combos. Fluidity, recorded live at the Havanah Nights Club, features him in a quartet setting with pianist John Toomey, bassist Jimmy Masters and drummer Dave Ratajczak.

This release is deliciously relaxed and beautifully performed. Six of the nine tracks are well-known standards, done at moderate and balladic tempos: they include “East of the Sun,” “The Days of Wine and Roses” and “I’ve Never Been in Love Before.” Such immediately familiar tunes clearly had a positive impact on the musicians and their audience. 

Additionally, just to make sure everyone had something to groove to, the guys included a few charts composed by Fedchock — “Havanah” and “Under the Radar” — along with Joe Henderson’s “Homestretch.”

Fedchock produces a great tone from his horn. At ballad tempos, it’s smooth, pure and expressive; conversely, during up-tempo movers, he gets a little rougher and more strident ... and really grabs you by the throat! His solos are inventive at any tempo. 

His cohorts are the ideal complement; Fedchock has known and played with them for years. Toomey and Ratajczak also attended the Eastman School of Music, and the latter isn’t your average jazz drummer; he also worked in the pit bands for numerous Broadway shows.

Fedchock’s liner notes are excellent and informative, so don't ignore them. Sadly, the Havanah Nights Club — like too many similar venues — folded not long after this live session. Finally, and sadly, Ratajczak passed away from cancer, less than a year later. He’ll be missed.

But be sure you don’t miss this release. It’s an excellent reminder of the top-notch jazz still available in (ever fewer?) venues nationwide

John Fedchock: Live at the Red Sea Jazz Festival

Capri Records
By Ric Bang • Originally published in The Davis Enterprise, 10.07.10
Buy CD: Live at the Red Sea Jazz Festival


Trombonist John Fedchock first lit my fire in 1980, while he was playing with Woody Herman's Thundering Herd. Fedchock toured with that band for seven years, and served as musical coordinator/chief arranger on Herman's final Grammy Award-nominated albums: 50th Anniversary Tour and Woody's Gold Star.

Fedchock has been a key member — and arranger — for many of the top big bands that have kept that genre alive: Gerry Mulligan's Concert Band, Louie Bellson's Big Band, The Manhattan Jazz Orchestra, the Carnegie Hall Jazz Band and his own New York Big Band. Drawing from members of the latter group, Fedchock created the New York Sextet, which has performed throughout the United States and at international jazz festivals.

This release features that sextet: “live” and outdoors at the 2006 Red Sea Jazz Festival in Eilat, Israel. The locale presented a significant challenge; the first sound-check was done in 111-degree heat. The stage floor was so hot that it presented a significant challenge to keeping instruments in tune; when the musicians weren't “blowing,” the air temperature inside the horns would soar and change the pitch!

Somehow, though, they made it work.

This was a true “session”; the performances are long enough to allow the artists to stretch during their solos. Everything swings, particularly the cover of Duke Ellington's “Caravan.”

Fedchock is, to quote legendary jazz critic Leonard Feather, “a superior jazz trombonist.” And his sextet cohorts aren't far behind.