John Vanore: Stolen Moments

Acoustical Concepts
By Ric Bang
Buy CD: Stolen Moments

Oliver Nelson, who died too young at 43, is one of our icons. He played saxophone and clarinet, but is best known as a composer, arranger and bandleader. He started as an instrumentalist at age 15, playing in territory bands in the St. Louis area; he joined the Louis Jordan group at 20, then served as a Marine. During this military stint he was exposed to “concert” music, and it changed his life; once returned to civilian life, he studied music composition and theory, graduating with a master’s degree.

Nelson quickly became an in-demand artist, playing with Erskine Hawkins, Louie Bellson, Count Basie, Duke Ellington and Quincy Jones. Nelson’s skill as an arranger, then composer, moved him into the big time; he did background music for TV shows and movies, and worked with key entertainers such as Nancy Wilson, James Brown and Diana Ross. All this, while continuing to work with many of the greats in groups that produced some of the historic jazz of the 1960s and ’70s. 

Composer/arranger and trumpeter John Vanore is one of many influenced by Nelson, and this album was created to acknowledge the latter’s contribution to jazz. Vanore chose not to use Nelson’s arrangements, but to “re-imagine” and rearrange some of his most famous music. 

Vanore also uses a unique format in his ensemble: two reeds, five trumpets or flugelhorns, two trombones or French horns, and a rhythm section consisting of piano, bass, guitar and drums. This instrumentation, in conjunction with Vanore’s arrangements, results in a smooth, refined sound. It still swings, but the music is more “polite” than that generally associated with a big band.

The nine tracks here are all based on Nelson compositions or arrangements. The most famous is the album title tune, “Stolen Moments,” a staple in every jazz group library. (As just two examples, Bill Evans and Bill Cunliffe have delivered terrific covers.) “Blues & the Abstract Truth” is another from Nelson’s “jazz bible,” and this album also includes famed standards such as “A Taste of Honey,” “St. Louis Blues” and “Greensleeves.” Additional Nelson originals include “Self Help Is Needed,” “Reuben’s Rondo,” “El Gato” and “I Hope in Time a Change Will Come” ... all done with finesse by Vanore’s ensemble.

All in all, a very enjoyable album.

Adam Unsworth, Byron Olson and John Vanore: Balance

Acoustical Concepts Inc.
By Ric Bang
Buy CD: Balance

This release features two groups: a jazz quintet backed by a large chamber ensemble, and a jazz sextet in conjunction with woodwinds and a string quartet. All the music is composed by Adam Unsworth, who also plays French horn, and composer/arranger Byron Olson. The result is one of the finest “marriages” of the jazz and classical genres, that I’ve ever heard.

Unsworth is without peer on the French horn, and he’s equally adept as a composer/arranger. He’s an associate professor at the University of Michigan, has been on the faculty at Temple University, and has appeared as recitalist and clinician at numerous universities in the State. He also played with the Grammy-nominated Gil Evans Centenial Project, and has recorded with many other jazz organizations.

Olson has written for numerous name artists and symphoney orchestras; perhaps his most famous productions are his Sketches of Miles and Sketches of Coltrane.

Unsworth is joined by John Vanore (trumpet/flugelhorn), Bob Mallach (tenor sax), Bill Mays (piano), Mike Richmond (bass) and Danny Gottlieb (drums), and the full ensembles consist of violins, violas, cellos, flutes and other orchestral instruments. 

Everything blends superbly, with Unsworth, Vanore and their associates delivering stunning, beautiful and truly swinging music. Don't miss this tour de force!

John Vanore and Abstract Truth: Contagious Words

Acoustical Concepts
By Ric Bang
Buy CD: Contagious Words

Abstract Truth is a group headed by John Vanore who, in the 1970s, played trumpet and flugelhorn in one of Woody Herman’s Herds. I reviewed this group’s first release (Curiosity) several years ago, and was impressed by Vanore’s skill as both an instrumentalist and composer.

His “little big band” is unique: The brass section is huge — six trumpets/flugelhorns, two trombones and a French horn — while the reed “section” consists of just two men who play alto, tenor and soprano saxes, clarinets and flutes. They’re all joined by a rhythm section of bass, drums and guitar, rather than a piano. Three guest artists are utilized on several tracks: a pianist, another flautist and a bass trombone.

The result is a rich, and swinging “chorale,” with major emphasis on the brass section.

Vanore composed most of the music and arranged all but one of the tunes: the wonderful old standard “You Go to My Head,” handled instead by trumpeter Kevin Rodgers.

This group is definitely a concert orchestra; the music is contemporary and relatively complex, but still exciting ... and it does swing. The rich ensemble work provides a background that, from the soloists’ viewpoint, is to die for.

In general, today’s musicians are better educated than those of the past, and are more likely to search for ways to create something new, than to merely keep playing the styles that initially intrigued them. That’s all well and good, as long as the basic premise of jazz is maintained: It has to swing! Vanore, and bands like Absolute Truth, have achieved that goal.

John Vanore: Curiosity

Acoustical Concepts
By Ric Bang • Originally published in The Davis Enterprise, 5.6.10
Buy CD: Curiosity

John Vanore is an instrumentalist — trumpet and flugelhorn — composer and arranger. He's an alum of Woody Herman's band, and formed his own group (Abstract Truth) some time ago.

Curiosity initially was released in 1991 but, for reasons unknown, hardly caused a ripple on the jazz pond. This new, re-mastered version of that recording is well worthwhile.

This is one of the most interesting albums I've heard in a long time. The instrumentation is unique; the 13-member band includes eight in the brass section: five trumpets/flugelhorns, two trombones and a French horn! The reed “section” contains only two artists; one plays alto and soprano saxes and flute, while the other is on tenor sax and flute.

The rhythm section is the standard piano, bass and drums, although three different percussionists split the chores on this album's eight tracks. The result is something of a brass chorale ... that really romps.

Vanore composed half of the tunes and arranged all but two of the others. I won't call this “modern” jazz, because that genre doesn't always swing, and sometimes isn't very melodic; I'll settle for the term “advanced.” The meters are straight-ahead and, for the most part, up-tempo. Three tracks are ballads, and the liner notes describe them as “pretty.” I agree, although that's not a term usually applied to jazz.

This is an excellent unit; give it a try.