The Toronto Jazz Orchestra: 20
TJO
If there's one word to describe 20, the Toronto Jazz Orchestra's fourth independently released album, it's flattering. This superb set impresses on multiple levels: the calibre of the eighteen-member outfit's performances; lush textures from its horns and woodwinds; stellar writing and arranging by conductor and artistic director Josh Grossman; and sequencing that enhances the album's impact. Recorded in Toronto in early 2017 with renowned bassist Roberto Occhipinti in the producer's chair, 20 presents five pieces (one a four-part work), all but one composed by Grossman.
As would be expected, not all current members have been with the group (which features five woodwinds, eight horns, and a guitarist, pianist, bassist, percussionist, and drummer) since its inception; in fact, only two original members remain, Grossman aside. That also means, however, that fresh blood infuses the material on the new release, resulting in an exciting and invigorating set of performances. The leader certainly comes by the position honestly: a trumpeter and graduate of the University of Toronto's Jazz Performance Program, he's also been the Artistic Director of Toronto Downtown Jazz since 2010.
The album begins on a fabulous high with “Georgie and Rose,” a resplendent, Latin-tinged samba that plays like an inspired blend of Jaco's “Invitation” and “Liberty City,” with the Toronto outfit matching Word of Mouth's splendour every step of the way. Bassist Mark Godfrey powers the band much like his legendary counterpart without ever lapsing into imitation, while distinguished solo turns are taken by pianist Carissa Neufeld, soprano saxist Chris Roberts, and trombonist Christian Overton; no comment on the piece would be complete without citing the sweetly singing saxophones, emphatic horn statements, and the driving thrust of Ben Ball's drumming. With Neufeld's Fender Rhodes adding New Orleans-styled R&B flavour, the tempo slows for “Brad's Prudence,” a deliciously funky, Brad Mehldau-refracted take on The Beatles' “Dear Prudence,” after which the album's centerpiece, a four-movement suite inspired by Phil Nimmons and written in celebration of his ninetieth birthday, appears.
A broad range of stylistic colour's highlighted in 4 PN, from the relaxed blues of the opening “The Land of 2 and 4” (sparked by a smooth trumpet turn by James Rhodes) to the gorgeous ballad “Birdsong,” graced by a lyrical Overton solo that's so classic it feels like it singlehandedly encapsulates jazz's entire history; the suite's funky closer “Flat 10 Strikes Again” allows guitarist Todd Elsliger a nice chance to step out, too. While the band's luscious horn and woodwind textures are on display throughout, they're never heard to better effect than during the traditional big band swing of 4 PN's “Under a Treeful” and the swelling coda of “Birdsong.” And as all expert musicians do, the TJO members sensitively adjust their playing to the mood in question, a case in point the ballad “Reflection” where the volume's brought down to a hush.
Though the Toronto Jazz Orchestra's very much a band of equals, certain soloists merit special mention, Neufeld, who lifts the music whenever she steps forth with a rousing solo, among them. But truth be told this is a band that's distinguished most for its performances as a collective entity. If there's a crime here, it's that nearly ten years elapsed since its last studio album. Let's hope the fifth materializes a whole lot sooner.July 2018