Theo Croker Quartet (with Members of the Berliner Philharmoniker and Magnus Lindgren): Sketches of Miles
ACT

Sketches of Miles, the twelfth chapter in ACT's ‘Jazz at Berlin Philharmonic' series, presents a terrific performance by the Theo Croker Quartet, first alone and then augmented by members of the Berlin Philharmonic Orchestra and conductor Magnus Lindgren (the latter also plays tenor sax and flute on two of the seven pieces). Miles himself was no stranger to the Philharmonie, first appearing there in 1964 and seven times thereafter. To honour the legend and mark the three decades that have passed since his death in 1991 at sixty-five, the series' curator Siggi Loch invited trumpeter Theo Croker to perform on 27 November 2021 at the historic site. Structuring the concert in two halves, the first featuring Croker with pianist Danny Grissett, double bassist Joshua Ginsburg, and drummer Gregory Hutchinson and the second an expanded ensemble performing suites based on Miles Ahead, Porgy and Bess, and Sketches of Spain, proved a masterstroke in showcasing the quartet's deft handling of Miles's material and the collective's masterful reimaginings of his renowned collaborations with Gil Evans.

The playing in both parts is at an exceptionally high level, the quartet telepathic in its performances and the large ensemble inspired in its execution. What makes the accomplishment all the more impressive is that the concert was a one-off, just as it is for every concert in the series. Any reservations one might have about the ability of the Berlin Philharmonic Orchestra players to swing is resoundingly laid to rest by the suites. The impression created is of musicians thrilled to participate in the project and give their energy to it. Croker rises to the occasion throughout, never cowed by the legend's large shadow and embracing the opportunity at every turn. As a forward-thinker whose albums delve into fusions of hip-hop, soul, jazz, and R&B, Croker might seem a surprising choice for a wholly acoustic project focused on jazz history (as timeless as the music is); the Florida-born trumpeter plays with as much vitality and enthusiasm in this context, however, as any other and makes Loch look like a genius for having chosen him for the gig. It certainly doesn't hurt that his quartet members are terrific too, with the four engaging in seemingly effortless conversational flow from the drop.

To open the quartet half, Croker and company deliver an assured medley reading of “Pinocchio” and “Milestones,” the mighty swing with which the former's executed testifying to the quartet's prowess, and hearing them tear into “Milestones” with such fury is but one of many pleasures the recording provides. The seventeen-minute length affords ample room to maneuver and changes in direction, all of them handled with preternatural fluidity by the four. At no time does it feel as if they're aping Miles, Hancock, Carter, and Williams, yet the latter's collective presence speaks through the performances by way of inspiring their later counterparts. Shorter's “Footprints” receives an equally probing treatment, Croker again digging deep and supported fabulously by his partners. A sensitive ballad reading of “My Funny Valentine” shows the quartet's as capable of playing tenderly when the material demands it, and with Lindgren's tenor added to the mix, the band delivers a smoking riff on “So What” to cap the first half. Consistently achieving a fine balance, Croker's quartet feels both loose and tight in these performances, the music spontaneous and alive.

With six woodwinds (flute, clarinet, bassoon) and nine horns (trumpet, trombone, tuba, French horn) complementing the quartet, the three suites approximate the splendour of Gil Evans' arrangements. First up is “Miles Ahead Suite,” its seventeen-minute Lindgren arrangement highlighted by breezy run-throughs of “Springsville” (Carisi), “The Duke” (Brubeck), “My Ship” (Weill), and all of the rest that distinguish the original. While Croker still assumes a lead role as the primary soloist, the focus shifts away from the individual expressions of the quartet half to large ensemble playing, with all the sonic colour that entails. The music still swings, however, as the group's energized take on “Miles Ahead” shows. Of the three suites, it's Hans Ek's arrangement for “Sketches of Spain Suite” that most directly references the original, and the treatment calls forth a particularly heartfelt expression from Croker. Co-arranged by Lindgren and Ek, “Porgy and Bess Suite” concludes the suite portion of the concert with an engaging, texturally nuanced version of Gershwin's score, swing again buoying the performance and the trumpeter elevating it with a sensitive reading of “Bess, You is My Woman Now.” Shifting the focus, Lindgren sits in on flute with the quartet to close this triumphant presentation with a funky, freewheeling take on “All Blues.”

The material performed on the release is so classic, it's almost as if Croker and the others are essaying it as orchestra musicians do established classical works. Throughout the 104-minute recording, the players adhere to the guidelines imposed by the compositions whilst also imposing their own personalities upon it. Such an analogy is easy to support when the material on Sketches of Miles qualifies as jazz repertory. Regardless, the recording certainly deserves to be recognized as a standout in ACT's ‘Jazz at Berlin Philharmonic' series and a definite feather in Croker's cap.

September 2022