modern big band/bop (1996)

Maria Schneider, composer; Mark Vinci, alto and soprano saxes, clarinet, flute, and alto flute; Tim Ries, alto and soprano saxes, clarinet, and flute; Rich Perry, tenor sax; Rick Margitza, tenor sax; Scott Robinson, baritone sax, bass clarinet, clarinet, flute, and theremin; Tony Kadleck, trumpet and flgelhorn; Greg Gisbert, trumpet and flgelhorn; Laurie Frink, trumpet and flgelhorn; Tim Hagans, trumpet and flgelhorn; Keith OQuinn, trombone; Rock Ciccarone, trombone; Larry Farrell, trombone; George Flynn, bass trombone; Ben Monder, guitar; Frank Kimbrough, piano; Tony Scherr, acoustic and electric bass; Tim Horner, drums.

Maria Schneider has captured the attention of those who play in and compose for modern big band. This composition has only one solo and the greatest activity is in the powerful tutti sections throughout. The saxophones break away from the tutti shouts and punches, at times creating a thick contrapuntal texture. This is the tradition of academic jazz. That is, the composer is considered central and the composition is mostly composed. This is in great contrast to the riff bands of the 1940s in which a simple riff was used to build an instant arrangement. The riffs were used to connect the long solos that dominated the music at the time. Here everything is carefully crafted and the drummer kicks all the tutti sections, creating an aggressive texture. Also notice the use of the theremin, which is a single electronic device that is sensitive to the proximity of the players hands. The closer the hands are to the theremin the louder it sounds, and the higher the hands the higher the pitch. The player never really touches it. It sounds like some of the sounds from Joe Zawinul in Weather Report when he programmed the early synthesizers.