The latest release from the Armada Jazz Band, titled Best Days, is a compilation of tracks from two previous CDs originally issued on the now-defunct Raymer Sound label in the U.K. The compilation includes tracks from RSCD711: Roger Marks’ Armada Jazz Band, Roll Along Prairie Moon (tracks 3-7, 10, 12) and RSCD744: Roger Marks’ Armada Jazz Band, High Society (tracks 1, 2, 8, 9, 11, 13). Notably, the band has released over half a dozen additional CDs on the Raymer label.
According to bandleader Roger Marks, the decision to reissue these tracks stemmed from the “quality of the band I had at that time.” He described all the musicians involved as “outstanding,” a sentiment supported by the ensemble’s performance. Guest clarinetist Pete Allen, who leads his own band, blends seamlessly into the group, adding to the overall sound.
The band can be classified as “mainstream,” balancing emphasis between solos and ensemble performances. However, this should not deter those who prefer the collective improvisation style associated with “moldy figdom.” The ensembles deliver many captivating moments while also laying down memorable melodies, with solos rich in exciting improvisation.
The tracklist doesn’t present many surprises, although songs like “Roll Along, Prairie Moon” are typically found more on country/western CDs, and “O Sole Mio” is often performed by Italian vocalists. These selections provide a refreshing variation from the typical jazz repertoire. The musicians showcase their skills right from the outset with “Travellin’ Blues,” performed at a fast tempo where every note is executed flawlessly, featuring growling trumpet, glissando trombone, and banjo propelled by rimshots.
Similarly, the final track, “That’s A Plenty,” maintains a breakneck pace. The trumpet fanfares display impressive tonguing, while the clarinet explores high registers during solos. The trombone benefits from effective backing with stop-time sections, and the banjo shines during the second chorus, culminating in a banjo tag.
Other standout moments include the dramatic opening stop-time of “Hesitatin’ Blues,” where the ensemble repeats a four-bar phrase, creating a “hesitation” effect. Each soloist begins with the same eight-bar phrase, allowing trumpet player Shillito to showcase his upper-register technique reminiscent of Louis Armstrong. In contrast, Marks improvises during his trombone solo while the band plays the stops behind him. The track concludes with a banjo segment featuring staccato triplets that build in volume leading to a powerful coda.
Additional highlights include “O Sole Mio,” which alternates between sixteen bars of habanero and straight four, ending with a sustained chord. In “Limehouse Blues,” the trading of fours among trombone, trumpet, and sax creates a dynamic interplay, followed by a dramatic banjo solo that builds into a thrilling coda.
While space constraints prevent a full analysis of the remaining tracks, each is filled with enjoyable moments stemming from both the musicians and the arrangements. It’s worth noting that the audience’s seemingly subdued applause might not reflect their appreciation, possibly due to limitations in the live recording’s sound capture. Overall, the performers and their music earn a well-deserved two-thumbs-up.
Related Topics
- Richard Flittie Showcases Traditional Native American Drum-Making at Peña Adobe Heritage Day
- Renowned Violinist Passes Away at 79
- Jazz Saxophonist and Composer Benny Golson Passes Away at 95
