(Review by David Brownlow).
The Thompson Fields is Maria Schneider’s eighth production for
the ArtistShare label and she has
certainly come a long way in her career since she worked as Gil Evans’
Assistant in the mid 80s. She is an extremely talented composer who is a master
of harmony, and a formidable arranger who fully utilises all the tone - colours
provided by her nineteen piece Big Band with all the usual Reeds, Brass, and
Rhythm sections but without recourse to electronic instruments as Gil himself
did in his latter years.
Maria’s inspiration for the eight tracks comes from her love of
the natural world of her home environment in Minnesota. The songs reflect the
beauty of the “sights, sounds and smells of nature’s bounty.” This is
quasi-classical through-composed music played by jazz musicians with jazz solos
from outstanding players such as Scott Robinson, Frank Kimbrough and Marshall
Gilkes. The charts are all beautifully played with a high standard of
musicianship as a “given.”
Walking By Flashlight – inspired by a poem by Ted Koosner - is meditative and wistful with a warm
solo from Scott Robinson on alto clarinet. The
Monarch and the Milkweed is meandering, reflective piece with an
astonishing trombone solo from Marshall Gilkes and a thoughtful flowing one
from Greg Gisbert on fluegelhorn. The piece builds throughout the twelve minute
performance culminating in a passage where the soloists improvise together. Arbiters of Evolution inspires Maria by
the exotic displays and behaviours of the extraordinary Birds of Paradise of
New Guinea. Here, a strong framework supports beautiful solos from Donny McCaslin
and Scott Robinson. A highlight of the album The Thompson Fields is a meandering piece which features some gorgeous
writing for brass, together with piano and guitar solos which complement the
composer’s feel for the open prairies. Home
opens chorale-like with lovely Evans-esque harmonies. Rich Perry’s tenor solo
continues the contemplative mood. This piece is dedicated to George Wein whose
Newport Jazz Festival gave Maria many career opportunities.
Nimbus is a brooding, threatening song in a
minor mood with dissonance throughout, especially in Steve Wilson’s alto solo. This
bleak, dramatic background is at times reminiscent of Gil Evans’ The Barbara Song and is inspired by the
occasion when a tornado headed towards Maria’s home and the resulting reactions
of herself and her parents.
A Potter’s Song is a moving tribute to recently deceased
trumpeter Laurie Frink – a long-time associate in Maria’s band. This features
the accordion of Gary Versace and is the stand-out track for me. The melody and
chord sequence take many unexpected turns, but each one resolves harmonically
and “right.” The final track Lembranca is
Maria’s take on Paulo Moura and his Samba School in Rio de Janeiro. This
thirteen and a half minute long piece features a solo from trombonist Ryan
Keberle in an energetic opening segment full of dynamic percussion work which
segues into a calm contrasting section with a very listenable melodic bass solo
from Jay Anderson. This leads to a quiet conclusion to all the excitement.
There has been a huge amount of work required to produce such an
album as this and the funding for the project has come from the many
participants in the ArtistShare fan base. The CD itself comes in a lavish
hard-backed case with outstanding artwork and photographs illustrating the
flora and fauna of Maria’s homeland area and is available from ArtistShare.
David B.
Maria Schneider (Conductor,
Composer & Arranger) Steve Wilson, Dave Pietro, Rich Perry, Donny McCaslin.
Scott Robinson (Reeds). Tony Kadleck, Greg Gisbert, Augie Haas, Mike Rodriguez,
Keith O’Quinn, Ryan Keberle, Marshall Gilkes, George Flynn, (Brass).Gary
Versace (Accordion), Lage Lund (Guitar) Frank Kimbrough (Piano) Jay Anderson
(Bass), Clarence Penn (Dms) Rogerio Boccato (Percussion)
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