It's almost two years since I reviewed Arnie and Gideon at Blaydon Jazz Club (LINK). On that occasion they were with local boys Joe Steels on guitar and John Hirst on drums. It was a splendid gig organised by the Dutch Arts Council and the Dutch tenor saxist well-deserved his country's support.
During the course of my review I made reference to an Ellington project that Arnie was involved in and, lo and behold, here it is.
Based and inspired by tracks from Duke's last recording at Eastbourne's Congress Theatre on December 1, 1973, The Ellington Piano Project has Edwards and Somogyi reimagining the familiar and the unfamiliar played respectfully but not without originality. Tazelaar is at home with the material. Although his sound is lighter of tone than Webster or Gonsalves I could still easily imagine him in Duke's sax section.
After Sunday night at the Globe, the two tracks featuring Sara Oschlag Love You Madly and Don't You Know I Care are an additional delight in an album full of delights.
All four main players can be heard noodling around in Arnie's Prelude. An ethereal improvisation that lasts for just under two minutes. Gideon's Groch has the composer blowing nice flowing lines making no attempts to split the atom or to take any giant steps. Mark and Arnie solo. Black and Tan Fantasy works surprisingly well in this format. The Ducal mode is retained yet the interpretation is for today.
My Little Brown Book. Gideon's sound is lush and languorous as if it was Johnny Hodges blowing tenor. I Got it Bad brings in Slater on trombone who helps fill out the ensemble. The addition of Newey's congas, bongos or whatever adds a Latin touch. Not quite what the maestro had in mind back in 1941 but it works in 2026. Love You Madly I've already mentioned but it's worth mentioning again. As well as Sara there's a tasty tenor solo, some scat and drums trading, before returning to the tune (more or less). Arnie wraps it up with a four bar tag.
Interlude carries minimalism to the extreme. A combination of tenor, bass, piano and silence offer a compulsive challenge to the listener. Brake! is Arnie's variations on a theme improvised by Ellington. Ace bass by Arnie whilst Gideon blows like Webster or Gonsalves on their well-known showcases. Sara returns for Don't You Know I Care (inexplicably no question mark). Mark sets her up with a beautiful, extended piano intro and Sara picks it up without losing the gentle momentum. This is ballad singing at the highest level. Little things like the way she holds a note for that fraction longer or the slight tonal inflection on a word, give her that extra edge in a very competitive field.
Arnie's A Little Tickle is a swinger. Great theme with meaningful solos by the principals. I could be listening to a Johnny Hodges' small group. Creole Love Call, I think, has been performed by most Ellington line-ups - which covers a large part of the 20th century. Slater again helps fill out the ensemble and Edwards dusts off his banjo for early authenticity before returning to piano as the 'years' roll by.
Mr GT has Gideon blowing over a choral background (is Sara in there?) and there are tubular bells chiming. The various goings on behind fade as the tenor player takes flight returning for the finale. A bit of a mish mash in a nice sort of way. It Never Really Ends has all four taking their leave just as they came in.
A fine album enhanced by the glossy paged booklet's essay by jazz historian, writer, tenor saxist and authority on British modern jazz - Simon Spillett. Lance
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