If first impressions remain with us, the brisk opener Children of the Night (composed by Wayne Shorter and arranged by Paul McKee) establishes from the get-go the potential power and drive of this nonet, rivaling that of an even larger ensemble. Tenor saxist Mark Colby assuredly leads the solo way. followed by the expressiveness of pianist Karl Montzka, the dexterity of trombonist McKee, and the rhythmic delight of drummer Bob Rummage. The backgrounds of these players confirm that certain lines have been drawn: this ensemble benefits from the traditions and ranks of preceding, outstanding professional bands, With renowned composers and dynamic arrangements and soloists in a more intimate setting. lts an excellent recipe!

Woodwinds and muted brass begin Sam River's Beatrice as arranged by reedman Jim Gailloreto, quickly blossoming from an open feel to a rapid-fire one. The ensemble provides great flexibility for form and feel of the music and trumpeter Ron Friedman sings lyrically in solo before the saxes and brass trade thoughts toward the surprise exit.

The ascending pickup notes to John Coltrane's Nnima provide the seed for the joyously repeated look In the Intro to Cliff Colnot's offering of the tune, returning as an ongoing theme. If you've heard the preceding two tracks of this CD without thinking directly about lead trumpeter Rob Parton's role in them, then he's done his job leadership by example, not by cheap advertisement. Here he takes the central position as soloist, and Colnot's beautifully harmonized framing of the piece allows Rob to express himself in lead and improvisational stances.

The jazz waltz has several legendary champions, with pianist/composer Bill Evans among its most gifted voices. The graceful transparency of the melodic setting in Gordon Goodwin's For Bill-the sole work here penned outside of the Chicago area provides a great send-off for trombonist Michael Moore, who soars energetically as the ensemble kicks in from a "one. feel" to a "three-feel." Pianist Montzka's own voice shines, lending saxist Gailloreto an opening solo motif from which to converse thoughts. A Rummage solo again sets up the ensemble's "shout" en route to the melody's return Give this chart extra listening to notice not only the wonderful solos but the expressive writing behind them.

Chicago trumpeter Kirk Garrison serves up the aggressive arrangement of Herbie Hancock's One Finger Snap, opening with Rummage's attacks. With Ron Friedman's dark flugelhorn darting nimbly among the chord changes and band backgrounds, this ensemble never bogs down, maintaining instead the joyful attitude copped by the title. Tenor saxophonist Colby joins in, using his full range in a most musical speech. Rummage returns to re-assert his mastery of the short-burst solo before the music concludes with its exclamation point.

Arranger Gailloreto's take on Wayne Shorter's Footprints turns a brief spotlight on bassist Paul Martin before establishing a lazy-afternoon groove not often associated with this tune, passing the melody among players at different speeds, flexing the form. Trombonist McKee picks up on the tune's ending motif and builds his momentum thoughtfully and assuredly. Given the arranger's further surprises to follow, the recap then reinforces the open space of the first groove, offering Martin the last word Rob Parton's arrangement of Charles Mingus' tribute to Lester Young. Goodbye Pork Pie Hat, is itself a tribute to the Sy Johnson arrangement of the tune for bigger band ---now focused for the ensemble and again defying any thoughts that the sound palette might be limited by the smaller numbers. Saxist Colby gets to show his pensive side, with every note carrying meaning. Listen to the lovely dissonances tuned so well by the ensemble throughout and you begin to realize the technical skill and discipline mastered by the ensemble members.

The intro to Miles Davis' Nardis gives only a hint of the flavor about to come in the bridge of this tune: arranger Colnot places the first melody in an open expanse for Parton's flugel before arriving at that bridge. Things get swinging with alto saxist Gailloreto's improvisational breadth, first with the rhythm section, then over carefully understated backgrounds. An interlude sets up trombonist McKee's return for cool phrasings leading to the ensemble's hot "shout" (capped by Parton's sizzling lead work), Montzka's piano reappears over a vamp that yields to the wider ensemble's collective improvisations-appropriate in a band with such skilled soloists in every chair. After McKee leads the final recap, the ensemble closes the recording in powerful style.

If a CD is to serve its musical imprints without interfering, the engineering and production team should be deservedly proud: for this rendering is clear and rich without the brittleness often associated with digital work.

The best jazz recordings keep giving, as each listening offers new insights, pleasures, and inspirations. Keep this CD of Ensemble 9 easy reach you'll be wanting another helping soonl



Antonio J. Garda Editor, IAJE Jazz Educators Journal





Rob Parton, first trumpet

Ron Friedman, second trumpet

Paul McKee, trombone

Michael Moore, Trombone

Jim Gailloreto, alto sax, flute, piccolo flute, clarinet, soprano sax

Mark Colby, tenor sax, clarinet, soprano sax

Bob Frankich, baritone sax, flute, bass clarinet

Linda Van Dyke, baritone sax, bass clarinet, clarinet

Karl Montzka, piano

Bob Rummage, drums

Paul Martin, bass

Rob Amster, bass