I was interested in this stately latest from veteran German big band the SWR first and foremost – and listened to the tracks featuring her first – because of the presence of singer Tutu Puoane.
The Belgium residing South African singer’s Wrapped in Rhythm was great last year.
The singer has also worked with Cologne’s WDR – check out her version of Bra Hugh’s ‘Macongo’ for instance back in 2022.
More Than Just Friends is a little earlier, very different, and actually goes back quite a way having been recorded in 2021, the year arranger Sammy Nestico died.
The collaboration between Nestico and the SWR Big Band began long before, in 2004, when the composer was 80, and their work together has already been documented on a series of albums.
Nestico grew up in Pittsburgh and after studying for a while at Duquesne University joined the United States Army and served during World War II, arranging for the US Air Force Band and then became chief arranger for the US Marine Band when JFK and Lyndon B. Johnson were presidents.
He was most known for his work from 1970-84 arranging for the Count Basie Orchestra.
Nestico arranged music for ten Basie albums, four of which won Grammy Awards, including Warm Breeze (1981) and 88 Basie Street (1983). His writing style, known for its swinging melodies and call-and-response arrangements, helped keep Basie’s sound fresh and relevant.
Highlights on this new album apart from Puoane’s strong presence best heard on ‘Indian Summer’ include Frank Kuruc’s guitar playing that lights up On the Sammy Side of the Street number ‘D’Ann’. And I also liked the flute playing on the beautifully voiced version of Rodgers and Hammerstein’s ‘My Favorite Things.’
The SWR big band – the radio band of Stuttgart broadcaster Südwestrundfunk – was founded as long ago as 1951. Here it is directed by Brussels born trombonist Marc Godfroid, a co-founder of the Brussels Jazz Orchestra.
‘That’s Amore’ and ‘King Porter Stomp’ don’t appeal to me among the selections but most of the rest does. And while big band is a sound seemingly at odds with what 21st century jazz is ”supposed” to be about – it’s not going to be trendy again any time soon certainly – its rites and rituals remain curiously essential as a blueprint and inspiration especially for generations not even born in its heyday.
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