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| For close to 50 years now the release of a new Bob Florence recording has been a major cause for celebration in the jazz world and with each album, going all the way back to 1958’s “Name Band 59”, it seems that he has reached an absolute pinnacle in the possibilities o |
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 | Eternal Licks & GroovesNot Rated
Released: 2007 |
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| For close to 50 years now the release of a new Bob Florence recording has been a major cause for celebration in the jazz world and with each album, going all the way back to 1958’s “Name Band 59”, it seems that he has reached an absolute pinnacle in the possibilities of contemporary big band writing. But he has continued to surprise us, year after year, by venturing into unexplored territory and consistently setting new standards in the art of big band jazz. From the first few bars of Bob Florence’s piano introduction on the title track “Eternal Licks and Grooves” it soon becomes obvious that we are headed in yet another new direction. After establishing a driving rhythmic pattern we hear a faintly recognizable melody introduced by the distinctive trombone voice of Charlie Loper and as more and more layers of the ensemble are added it becomes clear that the familiar melody is the primary theme of Count Basie’s “One O’ Clock Jump”. As only Bob Florence can do he takes that classic four bar theme and builds a tour de force based on a variety of “licks and grooves” from both “One O’ Clock Jump” and “Jumpin’ at the Woodside”. But this is no mere tribute to Count Basie, it’s pure Bob Florence all the way utilizing his unique ability to take a familiar theme and explore every possible angle resulting in an original modern masterpiece. Where “Eternal Licks and Grooves” incorporates Basie fragments into the overall texture of the piece, “Appearing in Cleveland” is a monumental work that pays homage to Stan Kenton. In his formative years, Bob Florence was drawn to certain aspects of the various Kenton Orchestras and by the mid sixties was one of the composers invited to write an original work for Kenton’s Los Angeles Neophonic Orchestra. His piece “Here and Now” was featured during the 1965 season at the Dorothy Chandler Pavilion in downtown Los Angeles forever linking him to the world of Kentonia. Both pieces are prime examples of the inner workings of the mind of Bob Florence. Each work is based on various thematic motifs which Florence uses as a point of departure to unleash his seemingly endless flow of creative ideas. Although the band has evolved over the years there are a number of common elements that have been there since the beginning. One of these elements is a fairly consistent personnel that has always lived up to the “Limited Edition” name. This is one of the most important assets of the band because just like Duke Ellington, it enables Florence to write music with each specific musician in mind. Also like Ellington this creates what amounts to a real “jazz” ensemble where the individuality of the musician becomes an integral part of the written music as well as the improvised solos. Most bands have revolving personnel, which forces the writers to compose generic parts for each section. Because they have worked together for so long, Florence is intimately familiar with each player’s musical personality including every subtle nuance of their individual sound and style. His ability to blend these 20 individual voices into a unified whole is one of the things that sets the Limited Edition apart. Another hallmark of the Limited Edition are the Bob Florence original compositions that are a major part of the bands repertoire. In addition to “Eternal Licks and Grooves” and “Appearing in Cleveland”, this album features two other original works, “Mirror Images” which features Don Shelton and “Guiding Star” which features Bob Carr and Bob McChesney. When the “Limited Edition” was formed in the late seventies Bob Florence was already well known in the music business as a world-class arranger and music director but exclusively wrote only original compositions for the band. Eventually he began to incorporate arrangements of other songs but they are not arrangements in the true sense of the word. His inspiration comes from many sources which he liberally applies to the various pieces he arranges to re-compose them into highly original works. “Claire De Lune”, “Invitation” and “I’m Old Fashioned” are stellar examples of Florence’s fertile imagination. The “Limited Edition” has always been blessed with an abundance of riches when it comes to brilliant jazz soloists and this album is no exception. In addition to the regular 20-piece band both Carl Saunders and Scott Whitfield are added as special guests and no less than 17 different soloists are featured throughout. The inclusion of the most magical and inspiring Peter Erskine to play drums was brilliant. Not since Nick Ceroli has anyone jumped so quickly into Bob's head. Musically Bob and Peter create the most astonishing and yet totally comfortable pair of "house Slippers". Since the late 1950s, Bob Florence has been on an unparalleled musical journey and we as listeners have been fortunate enough to go along for the ride. And what an incredible ride it is. He is a true artist in every sense of the word because he is never content to stay in one place. He continues to experiment with all areas of musical expression and in doing so has created some of the most outstanding works of the modern big band era. Ken Poston
THE MUSIC
"Eternal Licks and Grooves" in honor of Count Basie - commissioned by ASCAP and IAJE and premiered at the IAJE convention in January of 2005 in Long Beach, California.
The title says it all. I wanted this to be a forward-looking tribute to "The Count". It is in a theme and variations format utilizing numerous "licks" from the Basie book. May I inject a very special "Bravo" to Larry Koonse, Scott Whitfield, Tom Peterson, Larry Lunetta and Peter Erskine. When I do an arrangement of a standard composition, I become the composer. My chart on "Claire de Lune" (light of the moon) becomes "Claire de Soleil" (light of the sun). It was inspired by a suggestion from my friend, bandleader Phil Norman. Carl Saunders soars I have always felt that Duke Ellington and Billy Strayhorn were musical identical twins. "Mirror Images" was composed with that in mind. Don Shelton brings sunshine into the room. I composed "Guiding Star" in nineteen sixty-seven to a lyric by Fred Manley. It was Fred's idea to have this sung by Liza Minnelli to her mother, Judy Garland. This feels like "Broadway". Here are the words: WHEN YOU ARE TOSSED UPON THE SEA AND YOU ARE LOST AS LOST CAN BE, LOOK FOR A STAR ABOVE THE FOAM, A STAR TO GUIDE YOU HOME! THAT'S WHAT THEY SAY BUT AS FOR ME, DAY AFTER DAY I'M ALL AT SEA LOST, AND ALONE AND SO I PRAY, GUIDING STAR, LIGHT MY WAY! I'VE HEARD ABOUT A GUIDING STAR THAT SHINES ABOVE AND LEADS YOU TO A LOVE TO CALL YOUR OWN! A BRIGHT AND SHINEY GUIDING STAR THAT HELPS CHAR YOUR WAY TO SOMEONE'S HEART WHEN YOU'RE ALONE! AND IF THERE IS A GUIDING STAR I SOMEHOW MUST BE BLIND. I SWEAR I HAVE NO INKLING OF WHERE UP THERE IT'S TWINKLING! SO IF IT'S TRUE THERE REALLY IS A GUIDING STAR THAT LEADS ME WHERE YOU ARE, WHERE CAN IT BE? OH GUIDING STAR BEFORE MY HOPES GO GLIMMERING, WON'T YOU START SHIMMERING AND SHINE ON ME! Bob Carr has such an exquisite way with a melody. When we recorded this one, he had the words in front of him. "Invitation" has always been a richly melodic and harmonic gem. My playing the melody first gives you a chance to hear this beautiful composition. Then it's my turn to recompose again. Notice how seamlessly Jeff Driskill enters. Steve Huffsteter's lyrical solo just sits on top of the groove. Trey Henry's solo is constructed over just four notes, G, A flat, G (an octave higher) and D. His vamp sets everything for Peter Erskine and the big finish. The arrangement of "I'm Old Fashioned" was created in opposition to the title. Once more, I gave you a starting point with Alex Iles' touching rendition of the song. Then I'm off and running with my "bag of tricks". Kim Richmond's contribution can only be described as a "feel good" solo. We have now arrived at our Final destination. "Appearing In Cleveland" was commissioned by the Los Angeles Jazz Institute and premiered in Los Angeles at the Jazz Bakery. The piece is in honor of Stan Kenton. Stan was once interviewed by a radio personality who asked Stan: "Where is jazz going from here?". Without hesitation Stan answered: "We're appearing in Cleveland on the thirtieth". There are quotes from "Eager Beaver", "Intermission Riff", and "Artistry In Rhythm" (the famous Stan Kenton opening and closing theme). At the beginning of part two, you will hear a short piece of mine titled "Willis". Bill Holman was such an important part of the Kenton legacy. I will inject more "bravos" for Bob Efford, Larry Koonse, Ron Stout, and Peter Erskine. On this particular piece, Peter used a cymbal for the beginning and the ending which he played while on the Kenton band. The ending is the same as Stan's band played except for the saxophones gorgeous, obnoxious chord. I can only describe the guest performers, Carl Saunders, Scott Whitfield, and Peter Erskine as a colossal bunch of the most fearless, musical "showoffs". Now that I think about it, that applies to the whole band. Why would we want it any other way? Thank you all; Bob Florence
THE BOB FLORENCE LIMITED EDITION
Eternal Licks & Grooves
Special Guests
Peter Erskine - drums
Carl Saunders - trumpet
Scott Whitfield - trombone
recorded - May 10 & 11 at Martinsound - Alhambra, California
WOODWINDS
Don Dhelton - alto, soprano, clarinet
Kim Richmond - alto, soprano, clarinet
Jeff Driskill - tenor, clarinet*
Tom Peterson - tenor, clarinet
Billy Kerr - tenor, clarinet**
Bob Efford - baritone, bass clarinet
Bob Carr - baritone, e flat contra alto clarinet
TRUMPETS & FLUEGLEHORNS
Pete Desiena - lead
Lee Thornberg - lead
Larry Lunetta
Steve Huffsteter
Ron Stout
TROMBONES
Charlie Loper - lead
Alex Isles
Bob McChesney
Craig Gosnell - bass trombone
Larry Koonse - guitar
Trey Henry - bass
Peter Erskine - drums
Bob Florence - composer, arranger, pianist
1 14:02 Eternal Licks & Grooves - Bob Florence
2. 6:13 Claire De Lune - Claude DeBussy (arranged by Bob Florence)
3. 8:07 Mirror Images - Bob Florence
4. 6:33 Guiding Star - Bob Florence & Fred Manley
5. 12:15 Invitation Bronislav Kaper
6. 9:27 I'm Old Fashioned Jerome Kern & Johnny Mercer
7. 13:24 Appearing In Cleveland Bob Florence
SOLOS
"Claire De Lune" - Bob Florence - piano, Carl Saunders - trumpet
"Apearing In Cleveland" - Bob Florence - piano, Bob Efford - baritone,
Larry Koonse - guitar, Ron Stout - trumpet
"Eternal Licks & Grooves" - Larry Koonse - guitar, Scott Whitfield - trombone,
Tom Peterson - tenor, Larry Lunnetta - trumpet, Peter Erskine - drums
"Guiding Star" - Bob Carr - baritone, Bob McChesney - trombone
"Invitation" - Bob Florence - piano, Jeff Driskill - tenor,
Steve Huffsteter - trumpet, Trey Henry - bass
"I'm Old Fashioned" - Alex Isles - trombone, Kim Richmond - alto
" Mirror Images" - Don Shelton - soprano
BACK:
THE BOB FLORENCE LIMITED EDITION
Eternal Licks & Grooves
Special Guests
Peter Erskine - drums
Carl Saunders - trumpet
Scott Whitfield - trombone
Since the late 1950s, Bob Florence has been on an unparalleled musical journey and we as listeners have been fortunate enough to go along for the ride. And what an incredible ride it is. He is a true artist in every sense of the word because he is never content to stay in one place. He continues to experiment with all areas of musical expression and in doing so has created some of the most outstanding works of the modern big band era. - Ken Poston (from the liner notes)
1 14:02 Eternal Licks & Grooves - Bob Florence
2. 6:13 Claire De Lune - Claude DeBussy (arranged by Bob Florence)
3. 8:07 Mirror Images - Bob Florence
4. 6:33 Guiding Star - Bob Florence & Fred Manley
5. 12:15 Invitation Bronislav Kaper
6. 9:27 I'm Old Fashioned Jerome Kern & Johnny Mercer
7. 13:24 Appearing In Cleveland Bob Florence
however small you need to include the names is fine….:
WOODWINDS
Don Dhelton - alto, soprano, clarinet
Kim Richmond - alto, soprano, clarinet
Jeff Driskill - tenor, clarinet*
Tom Peterson - tenor, clarinet
Billy Kerr - tenor, clarinet**
Bob Efford - baritone, bass clarinet
Bob Carr - baritone, e flat contra alto clarinet
TRUMPETS & FLUEGLEHORNS
Pete Desiena - lead
Lee Thornberg - lead
Larry Lunetta
Steve Huffsteter
Ron Stout
TROMBONES
Charlie Loper - lead
Alex Isles
Bob McChesney
Craig Gosnell - bass trombone
Larry Koonse - guitar
Trey Henry - bass
Peter Erskine - drums
Bob Florence - composer, arranger, pianist |
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