| BYU’s big band Synthesis presents ‘High Road’
The High Road double CD was recorded in May 2008, just prior to Dr. Ray Smith and Synthesis embarking on their spring tour of British Isles jazz festivals, including a memorable swing through Scotland.
At Tantara we agreed that Ray’s 2007–2008 band was one of the strongest iterations of Synthesis we’d heard in the three decades or so of the band’s existence.
CREDITS
Executive producer for Tantara: Ron Simpson
Produced by: Ray Smith
Production coordinator: Ben Fales
Recording and mixing: Michael G. Chadbourne
Mastering: Michael Maughan
Graphic design: Doug Thomas
Program notes: Ray Smith, with Ron Simpson
Cover photographs of musicians: Mark Philbrick
Landscape photographs: David Kjar, Doug Thomas
Photograph of Ray Smith: Keith Andrews
Licensing research: Daniel Stratford
Copy editor: Joyce Janetski
SPECIAL THANKS
For the cooperation of all the rights owners of the published songs herein, and to the student composers and arrangers as noted in the booklet. Keep the great music coming!
CD 1
1. Begin the Beguine
Cole Porter, arr. Bill Holman
Warner Bros. Music, ASCAP
2. Greensleeves
Attributed to King Henry VIII,
arr. Stephen Anderson**
Played from unpublished manuscript. Used by permission.
3. High Road
(based on the traditional Scottish tune “Loch Lomond”)
Ben Taylor*
Played from unpublished manuscript. Used by permission.
4. Someone to Watch Over Me
George Gershwin, arr. Ian McDougall
WB Music Corp., ASCAP
5. Too Close for Comfort
Jerry Bock, Larry Holofcener, George Weiss, arr. Gordon Goodwin
Jerry Bock Enterprises, Abilene Music Inc., Range Road Music, Inc., Quartet Music, Inc., ASCAP
6. Cuba Libre
Ed Calle
Thirty-sixth Street Music, BMI
7. Ask Me Now
Thelonious Monk, arr. Greg Yasinitsky
Thelonious Music Corp., ASCAP
8. Rhyth Migot
Stephen Anderson**
Played from unpublished manuscript. Used by permission.
* BYU Synthesis Member
** BYU Synthesis Alumnus
CD 2
1. Cherry Juice
Thad Jones
D’Accord Music Inc., ASCAP
2. The White Cliffs of Dover
Nat Burton, Walter Kent, arr. Ben Tayor*
Walter Kent Music Company, Shapiro Bernstein & Co. Inc., ASCAP
3. Jitterbug Waltz
Thomas “Fats” Waller, arr. Eric Richards
Chappell & Co., ASCAP
4. Trash Fire for JJ
David Kjar*
Played from unpublished manuscript. Used by permission.
5. Concerto for Trombonito
Ben Taylor*
Played from unpublished manuscript. Used by permission.
6. Sig Ep
John Gale
H/B Webman & Co., ASCAP
7. A Flower Is a Lovesome Thing
Billy Strayhorn, arr. Mike Tomaro
Billy Strayhorn Songs, Inc., State One Songs America, LLC, ASCAP
8. Tico Tico
Zequinha Abreu, Aloysio Oliveira, arr. Bill Holman
Peer International Corp., Lindabet Music Inc., ASCAP
* BYU Synthesis Member
** BYU Synthesis Alumnus
ABOUT SYNTHESIS
By Ray Smith, Director
The big band Synthesis is a musical melding of some of the finest young musicians at Brigham Young University. Drawing freely from the various styles of contemporary music rooted in Afro-American traditions, the ensemble has become known for versatility, spontaneity, and creativity in performance. In the world of university-level bands, the very name Synthesis has become synonymous with excellence.
In its 35 years of existence, the band has toured Japan, China, the Nordic countries, the nations of the former Soviet Union, Eastern Europe, and four times through Western Europe, well as presented numerous performances in various regions of the United States. For example, in 1998, Synthesis returned to Finland for the Pori Jazz Festival and then blazed new trails into Siberia where no American jazz big bands had previously toured. In the summer of 2000, Synthesis toured six countries in Western Europe, performing at the World Expo in Hanover, Germany, playing its third engagement at the famed Montreux Jazz Festival, and appearing at the famous Umbria Jazz Festival in Perugia, Italy. In 2001 the ensemble became the Harry James Orchestra for a week, playing big band music aboard the Queen Elizabeth 2 from New York to London. In the summer of 2006, Synthesis toured Spain and Portugal. Then in 2008 the band followed a memorable route through England and Scotland.
Some highlights over the years include sharing the Big Band Night at the Montreux International Jazz Festival in Switzerland with the Gerry Mulligan New York Big Band (1988), performances at the North Sea Jazz Festival in Holland (1988, 1996); the Antibes Jazz Festival in the French Riviera (1988, 1996, 2000); the Pori International Jazz Festival in Finland (1992, 1998); the Kongsberg Jazz Festival in Norway (1992); the Lysekil Jazz Festival in Sweden (1992); the San Sebastian, Oviedo, and Ezcaray Jazz Festivals in Spain (2006); the Loule Jazz Festival in Portugal (2006); the Birmingham, Marlboro, Wigan, and Durham Festivals in England (2008); the Edinburgh Jazz Festival in Scotland (2008); the Riga Jazz Festival in Latvia (1990); and the Parnu Jazz Festival in Estonia (1990), and performances at the national conventions of the National Association of Jazz Educators (1986) and the Music Teachers National Association (1988) and at the international convention of the International Association of Jazz Educators (1995, 1999, 2002, and 2004).
Awards include first place at both the Pacific Coast Collegiate Jazz Festival in Berkeley, California, and the Lionel Hampton Jazz Festival in Moscow, Idaho; expenses-paid winner of the NAJE—Disneyworld Jazz Festival, with performances at the EPCOT Center in Orlando, Florida; and finalist at Musicfest U.S.A. in Chicago, Illinois, sponsored by Down Beat Magazine (1988).
ABOUT RAY SMITH
Synthesis director Ray Smith is one of those relatively rare individuals who is an excellent performer and an excellent teacher at the same time. Currently, he is in his 27th year of directing Synthesis (BYU’s premier big band) and serves as professor of saxophone. As a performer, Smith is at home in either classical or jazz-related styles and is adept at all five woodwind instruments: flute, oboe, clarinet, bassoon, and saxophone. He also performs and records frequently on the Yamaha WX7 Midi Electronic Wind Instrument as well as on recorders, pennywhistles, and other ethnic flutes.
Smith has been a mainstay in the Utah recording industry for many years, and he has over 180 CD credits and has recorded on many film scores and television themes including ‘Good Morning America,’ ‘The Today Show, ’ ‘The Sandlot,’ ‘The Swan Princess,’ and ‘Mobsters and Mormons.’ His classical saxophone CD, ‘Tableaux de Provence,’ has received much critical acclaim as have the Q’d Up CDs on Tantara Records: ‘Q’d Up,’ ‘SQ’d Horizons,’ and ‘Q’d Up 3.’ Ray Smith also was the galvanizing force behing the Tantara CD ‘Playing Tribute: A Nod to the Paris and the Hollywood Saxophone Quartets,’ a double CD of the Utah Saxophone Quartet. Dr. Smith performs periodically with the Utah Symphony and the Mormon Tabernacle Choir.
In 1998, Ray Smith received the Voice of Jazz Award for the state of Utah. In March of 2008, Smith’s contribution to jazz was recognized with a lifetime achievement award by the International Association for Jazz Education as a Utah Jazz Master.
NOTES FOR CD 1
“Begin the Beguine,” immortalized by Artie Shaw, was arranged by Bill Holman as a high trumpet feature for Doc Severinson. On this recording Bryce Call, freshman extraordinaire, is featured in Doc’s place. The tenor sax solo is Russell Balli’s.
“Greensleeves” is credited by some to King Henry the VIII and is well recognized around the world. The arrangement is by Synthesis alumnus Steve Anderson, who pursued graduate work at the University of North Texas after BYU and became the pianist of the famed 1 O’Clock Lab Band. The harmonic sophistication and rhythmic complexity make this version a masterpiece. The tenor solo belongs to Ben Nichols, and the guitar solo is by Kristen Bromley.
“High Road” * is an original by Synthesis member Ben Taylor, although loosely based on the Scottish favorite “Loch Lomond.” This title cut of the album describes the ensemble’s choice to take the high road to excellence. It was performed to enthusiastic audiences in both England and Scotland on Sythesis’ UK tour. Ray Smith himself performs on the Scottish/Irish instrument, the pennywhistle, followed by solos on trumpet by Justin Scoville and soprano saxophone by David Kjar. We dare you to tap your foot along with this one.
“Someone to Watch Over Me” is a George Gershwin favorite featuring the longest-standing member of Synthesis, Richard Reid on trombone.
“Too Close for Comfort” is a popular standard that takes on a whole new life with Gordon Goodwin’s creative treatment. We think the writing will knock you out, as will Hayley Singley’s impressive vocals.
“Cuba Libre” is an exciting Latin piece by saxophonist Ed Calle (Arturo Sandoval, Miami Sound Machine, etc.). The tune features impressive solos by Kristen Bromley, guitar; Richard Burton, piano; Ben Nichols, tenor saxophone; and Andrew Tolman, drums. No one at the recording studio could believe Andrew’s foot on the woodblock (clave) throughout the whole tune, but then Andrew is the only young drummer that has beat Steve Smith in a foot pedal speed contest.
“Ask Me Now” is the stunningly beautiful work of jazz legend Thelonious Monk, and is portrayed here in living color via the tenor saxophone of Russell Balli.
“Rhyth Migot” was a mystery name to all of us until we realized that the tune was a takeoff of “I Got Rhythm,” and the ensemble certainly has to have rhythm to perform this very intricate and difficult chart by Synthesis alum Steve Anderson. Solos are tendered by Justin Scoville on trumpet, Russell Balli on tenor, Dave Lemke on bass, and Andrew Tolman on drums. Fasten your seatbelts!
*Writing funded by a Laycock Collaborative Grant.
NOTES FOR CD 2
“Cherry Juice” is a jazz classic by the late Thad Jones. Although the arrangement is very difficult, the energy and excitement are worth it. Solos are performed by Justin Scoville, trumpet; Russell Balli, tenor sax; Dave Lemke, bass; and Richard Burton, piano. The saxophone soli may be one of the most difficult in the repertory.
“The White Cliffs of Dover,” * a British song that became an international World War II–era favorite, was arranged for our UK tour by Synthesis trumpeter Ben Taylor. Again featuring Hayley Singley on the vocal along with Sam Pettit on trumpet, performances in England brought many a tear to the eye. The cliffs have great symbolic and sentimental value for Britain. Perhaps the song’s most famous recording was by Vera Lynn in 1942. Written to uplift the spirits of the Allies, the song arrived at a time when Hitler’s forces had conquered much of Europe and were bombing England. The lyrics looked toward a time when the war would be over and peace would rule over the iconic white cliffs of Dover, Britain’s de facto border with the European mainland. “The White Cliffs of Dover” is one of many popular songs that used the “Bluebird of Happiness” as a symbol of cheer.
“Jitterbug Waltz” is part of the collection of songs left behind by Thomas “Fats” Waller. It features Justin Scoville and Ben Nichols on the melody, after which Justin takes a solo along with Richard Burton at the piano. Arranger Eric Richards really shines on this fine piece of writing.
“Trash Fire for JJ” is creatively titled by Synthesis member Dave Kjar, who was inspired by the large trash fires that he experienced while living in Russia. Dave has captured some real fire on this chart, which features him on bass clarinet and alto saxophone, along with Bryce Call on the screaming trumpet and Dave Lemke on the electric bass.
“Concerto for Trombonito” was written specifically for Jay Roberts, who performs it on the bass trombone. It’s a rare combination of ballad writing and salsa. This chart is one of several contributed by Synthesis member Ben Taylor.
“Sig Ep” is a tasty, swingin’ chart from the Woody Herman library. Solos are by Scott Elmer on alto saxophone and Bryce Call on trumpet.
“A Flower Is a Lovesome Thing” is hauntingly beautiful and perhaps one of the lesser-known Billy Strayhorn ballads. Mike Tomaro’s inventive arrangement makes a great solo vehicle, and David Kjar goes all out on the alto saxophone solo.
“Tico Tico” may be last, but is far from least. We’ve chosen Bill Holman’s arrangement, done for the Stan Kenton Orchestra. It scorches across the finish line with burning solos by David Kjar, Richard Reid, Ben Nichols, Sam Pettit, and Andrew Tolman.
*Writing funded by a Laycock Collaborative Grant. |
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