Art of the Big Band Bob Mintzer Song Review

Equally a saxophonist and arranger myself, information technology was a true honour to interview Bob Mintzer, a musician who I've admired always since I began playing the saxophone. Having written well over two-hundred big band arrangements and recording close to 30 solo projects, Bob certainly shows no sign of slowing downward. Currently, Bob is a member of the Grammy® accolade-winning Yellowjackets, chief conductor of the WDR Large Band too as holding the Fizz McCoy endowed chair of jazz studies at the University of Southern California.

Thomas Fletcher: Would you like to outset by introducing our audience to the WDR Big Band?

Bob Mintzer: I am currently the chief conductor of the WDR Big Ring in Cologne, Germany. The WDR Large Band is a full-time big band that does productions quite varied in nature and works with a multitude of invitee soloists/composers, conductors, very much in the style that a symphony orchestra does. Contempo productions I have been involved with include Mike Manieri, Ricky Peterson, Dave Stryker, The Yellowjackets, and Knower. Vince Mendoza is the "composer in residence" at the WDR, and he and I share the duties forth with a stable of other fine arranger/conductors.

TF: How did yous get the master conductor of the band?

BM: I started working with the WDR Big Band in the belatedly '80s. I know the band well, and they know my writing and playing. In 2014 the band offered me the main conductor position. At that time, I was unable to accept the position equally information technology stood, as I was quite decorated with instruction and performing. Hence, we worked out an arrangement whereby I would do roughly half of what the chief conductor might practise and Vince Mendoza would do the other one-half. I call back this arrangement has worked out quite well.

TF: When writing for the ring what do yous consider?

BM: It is an incredible gift to have such a dandy band at your disposal and the wherewithal to partake in projects you have always dreamed of doing. The band can play anything yous put in front of them and that makes for a wide-open palate as far as developing projects and trying new things.

TF: How would it contrast (or perchance it doesn't) from writing for the Yellowjackets?

BM: One projection I've e'er had in the back of my heed was to bring the Yellowjackets to the WDR. We really did this project back in the mid '90s, simply I was excited to revisit the pairing based on how the band plays now. We recorded our next CD with the large ring, and it turned out actually great. It all fitted together very nicely as I knew information technology would.

TF: I listened to your limerick/arrangement "Havin' Some Fun", which may I point out from an arranger's indicate of view is a masterpiece in using the band to its total capability. Was this specifically written for the WDR Large Ring?

BM: This was one of the songs on the DMP CD I did in 2000 called "Homage to Count Basie" which went on to win a Grammy® for best large jazz ensemble recording in 2001. Nosotros may have performed information technology with the WDR. The Basie ring music and feeling is so positive and uplifting. I tried to write in that spirit with "Havin Some Fun". The music always makes y'all smile.

TF: What's your arroyo to composition and arranging with the WDR Large Band?

BM: I'yard seemingly ever writing for something, be it the next WDR project, the next Yellowjackets projection, or a big band project of my own. Nestled in between these vehicles take been a few orchestral pieces, and a concert ring tenor saxophone characteristic. Much of what I write serves equally a vehicle for the fashion I would like to play. That is the dazzler of being a performer/composer. Y'all can write yourself into the motion picture in a desired way. As far as ideas for subsequent compositions, I sometimes imagine or hear a item musical scenario, and then try to recreate information technology on paper. I'm generally thinking about one or more than ensembles that I work with and write for in the process, particularly what the individual players play like. In that location is a niggling Yellowjackets band in my caput at all times. Aforementioned with the WDR or my own big ring. I e'er try to write for the players at hand. I also exercise a lot of listening to all kinds of music for inspiration.

TF: How did information technology all start out for you lot as a composer/arranger?

BM: I've always tried to write music, even from a very early age. The puzzle-similar nature of assembling a musical limerick was so interesting to me from the first. In the process of trying to learn songs off the radio, television, or recordings by ear I would inevitably start to change things around and at some bespeak, diverged from the song I was learning into a new song of sorts. I think the process of doing this transcribing gave me the kickoff of a vocabulary every bit far as being a composer/arranger.

TF: Who were you influenced by and why?

BM: My major influences as far as writing and playing were and are quite varied. Classical music, R&B, Motown, Jazz, Afro Cuban music, and rock and roll are all in the mix. Growing up in NYC I was exposed to and had the opportunity to play all these types of music. Their respective sounds went into my musical computer, so when I started writing, all these genres were evident.

TF: When and why did you outset writing large ring repertoire?

BM: I initially wrote for a pocket-size ring and then expanded to writing for three horns with rhythm department. I wrote my starting time big band pieces while in the Buddy Rich Band. This was an incredible opportunity, where I was able to write for a great band and hear my work on a nightly ground, both the expert and bad. I think each subsequent piece I wrote had a little more than craftsmanship present. There is zip better than having your writing played past adept musicians on a regular basis.

Jazz In Europe Magazine – Winter 2020 Edition

This article is an abridged version of the total interview that appears in the Wintertime 2020 edition of the Jazz In Europe print magazine.

Also included in this edition are interviews with Maria Schneider, Carsten Dahl, Bria Skonberg and Connie Han. Scott Thompson speaks with the legendary drummer Jimmy Cobb. Darrell Craig Harris interviews Jay Beckenstein from Spyro Gyra and this editions photo characteristic spotlights Dutch lensman Maurits van Hout.

You can purchase a copy of the magazine here.

Bob Mintzer Magazine Winter 2020

Last modified: Apr 29, 2020

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Source: https://jazzineurope.mfmmedia.nl/2020/01/bob-mintzer-on-the-wdr-big-band-and-more/

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