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Featuring Atlanta's finest, Tempest's ten musicians skillfully blend into the full, brassy sound of a 17-piece big band. Tightly arranged horn passages, passionate improvising, and tasteful vocals are the hallmarks of one of the Southeast's most talented ensembles. Utilizing six horns—including alto, tenor, and baritone saxophones; two trumpets; one trombone—plus piano, bass, drums and vocalist Audrey Shakir, Tempest “Little Big Band" has an identifiable sound all its own.

Recorded in five hours on one hot Atlanta afternoon, "Round Midnight" showcases the many talents of each member of Tempest Little Big Band.

Featuring:

Leader | Baritone Saxophone: James Rozzi
Alto | Soprano Sax: Sam Skelton
Tenor Sax: Bryan Lopes
Trumpet | Flugelhorn: Ryan Chapman
Trumpet (tracks 3, 9): Lester Walker
Trombone: Wes Funderburk
Piano: Geoff Haydon
Double Bass: Craig Shaw
Drums: Justin Varnes
Vocal (track 8): Audrey Shakir
Trumpet, Flugelhorn, Vocals (tracks 1-2, 4-8, 10): Joe Gransden

Producer: James Rozzi
Recording Engineer: Ken Gregory
Mixed/Mastered: James Rozzi, Ken Gregory
Recorded at: 800 East Studios, Atlanta, GA
Photography: Susan Rosmarin
Graphic Design: Christy Hollis

Tempest Little Big Band's Official Website: TempestJazz.com

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Liner Notes | About The Songs

1. Captain Cheerio
This is a blues shuffle taken at a brisker tempo than originally intended. Lead trumpet Chapman is consistent and refined throughout these proceedings, reveling in the instrument’s difficult upper register. Saxophonists love to glissando, probably because they generally believe they play everything better than any other instrumentalists (read: trombone envy), and here they have a shot at pure gliss....er, bliss. Haydon’s opening piano solo rings with purity of tone and resplendent ideas—attributes for which he’s well known. Lopes is king of inside-outside tenor playing, stretching from the upper altissmo to the guttural low end of the horn within a few notes. It’s wonderfully raw. Not long ago, Funderburk seemed more student than pro, but now he’s the t-bone-ist and arranger about town—a gifted envisionist with iron chops.

2. I've Grown Accustomed To Her Face is accomplished here as a rumba, a gentle treatment featuring Skelton’s vibrant alto in the lead. Arranger Pete McGuinness’ choice of harmonies illuminates the moodiness of the song’s libretto—a classic, melancholy tale of relenting love from the musical My Fair Lady. Funderburk never fails to pique interest while soloing on trombone, playing what might be called “dangerous notes” that skirt the boundaries of conventional harmonic choices. It’s tense yet humorous, resolving phrases late yet completely. Haydon is featured on piano, singly emphasizing the beauty of his chosen instrument.

3. Caravan only slightly expounds upon trumpeter Freddie Hubbard’s classic version, transcribed here for nonet from Hubbard’s original 1960s sextet chart. Of course, Duke Ellington provides the impetus, having first recorded the song in 1937. Atlanta-based trumpeter Walker pays tribute to Hubbard via his full, meaty tone and robust style. Difficult improvised passages spin effortlessly from his horn, with range and nuance presenting no problem whatsoever. Lopes again plumbs the depth and leverage of the tenor, summoning mystery and intrigue on the “A” sections, while offering piquant resolve at the bridge. Shaw’s rep as a leading jazz bassist is substantiated here as he aggressively maintains tempo while playing the choicest of notes.

4. Hold Me is a Latin ditty from the pen of the late Gerry Niewood, most remembered as early saxophone sideman to pop-geared flugelhornist Chuck Mangione. Growing up in Rochester, New York (Mangione’s home turf), I revered Niewood’s playing at a timewhen jazz first made its presence known to me on local radio. Funderburk’s tasty arrangement of cluster chords and muted brass works nicely as a backdrop for the lower resonances of the baritone saxophone. Niewood was a soulful influence, creating positive emotion through his music in ways I hope to reflect.

5. I'll Remember April is a jaunty chart alternating samba and swing feels. Skelton finally gets to blow on alto, and that he does. A virtuosic performer on all things woodwind, his improvised solos are off the cuff yet precise, surprising and logical—truly a man whose brain some day belongs pickled next to Einstein’s. Haydon swings hard when the occasion arises, with nary a glitch at uptempo. Of course, Gransden is the star of this tune, deftly spanning the throes of superb vocalist and trumpeter while hardly breaking a sweat. Gransden is modern-day cool defined.

6. Round Midnight is Kentucky-based arranger Scott Slocum’s tour de force. After hitting this series of low A’s on bari, I wondered aloud how bari player Stephen “Doc” Kupka does it night after night with Tower of Power. “Yeah,” Lopes said. “How’d you like to live down there night after night?” I would not (but offer me the gig). A time- honored song that every jazz artist of note has recorded distinctively, Slocum’s version puts Tempest through the paces for both tastefulness and aggression, culminating in a memorable solo for Gransden and ensemble playing of the highest order. We’re sure Monk would approve.

7. Satin Doll
Ellington's "Satin Doll," taken at a slow tempo with minimal instrumentation, provides a diversion from the heightened dynamics of multiple horns voicings. A singer who needs no rehearsing, Shakir was present at Tempest’s sole rehearsal those many years ago, and has been with us since. Her superb musicianship and improvisational skills—on voice and piano—have caused many a local jazz musician to head back to the woodshed to practice. Well...maybe not (we already discussed rehearsals), but Shakir’s skills as an impulsive bop singer are cause for her eminence here in the Deep South. Shaw’s warm, woody bass provides the foundation for a dynamic performance that builds, sustains, then ebbs—with Skelton’s powerful and intoxicating alto providing the instrumental centerpiece.

8. Shiny Stockings is a medium-up swinger readily identified with the Count Basie Orchestra. As that fact alone designates that this is nothing to mess with, we didn’t. It’s Basie all the way. Varnes helms the rhythm section—and the entire band—flawlessly and exquisitely throughout the proceedings. His drumming reflects a thoughtful, relaxed personality, but still waters run deep! Gransden lays back as only Gransden can. The man is a remarkable compendium of the history of jazz trumpet, with special emphasis on West coast jazz rekindled. The contrasting full-band shout chorus at the end bespeaks the Basie/Kansas City imperative—showcasing the acoustic ferocity of the little big band.

9. Thermo was one of Freddie Hubbard’s lasting contributions to Art Blakey and the Jazz Messengers—the epitome of hard bop bands. More than mere bashing, “Thermo” has one of jazz’s more intricate melodies, performed here to perfection in alto/trumpet unison. Also demanding is the harmonic progression for blowing. Skelton and Walker thrive on difficulty, eating up these harmonies while exuding phrases of pure joy— delighting in the opportunity to revitalize a beguiling and worthy war horse.

10. Sway has been around for more than a half century, re-popularized most recently by singer Michael Bublé. Funderburk’s arrangement is a showcase for Gransden’s more aggressive tendencies, and he rises to the occasion with a strong trumpet solo and forceful, energetic voice. This mambo is Mexican, but it’s difficult not to think of 1950s Cuba, where wealthy Americans came to drink exotic liquor while go-go girls in illuminated cages danced in the trees wildly and crazily through the night. Okay, I’m not so sure about that, but can tell you that Señors Lopes and Skelton had their own choreography happening in the studio while resting eight bars. Safely said, they didn’t miss their calling.