Click Cd image for sample tracks
Review of The Jazz Garden:
“Trombonist Dave Eshelman's Jazz Garden Big Band is a modern, technically dazzling soundscape, with The Jazz Garden displaying the leader's skills as a smooth bop-and-beyond 'bone man, a substantive composer, and an even better arranger. The title track assembles a montage of Stan Kentonish regality, early Gil Evans-like lightness, and Henry Mancini cool. There Will Never Be Another You, the single standard among five compositions by Eshelman and one by Chick Corea, features Glenn Richardson's winged flute fantasia followed by an absolutely brilliant flute solo. More sunny flute, this time by Mary Park (Fettig), enriches Eshelman's Viva Corea, and there are clean-running solos throughout these lush charts, adding individual excitement to collective virtuosity, vivid colors, and rhythmic/compositional variety.
~ downbeat 4 ½ stars
Review of Deep Voices:
Moving quickly toward the front of the line of big bands playing modern music for large aggregations, Dave Eshelman's Jazz Garden Big Band's second release and first for the Sea Breeze label concentrates on a play list of Eshelman compositions, less two. One of the non-originals, "In a Sentimental Mood," is also one of the gems of the session, as it is a vehicle for guest solist Joe Henderson and his one-of-a-kind tenor sax. The presence of Henderson would by itself make this one of the album's stellar tracks. But there's icing on the cake with some moving trombone and piano by Eshelman and Smith Dobson, respectively. The other standard on the program, "Softly As in a Morning Sunrise," shows a debt to Stan Kenton in its voicing and arrangement. All the charts were prepared by Eshelman and they reveal a strong feel for the kind of modern music which can best fit a big band conceived to present music in the modern vein. Eshelman's works keep this large instrumental group alive and interesting without having to resort to traditional and oft-heard big band charts of the 1930s and 1940s, or even from the later Count Basie bands. "Deep Voices Part 1: Open Sea" and "Deep Voices Part II: Bright Water" are based on the sounds of the blue and humpback whales, the jazz counterpart to classical composer Alan Hovhaness' "And God Created Great Whales." Eshelman's works are more structured and moving than the classical composer's, who used tapes of whales "singing" as part of his work. With their outstanding ensemble work and first flight solos, Dave Eshelman's Jazz Garden Big Band are in the vanguard of top musical aggregations playing modern music for large groups on the jazz scene. Recommended.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
Review of When Dreams Come True:
Stellar trombonist, composer, and leader Dave Eshellman continues to bring the best of modern big band arrangements to the attention of the jazz public with his Jazz Garden Big Band. In their 16th year when this album was cut in 1991, the band is home to top California studio and performing jazz artists. One hears in this aggregation touches of Stan Kenton in the voicing on such cuts as "Mystique" and the modernism of Gil Evans on other tracks such as "Original Rays," where the band is augmented by a French horn, bassoon, tuba, and oboe, recalling Evans' days as arranger for Claude Thornhill. Not only is the ensemble playing extraordinary, but the solos test the imagination and technical skills of each player who's put front and center. Showing no reluctance to let another trombonist share the spotlight, Eshelman has Dave Martell out front on Cedar Walton's "Firm Roots." Pianist Susan Muscarella also has a lot to say on the track. The play list brings out the diversity of the arrangements. "When Dreams Come True," featuring the daring tenor of Dann Zinn, written as a sonata, shows another aspect of Eshelman's composing and arranging. A slightly swinging "Love You Madly" has the nicely modulated flugelhorn of Steve Campos taking the lead, while the standard "Old Folks" gets a fresh coat of paint with Eshelman's a cappella trombone wielding the brush. Irrespective of tracks, all the music has a modern quality to it, which means there is some dissonance, off-center harmonics, and contemporary ideas reflected in the arrangements. The Jazz Garden Big Band must be considered a leader in the formation and presentation of big band music in the modern creative vein. Recommended.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
Review of Milagro’s Journey:
This latest release from Dave Eshelman's Jazz Garden Big Band commemorates the 25th anniversary of this San Francisco based modern big band. Eshelman created the band to showcase his compositions and arrangements and it carries out that task eminently successfully on this the group's fifth album.The 18-piece aggregation is populated with top performers and jazz educators from the San Francisco area. The availability and proximity of this level of talent allows Eshelman to write creatively, challenging the members of the band and sustaining the interest of the listener. The vibrant ensemble work is heard on such cuts as "Catch Me Up" and "My Song." He also leaves room for enterprising soloing. "Delta City Blues" opens and features throughout, the searching and sometimes dissonant tenor sax of Dann Zinn. Zinn shows a tender side as his soprano sax shares the solo spotlight with Michael Bluestein's piano on "My Song." One of the album's highlights is the medley of "A Night in Tunisia" and "Caravan." The arrangement for the latter creates an almost mystical aura for the Ellington/Juan Tizol classic. Eshelman gives himself some individual time on trombone on a haunting "Lonely Woman." Journey is modern big playing at its adventurous best and is recommended.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
Review of Mystique:
Armed with a play list of six of his originals, a couple of standards, and a classical piece, trombonist Dave Eshelman heads a trio of major figures on the contemporary progressive jazz scene: John Abercrombie, John Pattitucci and Peter Erskine. The unusual configuration of trombone with rhythm section less piano results in a singular aural sensation, especially when Eshelman's trombone plays over Abercrombie's guitar. But the music on this CD calls for an instrumental setup as imaginative as the music that's being performed, which definitely tends toward creative modern avant-garde but without disregarding melody. "Kaleidoscope" is just that, music with ever-shifting harmonic and percussive patterns designed to create an unearthly, now-you-see-it-and-now-you-don't sensation. And even if you did see it, it's probably not what you thought it was. While the arrangement moves closer to conventional, "Catch Me Up" offers jagged rhythms as well as guitar improvisation of the highest order by Abercrombie with Patitucci's bass grumbling away underneath annd Erskine's staccato drum shots taking on a meaning of their own. On an album replete with excellent tracks, the one standard, "I Hear a Rhapsody," is a first among equals as it features Eshelman and Abercrombie vying for improvisational preeminence. Nothing like a little creative competition, goaded on once more by Erskin's rat-a-tat drumming, to liven up a tune. The track winning the prize for sheer beauty is Claude Debussy's "Nuit d'Etoiles." This slow-moving piece highlights the purity of Eshelman's trombone as well as his seamless technique. It's unlikely these four will ever meet again as a group in a recording studio. It's too bad, because for a little more than an hour they gave birth to some wonderful performances.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
“Trombonist Dave Eshelman's Jazz Garden Big Band is a modern, technically dazzling soundscape, with The Jazz Garden displaying the leader's skills as a smooth bop-and-beyond 'bone man, a substantive composer, and an even better arranger. The title track assembles a montage of Stan Kentonish regality, early Gil Evans-like lightness, and Henry Mancini cool. There Will Never Be Another You, the single standard among five compositions by Eshelman and one by Chick Corea, features Glenn Richardson's winged flute fantasia followed by an absolutely brilliant flute solo. More sunny flute, this time by Mary Park (Fettig), enriches Eshelman's Viva Corea, and there are clean-running solos throughout these lush charts, adding individual excitement to collective virtuosity, vivid colors, and rhythmic/compositional variety.
~ downbeat 4 ½ stars
Review of Deep Voices:
Moving quickly toward the front of the line of big bands playing modern music for large aggregations, Dave Eshelman's Jazz Garden Big Band's second release and first for the Sea Breeze label concentrates on a play list of Eshelman compositions, less two. One of the non-originals, "In a Sentimental Mood," is also one of the gems of the session, as it is a vehicle for guest solist Joe Henderson and his one-of-a-kind tenor sax. The presence of Henderson would by itself make this one of the album's stellar tracks. But there's icing on the cake with some moving trombone and piano by Eshelman and Smith Dobson, respectively. The other standard on the program, "Softly As in a Morning Sunrise," shows a debt to Stan Kenton in its voicing and arrangement. All the charts were prepared by Eshelman and they reveal a strong feel for the kind of modern music which can best fit a big band conceived to present music in the modern vein. Eshelman's works keep this large instrumental group alive and interesting without having to resort to traditional and oft-heard big band charts of the 1930s and 1940s, or even from the later Count Basie bands. "Deep Voices Part 1: Open Sea" and "Deep Voices Part II: Bright Water" are based on the sounds of the blue and humpback whales, the jazz counterpart to classical composer Alan Hovhaness' "And God Created Great Whales." Eshelman's works are more structured and moving than the classical composer's, who used tapes of whales "singing" as part of his work. With their outstanding ensemble work and first flight solos, Dave Eshelman's Jazz Garden Big Band are in the vanguard of top musical aggregations playing modern music for large groups on the jazz scene. Recommended.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
Review of When Dreams Come True:
Stellar trombonist, composer, and leader Dave Eshellman continues to bring the best of modern big band arrangements to the attention of the jazz public with his Jazz Garden Big Band. In their 16th year when this album was cut in 1991, the band is home to top California studio and performing jazz artists. One hears in this aggregation touches of Stan Kenton in the voicing on such cuts as "Mystique" and the modernism of Gil Evans on other tracks such as "Original Rays," where the band is augmented by a French horn, bassoon, tuba, and oboe, recalling Evans' days as arranger for Claude Thornhill. Not only is the ensemble playing extraordinary, but the solos test the imagination and technical skills of each player who's put front and center. Showing no reluctance to let another trombonist share the spotlight, Eshelman has Dave Martell out front on Cedar Walton's "Firm Roots." Pianist Susan Muscarella also has a lot to say on the track. The play list brings out the diversity of the arrangements. "When Dreams Come True," featuring the daring tenor of Dann Zinn, written as a sonata, shows another aspect of Eshelman's composing and arranging. A slightly swinging "Love You Madly" has the nicely modulated flugelhorn of Steve Campos taking the lead, while the standard "Old Folks" gets a fresh coat of paint with Eshelman's a cappella trombone wielding the brush. Irrespective of tracks, all the music has a modern quality to it, which means there is some dissonance, off-center harmonics, and contemporary ideas reflected in the arrangements. The Jazz Garden Big Band must be considered a leader in the formation and presentation of big band music in the modern creative vein. Recommended.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
Review of Milagro’s Journey:
This latest release from Dave Eshelman's Jazz Garden Big Band commemorates the 25th anniversary of this San Francisco based modern big band. Eshelman created the band to showcase his compositions and arrangements and it carries out that task eminently successfully on this the group's fifth album.The 18-piece aggregation is populated with top performers and jazz educators from the San Francisco area. The availability and proximity of this level of talent allows Eshelman to write creatively, challenging the members of the band and sustaining the interest of the listener. The vibrant ensemble work is heard on such cuts as "Catch Me Up" and "My Song." He also leaves room for enterprising soloing. "Delta City Blues" opens and features throughout, the searching and sometimes dissonant tenor sax of Dann Zinn. Zinn shows a tender side as his soprano sax shares the solo spotlight with Michael Bluestein's piano on "My Song." One of the album's highlights is the medley of "A Night in Tunisia" and "Caravan." The arrangement for the latter creates an almost mystical aura for the Ellington/Juan Tizol classic. Eshelman gives himself some individual time on trombone on a haunting "Lonely Woman." Journey is modern big playing at its adventurous best and is recommended.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
Review of Mystique:
Armed with a play list of six of his originals, a couple of standards, and a classical piece, trombonist Dave Eshelman heads a trio of major figures on the contemporary progressive jazz scene: John Abercrombie, John Pattitucci and Peter Erskine. The unusual configuration of trombone with rhythm section less piano results in a singular aural sensation, especially when Eshelman's trombone plays over Abercrombie's guitar. But the music on this CD calls for an instrumental setup as imaginative as the music that's being performed, which definitely tends toward creative modern avant-garde but without disregarding melody. "Kaleidoscope" is just that, music with ever-shifting harmonic and percussive patterns designed to create an unearthly, now-you-see-it-and-now-you-don't sensation. And even if you did see it, it's probably not what you thought it was. While the arrangement moves closer to conventional, "Catch Me Up" offers jagged rhythms as well as guitar improvisation of the highest order by Abercrombie with Patitucci's bass grumbling away underneath annd Erskine's staccato drum shots taking on a meaning of their own. On an album replete with excellent tracks, the one standard, "I Hear a Rhapsody," is a first among equals as it features Eshelman and Abercrombie vying for improvisational preeminence. Nothing like a little creative competition, goaded on once more by Erskin's rat-a-tat drumming, to liven up a tune. The track winning the prize for sheer beauty is Claude Debussy's "Nuit d'Etoiles." This slow-moving piece highlights the purity of Eshelman's trombone as well as his seamless technique. It's unlikely these four will ever meet again as a group in a recording studio. It's too bad, because for a little more than an hour they gave birth to some wonderful performances.
~ Dave Nathan, All Music Guide AllMusic Rating ★★★★
More Reviews
MILAGRO”S JOURNEY
There should be a special place on the Jazz spectrum for bands like Dave Eshelman’s — somewhere between the irrepressible swing of Basie or Herman and the more cerebral notions of, say, Gil Evans or his heir–apparent, Maria Schneider. One could say that Eshelman’s band, whose most prominent role model would seem to be Bill Holman’s orchestra, encompasses the best of both worlds. On the one hand, it does swing; on the other, there’s enough meat on its bones — and in Eshelman’s charts — to assuage the appetite of anyone who wants more than another warmed–over version of “One O’Clock Jump,” “Four Brothers” or even “Take the ‘A’ Train.” At the center of Milagro’s Journey stands Eshelman’s lucid tone poem of that name, written for a family friend whose journey has taken her from El Salvador to California. Eshelman also composed the perky “Catch Me Up,” dedicated to pianist Chick Corea; “Samba Mozart,” which, he writes, “reflects the European sonata form in the guise of a Brazilian dance”; and “One Heart, One Soul,” his “personal salute to Miles Davis and Gil Evans.” Completing the program are a medley of Dizzy Gillespie’s “Night in Tunisia” and Juan Tizol / Duke Ellington’s “Caravan” and big–band adaptations of engaging works by John Abercrombie (“Ralph’s Piano Waltz”), Keith Jarrett (“My Song”), Horace Silver (“Lonely Woman”) and Michael Brecker (“Delta City Blues”). None is wanting either in substance or loveliness of form, thanks to Eshelman’s superlative arrangements. The Jazz Garden Big Band rises to the occasion, enfolding every number in a luxurious blanket of warmth and understanding. The soloists, each of whom speaks clearly and without bombast, include the leader himself on trombone (“Ralph’s Piano Waltz,” “Lonely Woman”), trumpeters Steve Campos and Bill Resch, tenors Paul Contos and Dann Zinn (soprano sax on “My Song,” wood flute on “Milagro’s Journey”), alto Rory Snyder, trombonists Dave Martell and Dave Gregoric, guitarist Randy Vincent, pianist Michael Bluestein, drummer Alan Hall and, last but not least, the always charming Mary Fettig (alto on “Catch Me Up,” flute on “Samba Mozart”). Eshelman’s latest “Jazz Garden” is fragrant and colorful; come on in, breathe deeply and admire the landscape.
Jack Bowers All About Jazz
MYSTIQUE
Just happened to bump into a couple of wonderful Dave Eshelman big band charts-"Mystique" and "I Will Take You There", both of which my University Jazz Band performed this year. Much to my delight, I found out that Dave had recorded an album by the same name. Thinking that it would be the Jazz Garden big band, I ordered a copy, only to find out that it was a small group session. Somewhat let down, I dropped it in the player and WHAT A TREAT! An all-star rhythm section and great tunes. Not many guys have the right to take on J.J.'s "Lament"---its just one of those tunes you leave alone for fear of spoiling such a gorgeous line-- but Dave and the group do it justice with due respect to the composer. PLEASE-email me if you know of other recordings and be sure to latch on to this one.
Paul Vander Gheynst Professor, Columbus State University,Columbus, Georgia
WHEN DREAMS
This is great big-band jazz. The solos are fresh and imaginaitive and the arrangements and compositions are timeless. Nothing dated about this material. If you like early Maynard Ferguson ( "Maynard 61" or "Si Si MF" ) or select Stan Kenton ("Fire, Fury and Fun"), you'll love this CD.
F. Fahrner (Central Coast, California
Mystique – Dave Eshelman – Jazz Garden
San Francisco Bay area trombonist Eshelman has gathered a stellar lineup for this CD and, as one might expect, Abercrombie, Patitucci and Erskine provide a rock solid backdrop to his soloing. The track mixture of originals and standards works well in this case as Eshelman is a more than competent tunesmith. To my mind you’ve got to go some to lift the often flat tone of the trombone above the mundane. Here, Abrecrombie breathes extra life into the mix with filigree, cascading runs, stabs and harmonically rich chordal interplay. As a soloist, Abercrombie’s processed sound has never had much appeal ot this reviewer but it’s what he has to say that marks him out as an important player. To me, his contribution is that he is always willing to push the boundaries out just that little bit further. As I say, my only gripe, and this goes for may of the modernists, is the sound. I only wish that some jazz players would allow us to hear the pure sound of the instrument without their undoubted talents coming to us via a bank of effects which undoubtedly have there place on the rock stage, or in so called “jazz-rock”, but not, to my mind in the kind of straight ahead jazz we have here. But that’s a minor point and a personally subjective one. Abercrombie contributes his fine playing too an interesting, richly textured CD. I don’t think Eshelman has anything new to say but I like his compositions and arrangements which to my mind mark this CD out as a cut above the average offering. Rating: 3 +
Jazz Guitar International Newsletter & Archive
The trombone player Dave Eshelman accompanaied by trio of luxury ontegrado by the guitarist John Abercrombie, and bassist John Patitucci and the drummer Peter Erskine. Six new compositions appear next to classics by Thelonious Monk, Charlie Parker and J. J. Johnson and a surprising unique jazz version of a piece of by Debussy they compose this disk that implies improvisational tendencies along with strong swing. Contemporary and classic jazz are explored in this recommended disk.
Margen Magazine, Lugo, Spain
TEMPERATURE RISING
Temperature Rising Jack Bowers All About Jazz
A few years ago the San Jose Jazz Festival commissioned composer/educator/trombonist Dave Eshelman to write a Jazz Suite as a “musical accolade” to that California city, and Temperature Rising is the result of that mandate. As there are no other selections on the CD, the running time is only 28:55 (the first two minutes of which comprise a spoken introduction by Pete Fallico). The 27 minute suite itself is superb, with its four movements depicting the bustle of downtown; paying tribute to Mayor Susan Hammer (“The Rose of the Rose Garden”) for her untiring support of the arts in San Jose; describing the excitement and electricity of “the capital of Silicon Valley” and saluting the city’s refreshing multiculturalism with the “Samba de San Jose”. Eshelman brought together a stellar ensemble to play the music including a number of enterprising soloists including Mary Fettig, trumpeter Chuck MacKinnon (Metro); pianist Smith Dobson, tenor Bennett Friedman, trumpeter Steve Campos (“Silicon Shuffle); guitarist Tim Volpicella, flugel Bill Resch, flutist Paul Contos, drummer Alan Hall (“Samba de San Jose”) and Eshelman himself with vocalist Sarah Schweppe (“Rose of the Rose Garden”). What is perhaps most striking is the wonderful assortment of tempo and timbre expressed within the suite’s various movements, from blazer to ballad, shuffle to samba. Everything hangs together like a well-framed tapestry, making it abundantly clear that the Festival directors made the proper choice when they tapped Eshelman as its composer. Of one can get past its meager playing time, a laudable addition to the big-band library.
Jack Bowers All About Jazz
Deep Voices / When Dreams Come True
Southern California has been a spawning ground for a number of interesting bands in the past 20 years, with such West Coast hold-outs as Gerald Wilson maintaining a West Coast tradistion, which groups like Eshelman’s Jazz Garden Big Band – a San Francisco fixture through the late 70’s and 80’s – amplified still further. These are unflashy, thoughtful sessions which are beautifully performed without resorting to mere slickness. A trombonist himself, Eshelman gets a fine, singing timbre out of his ‘bone section, and he pitches it to scintillating effect against trumpets and woodwinds: sample the fascinating arrangement of Softly As In A Morning Sunrise on Deep Voices. This album takes the lead for a couple of guest spots by Joe Henderson and Bruce Forman, whose guitar solo on ‘To Catch A Rainbow’ is a thrilling beat-the-clock feat. Even the title work on Deep Voices, which tackles the favourite Californian topic of whale-song, sidesteps bathos. Of the more recent When Dreams Come True is a shade behind, it’s only because the soloists in it make a more functional mark than their illustrious predicessors on the earlier disc. Eshelman’s own writing continues to put his personal stamp on what is often a glib, overslick genre: the beautiful reshaping of ‘Invitation’ and ‘Old Folks’ is as accomplished as his amusing Latin pastiche, ‘Tumbao Nuevo’.
Richard Cook and Brian Morton
The Penguin Guide to Jazz on Compact Disc.
Deep Voices
This band made its debut in 1976 but this particular CD was recorded during October of 1988. This is a well rehearsed modern nbig band which included in its ranks two ex Kenton musicians Mary Fettig on lead alto, flute & piccolo and Steve Campos, trumpet. There are also two guest soloists – Joe Henderson on tenor and Bruce Forman guitar, both of whom are featured on two numbers apiece. The first number is very catchy with nice flute from Mary and bouncy guitar from Bruce. Second number features Joe plus the smooth trombone of leader Dave Eshelman. MaryGoRound is very nice being a five minute workout for Mary’s liquid alto. To sum up an excellent band which unfortunately, on this CD could have benefited with a few up-tempo numbers as some of it sounds rather somber.
Peter Green I.B.B. (International Big Band)
When Dreams Come True
This is Dave Eshelman’s San Francisco-based Jazz Garden Big Band’s third album. The band has been in existence for 16 years and boasts one or two names, such as Mary Fettig and Steve Campos, who were formerly associated with Stan Kenton’s latter-day orchestras.
Although the band nods in the direction of Kenton on Old Folks and Count Basie on Bb Blues, there is no shortage of originality on this excellent CD. On the opening track the tight ensembles and Bill Resh’s energetic trumpet make a strong impression, as does the ballad like We’ll Never. It was sritten in memory of Stan Getz and tenorist Bennett Friedman evokes the late saxophonist rather than actually impersonating him. The relaxed and very laid back Love You Madly spotlights Steve Campos’s flugel while Tumbao provides a vehicle for altoist Mary Fettig, trumpeter Dan Buegeleisen and the leader to weave their solos in and out of the punchy ensembles. Laden with Latin rhythms, this is one of the most exciting numbers on the album. When Dreams is a complex chart which makes use of two themes through which Dann Zinn’s tenor guides the listener. Smith Dobson’s sparkling piano introduces Invitation after which the theme is passed around the sections to be picked up and further developed by Paul Contos’ tenor. Mystique has exotic, haunting textures, out of which emerges Tim Volpicells’s gentle guitar. In contrast, Original Rays is quite a production number with the orchestra augmented by additional woodwind instruments which add further to the overall excitement of this unusual piece. As big bands go, this must rank as one of the best around today. It is a pity San Francisco is so far away.
Stan Woolley Jazz Journal International
When Dreams Come True
Cedar Walton’s Firm Roots, the opening cur of Dave Eshelman’s Jazz Garden Big Band: When Dream Come True (SeaBreeze Jazz CDSB-2045) supplies
An omen of the sounds yet to come from this driving San Francisco area band. Definitely straight-ahead and swinging, Eshelman’s vision stretches back decades, gathering those aspects of big band writing he has come to appreciate, and giving them a thoroughly contemporary feel through extended harmonies, interesting voicings, and enhancement by his energetic soloists. Far from a trip ddown nostalgia lane, Eshelman’s is a band for the 1990’s that just happens to prefer the fundamental fhythmic feeling callef “swing,” the most basic ingredient to jazz’s charm and appeal. Ellington’s Love You Madly, Kaper’s Invitation and Hill’s Old Folks are given individualized treatment, but the original compositions truly shine as Eshelman consciously attempts innovation with Bb Blues In F (each chorus subliminaly modulates from Bb to F); Tumbao Nuevo (a burning samba); When Drreams Come True (a vivid tonal landscape); and Original Rays (which adds orchestral winds for a sonic role reversal: the timbres of a transcribed Michale Breker Electronic Wind Instrument – EWI – solo are imitated by acoustic instruments). Recommended.
Rozzi No Name Jazz
Deep Voices
Admittedly, until today, the name Dave Eshelman and his Jazz Garden Big Band was not a household word in this man’s household, but I have the distinct feeling that more and more households will be hearing more and more about Dave Eshelman.
Not only did Eshelman arrange all eleven numbers on this album, he composed nine of the eleven as well.
The album opens with “To Catch a Rainbow” and it gets your attention right away. Starting off with a POW, it glides on to a flute solo by talented Mary Fettig, followed by graceful guitar work by guest artist Bruce Forman, with muted trumpet solo work abley handled by Dave Bendigkeit. One gets the feeling of people racing to catch the rainbow, and ten a change of tempo brings one back to reality as if the rainbow was within reach.
Romberg-Hammerstein’s “Softly as in a Morning Sunrise” follows. Fortuneatly, they provide us with the title of this number, otherwise we’d never have guessed. Smith Dobson’s one minute piano solo opens the number, followed by the tenor sax of Joe Henderson, periods of the entire band, ending with Dave Eshelman on trombone. Too bad they jazzed it up so much. How much more affective, with all tha talent, had the arrangement been more of a soft swing, more in keeping with the tempo Romberg and Hammerstein had in mond when they wrote it.
Eshelman’s composition entitled “MaryGoRound” evidently a tribute to Mary Fettig, features Fettig on allto sax, a task she handles with brilliance. This dreamy number lends itself too the dreamy notes flowing out of her horn.
Rather than comment on band number four, I choose to skip to number five, “Deep Voices, Part I, Open Sea”. The liner explains that this album’s title track is based on the sounds of the Blue whale and the Humpback whale. Eshelman has captured the mood and the sound of the open sea, bringing forth the cry of the whale through the theme solos of Mary Fettig’s sax and Bill Resch’s trumpet. “Deep Voices, Part II, Bright Water” moves along like a sai boat with a stiff breeze filling the sails. Bruce Forman’s guitar work takes you out of safe harbor, while the mood created by Bennett Friedman’s tenor smooths out the waves of the sea.
Duke Ellingotn’s “In a Sentimental Mood” featuring Joe Henderson on tenor, whith leader-arranger Eshelman on trombone, is good. It’s such a beautiful number (Ellington never wrote an ugly one), it’s a shame Henderson threw in so many notes, almost as if he had a quota to fill. The full band brings this number to a fitting climax, leaving one with the wish it could go on for another seven minutes.
“Remembrance” starts out sounding strangely like “Swing Low – Sweet Chariot,” but only for the first few bars of Steve Campos’ solo on flugelhorn. Suddenly the tempo changes to a swinging number that is pure delight. Further solos by Bennett Friedman, Russ Tincher on drums
, Carl Leach on trumpet, the entire band joining in to make this a real “bran burner”, ending all too soon with a duet between Campos and Leach. This album concludes with “viva Corea” and “we’re Outta Here”.
I hope his next album will give us more that just a fleeting passage from his wonderful reed section. Maybe he intentionally left us wanting more. If so, he succeeded.
Max Pagers No Name Jazz Letter
Deep Voices
Horn-laden big bands playing contemporary jazz are an endangered species. This is only the second Jazz Garden Big Band release in its 13 year existence. The 16 players go from lush ballads to roaring post-swing power under the direction of California State University at Hayward’s director of jazz studies, Dave Eshelman, who plays trombone. There are no synthesizers or heavy electronics, but Eshelman’s style makes a good bridge between tradition – as in Duke Ellington – and Eshelman’s own progressive arrangements. The band draws on some of the best Bay Area jazz talent who usually lead their own small combos, among them alto saxophonist Mary Fettig, tenor hotshot Bennett Friedman (especially on the soaring, full-force closer, “We’re Outta Here”), pianist Smith Dobson, guest guitarist Bruce Forman and sax giant Joe Henderson, who is featured on a good half of the album’s tunes. 3 1/2 stars
Larry Kelp Oakland Tribune
Deep Voices
This new release by trombonist/arranger/jazz educator Dave Eshelman again showcases the remarkable bank of jazz talent that resides in Northern California. Against a multicolored backdrop of finely wrought orchestrations, the Jazz Garden Big Band presents a virtual phalanx or worldclass improvisational artistry, including the brilliant offerings of alto saxophonist Mary Fettig, tenormen Joe Henderson, Bennett Friedman, and Daniel Zinn,
Guitarist Bruce Forman, trumpeters Dave Bendigkeit, Steve Campos and Bill Resch and the magnificent rhythm section of Smith Dobson (piano), Seward McCain (bass), and Russ Tincher (drums).
Along with the delightful reworking of evergreens such as “Softly as in a Morning Sunrise” which showcases the incomparable talent of Joe Henderson, and The Duke’s classic “In a Sentimental Mood,” Eshelman has likewise penned action-packed charts for “We’re Outta Here” and “If You Change Your Mind,” featuring a barn-burning drum solo by Tincher. It is, however the fresh and distinctive nuance of Eshelman’s neo-impressionistic compositions (e.g. “Deep Voices” parts 1 and 2) that distinguish this unit from other stage bands hereabouts. With a full-blown ensemble of five saxes, four trumpets, and four trombones, Eshelman’s latest album is heavenly manna for big-band buffs.
Sammy Cohen San Jose Metroguide
Deep Voices
David Eshelman originated this energetic group in 1976, operating in the rich musical clime of the San Francisco Bay Area. Eshelman has overcome the formidable obstacles of keeping a big band afloat, honing a band of spirited and disciplined players who navigate the challenging waters he has charted with skill and aplomb.
Eshelman is a skillful writer whose work has been commissioned by Stan Kenton, Bill Watrous and Don Ellis among others. And, like Bob Mintzer, Eshelman’s arrangements have become staples for college and rehearsal bands around the world.
Here, he offers bright reframings of “Softly As in a Morning Sunrise” and “In A Sentimental Mood.” There also are originals, including the haunting title track that was inspired by the songs of the humpback whale.
Other assests are the inspired playing of Mary Fettig on flute and alto saxophone, plus guest artists Joe Henderson on tenor and guitarist Bruce Forman.
Chuck Berg Lawrence Journal-World
Deep Voices
I wasn’t familiar with the Jazz Garden Big Band but they are a top-flight orchestra, and much of the crdit should go to arrange/producer Eshelman and drummer Russ Tincher, whose cymbal-work and insistent style anchors the session. In the original “To Catch A Rainbow,” which opens, Tincher’s inexorable beat gives guest Bruce Forman’s guitar room to move. In the two-part title tune, an atmospheric college of brass voices, Bill Resch shines on trumpet. Tenor great Joe Henderson sits in on classics by Romberg and Ellington. Outstanding.
Ken Gammage The Music Independent
The Jazz Garden
This could be the best nig band in the Bay Area. Eshelman is a local composer and trombone player who has worked with Gerald Wilson, Tony Bennett, Joe Williams and written charts for Stan Kenton and the Don Ellis orchestras. Rating 4 1/2
Peninsula Times Tribune
Dave Eshelman is a trombonist unfamiliar to me but he’s produced a very nice album. All of the arrangements are his and the compositions as well with the exceptions of “Another You” and Chick Corea’s “Tap Step.” The former chart has a long flute intro (is this the verse?) against some nice sustained chords before it finally works into an ensmble for flutes with full rhythm. Very interesting idea. “The Jazz Garden” showcases Dave’s trombone but it’s the beautiful voicing that wins me over. “Remembrance” is dedicated to Dr. Herb Patnoe and features Campos and Leach who are good players with somewhat familiar names. Tenorist Friedman, plays several good solos and is especially effective on “Sunbeams” where the brass section reaches its peak. Mark Park is the former Mary Fettig who played with Kenton in the early 70’s and her alto on “Scorpions,” flute on “Viva Corea” prove that she has grown into a versatile woodwinds player deserving more attention. All of this is well rehearsed, well produced and an album that is worth seeking out.
Jerry Atkins Cadence Magazine
There should be a special place on the Jazz spectrum for bands like Dave Eshelman’s — somewhere between the irrepressible swing of Basie or Herman and the more cerebral notions of, say, Gil Evans or his heir–apparent, Maria Schneider. One could say that Eshelman’s band, whose most prominent role model would seem to be Bill Holman’s orchestra, encompasses the best of both worlds. On the one hand, it does swing; on the other, there’s enough meat on its bones — and in Eshelman’s charts — to assuage the appetite of anyone who wants more than another warmed–over version of “One O’Clock Jump,” “Four Brothers” or even “Take the ‘A’ Train.” At the center of Milagro’s Journey stands Eshelman’s lucid tone poem of that name, written for a family friend whose journey has taken her from El Salvador to California. Eshelman also composed the perky “Catch Me Up,” dedicated to pianist Chick Corea; “Samba Mozart,” which, he writes, “reflects the European sonata form in the guise of a Brazilian dance”; and “One Heart, One Soul,” his “personal salute to Miles Davis and Gil Evans.” Completing the program are a medley of Dizzy Gillespie’s “Night in Tunisia” and Juan Tizol / Duke Ellington’s “Caravan” and big–band adaptations of engaging works by John Abercrombie (“Ralph’s Piano Waltz”), Keith Jarrett (“My Song”), Horace Silver (“Lonely Woman”) and Michael Brecker (“Delta City Blues”). None is wanting either in substance or loveliness of form, thanks to Eshelman’s superlative arrangements. The Jazz Garden Big Band rises to the occasion, enfolding every number in a luxurious blanket of warmth and understanding. The soloists, each of whom speaks clearly and without bombast, include the leader himself on trombone (“Ralph’s Piano Waltz,” “Lonely Woman”), trumpeters Steve Campos and Bill Resch, tenors Paul Contos and Dann Zinn (soprano sax on “My Song,” wood flute on “Milagro’s Journey”), alto Rory Snyder, trombonists Dave Martell and Dave Gregoric, guitarist Randy Vincent, pianist Michael Bluestein, drummer Alan Hall and, last but not least, the always charming Mary Fettig (alto on “Catch Me Up,” flute on “Samba Mozart”). Eshelman’s latest “Jazz Garden” is fragrant and colorful; come on in, breathe deeply and admire the landscape.
Jack Bowers All About Jazz
MYSTIQUE
Just happened to bump into a couple of wonderful Dave Eshelman big band charts-"Mystique" and "I Will Take You There", both of which my University Jazz Band performed this year. Much to my delight, I found out that Dave had recorded an album by the same name. Thinking that it would be the Jazz Garden big band, I ordered a copy, only to find out that it was a small group session. Somewhat let down, I dropped it in the player and WHAT A TREAT! An all-star rhythm section and great tunes. Not many guys have the right to take on J.J.'s "Lament"---its just one of those tunes you leave alone for fear of spoiling such a gorgeous line-- but Dave and the group do it justice with due respect to the composer. PLEASE-email me if you know of other recordings and be sure to latch on to this one.
Paul Vander Gheynst Professor, Columbus State University,Columbus, Georgia
WHEN DREAMS
This is great big-band jazz. The solos are fresh and imaginaitive and the arrangements and compositions are timeless. Nothing dated about this material. If you like early Maynard Ferguson ( "Maynard 61" or "Si Si MF" ) or select Stan Kenton ("Fire, Fury and Fun"), you'll love this CD.
F. Fahrner (Central Coast, California
Mystique – Dave Eshelman – Jazz Garden
San Francisco Bay area trombonist Eshelman has gathered a stellar lineup for this CD and, as one might expect, Abercrombie, Patitucci and Erskine provide a rock solid backdrop to his soloing. The track mixture of originals and standards works well in this case as Eshelman is a more than competent tunesmith. To my mind you’ve got to go some to lift the often flat tone of the trombone above the mundane. Here, Abrecrombie breathes extra life into the mix with filigree, cascading runs, stabs and harmonically rich chordal interplay. As a soloist, Abercrombie’s processed sound has never had much appeal ot this reviewer but it’s what he has to say that marks him out as an important player. To me, his contribution is that he is always willing to push the boundaries out just that little bit further. As I say, my only gripe, and this goes for may of the modernists, is the sound. I only wish that some jazz players would allow us to hear the pure sound of the instrument without their undoubted talents coming to us via a bank of effects which undoubtedly have there place on the rock stage, or in so called “jazz-rock”, but not, to my mind in the kind of straight ahead jazz we have here. But that’s a minor point and a personally subjective one. Abercrombie contributes his fine playing too an interesting, richly textured CD. I don’t think Eshelman has anything new to say but I like his compositions and arrangements which to my mind mark this CD out as a cut above the average offering. Rating: 3 +
Jazz Guitar International Newsletter & Archive
The trombone player Dave Eshelman accompanaied by trio of luxury ontegrado by the guitarist John Abercrombie, and bassist John Patitucci and the drummer Peter Erskine. Six new compositions appear next to classics by Thelonious Monk, Charlie Parker and J. J. Johnson and a surprising unique jazz version of a piece of by Debussy they compose this disk that implies improvisational tendencies along with strong swing. Contemporary and classic jazz are explored in this recommended disk.
Margen Magazine, Lugo, Spain
TEMPERATURE RISING
Temperature Rising Jack Bowers All About Jazz
A few years ago the San Jose Jazz Festival commissioned composer/educator/trombonist Dave Eshelman to write a Jazz Suite as a “musical accolade” to that California city, and Temperature Rising is the result of that mandate. As there are no other selections on the CD, the running time is only 28:55 (the first two minutes of which comprise a spoken introduction by Pete Fallico). The 27 minute suite itself is superb, with its four movements depicting the bustle of downtown; paying tribute to Mayor Susan Hammer (“The Rose of the Rose Garden”) for her untiring support of the arts in San Jose; describing the excitement and electricity of “the capital of Silicon Valley” and saluting the city’s refreshing multiculturalism with the “Samba de San Jose”. Eshelman brought together a stellar ensemble to play the music including a number of enterprising soloists including Mary Fettig, trumpeter Chuck MacKinnon (Metro); pianist Smith Dobson, tenor Bennett Friedman, trumpeter Steve Campos (“Silicon Shuffle); guitarist Tim Volpicella, flugel Bill Resch, flutist Paul Contos, drummer Alan Hall (“Samba de San Jose”) and Eshelman himself with vocalist Sarah Schweppe (“Rose of the Rose Garden”). What is perhaps most striking is the wonderful assortment of tempo and timbre expressed within the suite’s various movements, from blazer to ballad, shuffle to samba. Everything hangs together like a well-framed tapestry, making it abundantly clear that the Festival directors made the proper choice when they tapped Eshelman as its composer. Of one can get past its meager playing time, a laudable addition to the big-band library.
Jack Bowers All About Jazz
Deep Voices / When Dreams Come True
Southern California has been a spawning ground for a number of interesting bands in the past 20 years, with such West Coast hold-outs as Gerald Wilson maintaining a West Coast tradistion, which groups like Eshelman’s Jazz Garden Big Band – a San Francisco fixture through the late 70’s and 80’s – amplified still further. These are unflashy, thoughtful sessions which are beautifully performed without resorting to mere slickness. A trombonist himself, Eshelman gets a fine, singing timbre out of his ‘bone section, and he pitches it to scintillating effect against trumpets and woodwinds: sample the fascinating arrangement of Softly As In A Morning Sunrise on Deep Voices. This album takes the lead for a couple of guest spots by Joe Henderson and Bruce Forman, whose guitar solo on ‘To Catch A Rainbow’ is a thrilling beat-the-clock feat. Even the title work on Deep Voices, which tackles the favourite Californian topic of whale-song, sidesteps bathos. Of the more recent When Dreams Come True is a shade behind, it’s only because the soloists in it make a more functional mark than their illustrious predicessors on the earlier disc. Eshelman’s own writing continues to put his personal stamp on what is often a glib, overslick genre: the beautiful reshaping of ‘Invitation’ and ‘Old Folks’ is as accomplished as his amusing Latin pastiche, ‘Tumbao Nuevo’.
Richard Cook and Brian Morton
The Penguin Guide to Jazz on Compact Disc.
Deep Voices
This band made its debut in 1976 but this particular CD was recorded during October of 1988. This is a well rehearsed modern nbig band which included in its ranks two ex Kenton musicians Mary Fettig on lead alto, flute & piccolo and Steve Campos, trumpet. There are also two guest soloists – Joe Henderson on tenor and Bruce Forman guitar, both of whom are featured on two numbers apiece. The first number is very catchy with nice flute from Mary and bouncy guitar from Bruce. Second number features Joe plus the smooth trombone of leader Dave Eshelman. MaryGoRound is very nice being a five minute workout for Mary’s liquid alto. To sum up an excellent band which unfortunately, on this CD could have benefited with a few up-tempo numbers as some of it sounds rather somber.
Peter Green I.B.B. (International Big Band)
When Dreams Come True
This is Dave Eshelman’s San Francisco-based Jazz Garden Big Band’s third album. The band has been in existence for 16 years and boasts one or two names, such as Mary Fettig and Steve Campos, who were formerly associated with Stan Kenton’s latter-day orchestras.
Although the band nods in the direction of Kenton on Old Folks and Count Basie on Bb Blues, there is no shortage of originality on this excellent CD. On the opening track the tight ensembles and Bill Resh’s energetic trumpet make a strong impression, as does the ballad like We’ll Never. It was sritten in memory of Stan Getz and tenorist Bennett Friedman evokes the late saxophonist rather than actually impersonating him. The relaxed and very laid back Love You Madly spotlights Steve Campos’s flugel while Tumbao provides a vehicle for altoist Mary Fettig, trumpeter Dan Buegeleisen and the leader to weave their solos in and out of the punchy ensembles. Laden with Latin rhythms, this is one of the most exciting numbers on the album. When Dreams is a complex chart which makes use of two themes through which Dann Zinn’s tenor guides the listener. Smith Dobson’s sparkling piano introduces Invitation after which the theme is passed around the sections to be picked up and further developed by Paul Contos’ tenor. Mystique has exotic, haunting textures, out of which emerges Tim Volpicells’s gentle guitar. In contrast, Original Rays is quite a production number with the orchestra augmented by additional woodwind instruments which add further to the overall excitement of this unusual piece. As big bands go, this must rank as one of the best around today. It is a pity San Francisco is so far away.
Stan Woolley Jazz Journal International
When Dreams Come True
Cedar Walton’s Firm Roots, the opening cur of Dave Eshelman’s Jazz Garden Big Band: When Dream Come True (SeaBreeze Jazz CDSB-2045) supplies
An omen of the sounds yet to come from this driving San Francisco area band. Definitely straight-ahead and swinging, Eshelman’s vision stretches back decades, gathering those aspects of big band writing he has come to appreciate, and giving them a thoroughly contemporary feel through extended harmonies, interesting voicings, and enhancement by his energetic soloists. Far from a trip ddown nostalgia lane, Eshelman’s is a band for the 1990’s that just happens to prefer the fundamental fhythmic feeling callef “swing,” the most basic ingredient to jazz’s charm and appeal. Ellington’s Love You Madly, Kaper’s Invitation and Hill’s Old Folks are given individualized treatment, but the original compositions truly shine as Eshelman consciously attempts innovation with Bb Blues In F (each chorus subliminaly modulates from Bb to F); Tumbao Nuevo (a burning samba); When Drreams Come True (a vivid tonal landscape); and Original Rays (which adds orchestral winds for a sonic role reversal: the timbres of a transcribed Michale Breker Electronic Wind Instrument – EWI – solo are imitated by acoustic instruments). Recommended.
Rozzi No Name Jazz
Deep Voices
Admittedly, until today, the name Dave Eshelman and his Jazz Garden Big Band was not a household word in this man’s household, but I have the distinct feeling that more and more households will be hearing more and more about Dave Eshelman.
Not only did Eshelman arrange all eleven numbers on this album, he composed nine of the eleven as well.
The album opens with “To Catch a Rainbow” and it gets your attention right away. Starting off with a POW, it glides on to a flute solo by talented Mary Fettig, followed by graceful guitar work by guest artist Bruce Forman, with muted trumpet solo work abley handled by Dave Bendigkeit. One gets the feeling of people racing to catch the rainbow, and ten a change of tempo brings one back to reality as if the rainbow was within reach.
Romberg-Hammerstein’s “Softly as in a Morning Sunrise” follows. Fortuneatly, they provide us with the title of this number, otherwise we’d never have guessed. Smith Dobson’s one minute piano solo opens the number, followed by the tenor sax of Joe Henderson, periods of the entire band, ending with Dave Eshelman on trombone. Too bad they jazzed it up so much. How much more affective, with all tha talent, had the arrangement been more of a soft swing, more in keeping with the tempo Romberg and Hammerstein had in mond when they wrote it.
Eshelman’s composition entitled “MaryGoRound” evidently a tribute to Mary Fettig, features Fettig on allto sax, a task she handles with brilliance. This dreamy number lends itself too the dreamy notes flowing out of her horn.
Rather than comment on band number four, I choose to skip to number five, “Deep Voices, Part I, Open Sea”. The liner explains that this album’s title track is based on the sounds of the Blue whale and the Humpback whale. Eshelman has captured the mood and the sound of the open sea, bringing forth the cry of the whale through the theme solos of Mary Fettig’s sax and Bill Resch’s trumpet. “Deep Voices, Part II, Bright Water” moves along like a sai boat with a stiff breeze filling the sails. Bruce Forman’s guitar work takes you out of safe harbor, while the mood created by Bennett Friedman’s tenor smooths out the waves of the sea.
Duke Ellingotn’s “In a Sentimental Mood” featuring Joe Henderson on tenor, whith leader-arranger Eshelman on trombone, is good. It’s such a beautiful number (Ellington never wrote an ugly one), it’s a shame Henderson threw in so many notes, almost as if he had a quota to fill. The full band brings this number to a fitting climax, leaving one with the wish it could go on for another seven minutes.
“Remembrance” starts out sounding strangely like “Swing Low – Sweet Chariot,” but only for the first few bars of Steve Campos’ solo on flugelhorn. Suddenly the tempo changes to a swinging number that is pure delight. Further solos by Bennett Friedman, Russ Tincher on drums
, Carl Leach on trumpet, the entire band joining in to make this a real “bran burner”, ending all too soon with a duet between Campos and Leach. This album concludes with “viva Corea” and “we’re Outta Here”.
I hope his next album will give us more that just a fleeting passage from his wonderful reed section. Maybe he intentionally left us wanting more. If so, he succeeded.
Max Pagers No Name Jazz Letter
Deep Voices
Horn-laden big bands playing contemporary jazz are an endangered species. This is only the second Jazz Garden Big Band release in its 13 year existence. The 16 players go from lush ballads to roaring post-swing power under the direction of California State University at Hayward’s director of jazz studies, Dave Eshelman, who plays trombone. There are no synthesizers or heavy electronics, but Eshelman’s style makes a good bridge between tradition – as in Duke Ellington – and Eshelman’s own progressive arrangements. The band draws on some of the best Bay Area jazz talent who usually lead their own small combos, among them alto saxophonist Mary Fettig, tenor hotshot Bennett Friedman (especially on the soaring, full-force closer, “We’re Outta Here”), pianist Smith Dobson, guest guitarist Bruce Forman and sax giant Joe Henderson, who is featured on a good half of the album’s tunes. 3 1/2 stars
Larry Kelp Oakland Tribune
Deep Voices
This new release by trombonist/arranger/jazz educator Dave Eshelman again showcases the remarkable bank of jazz talent that resides in Northern California. Against a multicolored backdrop of finely wrought orchestrations, the Jazz Garden Big Band presents a virtual phalanx or worldclass improvisational artistry, including the brilliant offerings of alto saxophonist Mary Fettig, tenormen Joe Henderson, Bennett Friedman, and Daniel Zinn,
Guitarist Bruce Forman, trumpeters Dave Bendigkeit, Steve Campos and Bill Resch and the magnificent rhythm section of Smith Dobson (piano), Seward McCain (bass), and Russ Tincher (drums).
Along with the delightful reworking of evergreens such as “Softly as in a Morning Sunrise” which showcases the incomparable talent of Joe Henderson, and The Duke’s classic “In a Sentimental Mood,” Eshelman has likewise penned action-packed charts for “We’re Outta Here” and “If You Change Your Mind,” featuring a barn-burning drum solo by Tincher. It is, however the fresh and distinctive nuance of Eshelman’s neo-impressionistic compositions (e.g. “Deep Voices” parts 1 and 2) that distinguish this unit from other stage bands hereabouts. With a full-blown ensemble of five saxes, four trumpets, and four trombones, Eshelman’s latest album is heavenly manna for big-band buffs.
Sammy Cohen San Jose Metroguide
Deep Voices
David Eshelman originated this energetic group in 1976, operating in the rich musical clime of the San Francisco Bay Area. Eshelman has overcome the formidable obstacles of keeping a big band afloat, honing a band of spirited and disciplined players who navigate the challenging waters he has charted with skill and aplomb.
Eshelman is a skillful writer whose work has been commissioned by Stan Kenton, Bill Watrous and Don Ellis among others. And, like Bob Mintzer, Eshelman’s arrangements have become staples for college and rehearsal bands around the world.
Here, he offers bright reframings of “Softly As in a Morning Sunrise” and “In A Sentimental Mood.” There also are originals, including the haunting title track that was inspired by the songs of the humpback whale.
Other assests are the inspired playing of Mary Fettig on flute and alto saxophone, plus guest artists Joe Henderson on tenor and guitarist Bruce Forman.
Chuck Berg Lawrence Journal-World
Deep Voices
I wasn’t familiar with the Jazz Garden Big Band but they are a top-flight orchestra, and much of the crdit should go to arrange/producer Eshelman and drummer Russ Tincher, whose cymbal-work and insistent style anchors the session. In the original “To Catch A Rainbow,” which opens, Tincher’s inexorable beat gives guest Bruce Forman’s guitar room to move. In the two-part title tune, an atmospheric college of brass voices, Bill Resch shines on trumpet. Tenor great Joe Henderson sits in on classics by Romberg and Ellington. Outstanding.
Ken Gammage The Music Independent
The Jazz Garden
This could be the best nig band in the Bay Area. Eshelman is a local composer and trombone player who has worked with Gerald Wilson, Tony Bennett, Joe Williams and written charts for Stan Kenton and the Don Ellis orchestras. Rating 4 1/2
Peninsula Times Tribune
Dave Eshelman is a trombonist unfamiliar to me but he’s produced a very nice album. All of the arrangements are his and the compositions as well with the exceptions of “Another You” and Chick Corea’s “Tap Step.” The former chart has a long flute intro (is this the verse?) against some nice sustained chords before it finally works into an ensmble for flutes with full rhythm. Very interesting idea. “The Jazz Garden” showcases Dave’s trombone but it’s the beautiful voicing that wins me over. “Remembrance” is dedicated to Dr. Herb Patnoe and features Campos and Leach who are good players with somewhat familiar names. Tenorist Friedman, plays several good solos and is especially effective on “Sunbeams” where the brass section reaches its peak. Mark Park is the former Mary Fettig who played with Kenton in the early 70’s and her alto on “Scorpions,” flute on “Viva Corea” prove that she has grown into a versatile woodwinds player deserving more attention. All of this is well rehearsed, well produced and an album that is worth seeking out.
Jerry Atkins Cadence Magazine