Customer Reviews

Menza Lines

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Don Menza is a very gifted composer, arranger and tenor saxophonist, who has recorded far less frequently than his talents deserve. ("Burnin" on Real Time from 1980 is the only other Menza big band date.) Big band fans first became aware of Menza's work in the 60's with Buddy Rich (for whom he wrote some hard-driving charts and recorded the memorable tenor solo on Channel One Suite), and also with Stan Kenton and Maynard Ferguson (for whom he wrote some charts, as well). Because of this latter association Menza was invited to lead his big band at the "Stratospheric" tribute to Maynard held in Los Angeles in the fall of 2004.

"Menza Lines" on Graham Carter's Jazzed Media label is the recorded document of the band's set. If you know Menza's work only with Rich you may be a bit surprised by the variety on this disc. Menza can still write hard-driving charts (and nobody can write a shout chorus like Don Menza), but he is an excellent ballad and medium tempo writer as well, with attractive, well-crafted melodic lines at every tempo. Charts such as "Nina Never Knew", the Brazilian sounding "Faviana" and the medium swinger "Broad Bottom" show that Menza is interested in exploring many different sounds and voicings. Flutes, bass trombone, bass clarinet and guitar are used very effectively in these arrangements. "Prelude to a Kiss" is a lovely ballad arrangement with a few surprises, and features a stunning flugelhorn solo by Bobby Shew.

Of course, there are the burners too, such as the opening "Gravy" which opens with a off-center piano solo by Mike Abene, leading into a swinging brass section riff you'll play again and again. "T n' T" is a romp for the trombone section featuring solos by Alex Isles and Bob McChesney. "Hark the Harold" is a bright bop vehicle for altoist Lanny Morgan, with some reed section writing reminiscent of Supersax. The closing "Time to Leave" is an up-tempo variation on "After You've Gone", featuring some long horn lines which must have left the players breathless.

Menza is a terrific tenor soloist with a full-bodied sound, burning on the uptempo tracks and playing beautifully appropriate solos on "Faviana" and "Nina". Other outstanding soloists include guitarist Mark Waggoner, Don Rader on flugelhorn, bass trombonist Bill Reichenbach, altoist Russ d'Alba, Jack Nimitz on baritone, and bassist Chris Conner.

"Menza Lines" a superb modern big band jazz album, very interesting and very satisfying. There is no question that Menza is one of the top big band writers in jazz, as well as one of the outstanding hard-bop tenor saxophonists. This highly recommended CD is one of my personal favorites of 2005.

This is Don and his crew in a live setting with a rapt audience at his feet, backed by his longtime sidemen. What could go wrong here? Nuttin.

Back in the 70's while at UCLA, I had the pleasure of playing some of his charts and they were always the most challenging pieces we played, the most complex yet the most listenable. Menza's pen matched his sax in flavor and talent.

Some live albums featuring older studio players lack the emotion one finds in an old Buddy Rich or Maynard recording; their sidemen are younger and filled with hormones. Sounds like someone put Viagra in the valve oil!

Smokin!

Anyone who has followed Don Menza's recordings spanning more than four decades knows him to be a powerful tenor saxophonist with blazing technique, as well as a talented composer and arranger. All of that is in evidence here, plus a maturity that puts him at the top of his game and a rapport with the band that is akin to a family bond. (He's worked with these sidemen frequently throughout his career.) He doesn't hog the spotlight, letting the band stretch and giving other fine soloists ample opportunities to shine.
This live performance keeps the energy level up, and even the ballads are played with intensity. The up-tempo closer, "Time to Leave," is a great example of that energy, and Menza's solo in this tune bears repeated listening to fully appreciate the level of maturity he's reached. Those aren't just a bunch of fast-moving notes -- they're a brilliant flow of ideas.
The only way to improve this album is to add more of the same. But it's already more than an hour of music, so I can't complain.