Jazz Connection Magazine

Chico State's Jazz X-Press Hosts "Funky Fusion" Spring Concert That's Bold, Brassy

CUTTING DUEL: California State University, Chico, Jazz Studies Director Rocky Winslow, right, gets into a cutting duel

with friend, Greg Gisbert, left, during the university's Jazz X-Press spring concert on April 16 at the Harlan Adams

Theatre. Gisbert, a world-renown brassman, was one of three guest artists performing with the thunderous student big

band. Remaining guest artists included Denver drummer Paul Romaine and Bay Area bassist Ryan Newman.

The late great bandleader Woody Herman once commented that whenever his brass section blows, he ducks for cover. Audience members who took in the Chico State Jazz X-Press spring concert at the university's Harlan Adams Theatre on April 16, could definitely relate.

The biting, brassy, stupendous and often boisterous "bulwark of sound" exhibited by the Jazz X-Press brass section was perhaps fueled in part by the three guest artists appearing with the band: trumpet sensation Greg Gisbert, fiery drummer Paul Romaine, and bassist Ryan Newman. The 39-year-old Gisbert, a personal friend of Chico State Jazz X-Press director Rocky Winslow, has played with a host of jazz luminaries including Buddy Rich, Toshiko Akiyoshi, Horace Silver, Maynard Ferguson, Bobby Shew, Maria Schneider, John Fedchock, Scott Hamilton, and the Village Vanguard Orchestra, seemed to have inspired the young players to new heights. This is Gisbert's second appearance with the Jazz X-Press in two years.

Romaine is a Denver native who has played with such artists as Eddie Harris, Benny Golson, James Moody, Larry Coryell, Gunther Schuller, Charlie Rouse, and the Woody Herman Orchestra, among others; and Newman, a freelance musician who lives in the Bay Area, has toured with the Bay Area Groundation band.

Both Gisbert and Romaine are currently members of the six piece jazz group, "Convergence," based in Denver. (See www.jazzconvergence.com)

Gisbert, who usually has a lyrical, liquid-toned quality to his trumpet and flugelhorn sound, displayed just that on the sassy Thad Jones arrangement of All Of Me and on John Fedchock's lush arrangement of John Coltrane's pretty ballad, Central Park West.

Things got highly-energized on Reunion At Newport, an Alan Broadbent composition that Woody Herman recorded on his 1972 album, The Raven Speaks. Pertinent solos on the piece were contributed by tenor man A. J. Mathews; pianist Shigemi Minetaka; trombonists Juan Aguilar and Casson Scrowcroft; soprano saxist Tanner Johns, and Romaine. Adding some flare to the event, Gisbert and Winslow engaged in a cutting contest doing some frantic upper registry solos that got the crowd in a frenzy.

Another Thad Jones tune, Tip Toe, had Minetaka playfully doing some "tip toe" licks of her own on the ivories with tenor saxophonist Adam Walter following his own muse.

Bill Holman's slow blues chart, Swee' Pea, featured Romaine humorously "weasing" in scat-like fashion to the quirky rhythm. Romaine's jocularity brings up an interesting question: With six microphones surrounding his traps set, why would Romaine, or any drummer for that matter, need all that amplification? Maybe someone can explain it to me.

Marie Schneider's Dance, You Monster, To My Soft Sweet Song, a "fearsome piece," featured Gisbert fluttering on trumpet in the vain of Flight Of The Bumble Bee, then soaring to breath-taking heights.

As an encore, the Jazz X-Press got in the groove to Thad Jones' Cherry Juice, the only real swinging tune of the set.

Because of their talents and dedication, members of the Jazz X-Press were able to master the performance material in three weeks time. Hats off to them for that! However, it would seem a bit strange that such challenging pieces of music would have little or no dynamic markings on them. If there were any dynamic markings, they were not evident from the performance. Loudness does not make one musical, it just makes one loud!

The trumpet and trombone sections were a bit overwhelming, tending at times to over-blow their parts. At times things sounded more like a shouting match as to who can out blow who.

For hype and sensationalism, the Jazz X-Press and guests get high marks. For overall musical taste, maybe three weeks rehearsal time is not long enough.

Members of the Jazz X-Press are Saxophones: Tanner Johns, lead alto; Adam Johanson, alto; A. J. Mathews and Adam Walter, tenors; and Doug Warrender, baritone; Trumpets: Nick Froehlich and Corey Dearborn (lead); Mike Torres and Evan Schreiber; Trombones: Casson Scrowcroft (lead), Juan Aguilar, Matt Plummer, and Alan Burwell; and Piano: Shigemi Minetaka.

Opening for the Jazz X-Press with their own brand of "funky fusion" was the six-piece combo, Midnight Six, comprised mostly of Jazz X-Press personnel. After making their debut six months ago at a university event, this group is fast becoming a favorite in the Chico jazz scene. It's easy to see why. Their strength and appeal lie in its tight ensemble sound and imaginative improvisational skills. They play with finesse while also honing an energetic and aggressive sound.

Members of Midnight Six are Mike Torres, trumpet/flugelhorn; Adam Walter, alto and tenor saxes; Juan Aguilar, trombone; Phil Bailey, piano; Nate Strock, bass; and David Strock, drums.

Midnight Six brought the evening to a jumping start with Chicken, a rambunctious funk ditty that featured Walters cutting it up on the alto sax.

Nate Strock was the focus of attention as the band launched into his compelling composition and arrangement of Gringo Swingo, where "Latin meets swing."

Molly Mahoney, a sophomore vocal performance major at Chico State, then joined the ensemble to sing the bouncy standard, Love Me Or Leave Me. Miss Mahoney's pleasant honey-coated voice added a sultry touch to the proceedings that also included a tasteful musical dialog between Torres on flugelhorn and Walter on tenor.

An unidentified "down-and-dirty" funk piece concluded Midnight Six's set that had Walter once again in the spotlight wailing on the alto sax.