Christian McBride Big Band: Bringin’ It

Christian McBride is undoubtedly one of the most prolific jazz musicians of our time. He has collaborated with a wealth of musicians across genres, from Chick Corea to Sting to ?uestlove to Kathleen Battle, reflecting not only a broad versatility but also a sense of respect for the traditions and practices across the spectrum of popular music. As a bandleader, McBride fronts at least five groups, ranging from a standard piano trio to the experimental Christian McBride Situation, all the while maintaining gigs as the Artistic Director of the Newport Jazz Festival and the host of his SiriusXM show “The Lowdown: Conversations with Christian.” Never one short on ambition, his latest release, the Christian McBride Big Band’s Bringin’ It, demonstrates his talent arranging for a notably large ensemble.

Opening track “Gettin’ to It” kicks off with a funk groove that would make James Brown proud. Freddie Hendrix, Ron Blake, and Rodney Jones tear through solos shifting from tight and clipped to loose and animated. “Thermo”, a Freddie Hubbard tune McBride learned during his three years in the trumpet great’s band, lays out the band’s tight swing and precision with rhythmic hits and layering. McBride was lucky enough to maintain the same band from their first recording, 2011’s Grammy-winning The Good Feeling, allowing him to write for their strengths much like Duke Ellington did for his band.

Johnny Mercer standard “I Thought About You” saunters like the heartsick midnight ballad it needs to be. Trumpet player Freddie Hendrix stands out for his tasteful sculpting of the melody as much as his solo that adds new dimensions to the tune’s mood. “Sahara”, with its rotating 6/8 and 3/4 grooves, is unbridled rhythmic exuberance featuring an understated yet no less colorful solo from drummer Quincy Phillips. McBride may be early in his career as a big band arranger, but both tracks reveal an adept voice and perspective when it comes to managing this solid 18-player group.

Wes Montgomery’s barnburner “Full House”, originally arranged as a vehicle for guitarist Russell Malone, turns a spotlight onto longtime McBride collaborator Rodney Jones. Relatively reserved with a light attack, Jones doesn’t stretch out as far into the stratosphere as he could given the source material. Nonetheless, he delivers a fine solo and, short as it may be, his unaccompanied tag at the end of the tune beautifully channels Montgomery’s spirit and (literal thumb-based) touch on the guitar.

The light swing of “Mr. Bojangles” subverts the dark lyrics of the tune, giving it the impression of a breezy Thad Jones chart. Featuring McBride’s talented wife Melissa Walker on vocals, as well as another classy drum solo from Phillips, it’s the most curious arrangement on the album, although an undeniably charming one at that. “In the Wee Small Hours of the Morning”, forever associated with Frank Sinatra’s early days, is perhaps the most involved arrangement on the album despite being the shortest track. Sporting chirping flutes, a growling bass clarinet, and an angelic harp, it’s a deeply textured take, and a fine example of how far McBride’s arranging chops have come since the big band’s first album.

With extensive projects as a leader, a wealth of sideman gigs, seemingly endless touring schedule and well over 300 recording dates to his name, Christian McBride is undeniably one of the most noted and hardworking musicians in modern jazz. Not content to simply rest on his reputation, Bringin’ It is an excellent second release of his latest ventures into big band arranging. Far more than a vanity project, it’s another milestone in the career in one of the most important working musicians today, regardless of genre.