REVIEWS

FOUR Plus Six
 
Nobody loves a big band sound more than me, that’s truth. But then again, the weight and volume of all those players, all that sound, can start to get a little bulky after a while. An ensemble like FOUR Plus Six strikes a perfect balance, allowing the music room to breathe and develop, while providing it with some essential structure. And in the hands of a composer/arranger like Mark Watkins, each track takes the listener on a journey that is both fresh and crisp but also satisfying and fulfilling.
 
Singling out highlights can be a fool’s errand, but I have proven to not be afraid of that representation, so here goes:
 
“On Any Given Day in Summer” grooves from note one, with its New Orleans second line feel and angular melody. Each solo is a highlight with statements from Jon Gudmundson on baritone sax, Derrick Gardner on trumpet, Ray Smith on alto sax, and Corey Christiansen on guitar.
 
Not to be missed is the modal swinging on “Don’t Care Who Knows It” where trombonist Vincent Gardner, soprano saxophonist Mark Watkins, and pianist Justin Nielsen wail their way through with gusto.
 
The pace and mood alter dramatically for “Against My Desire to Imagine” which features subtle and delicate interplay between Gardner on trumpet and Watkins on tenor, along with a lovely and creative guitar solo by Christiansen. Check out how the guitar and Nielsen’s piano work together, especially as the solo peaks in its second chorus after Gardner’s and Watkins’ melody interlude. 
 
“The Executioner is Looking Away” grabs you out of the gate with a head that keeps the players and the listeners on their toes, but then the rhythm section drops out for the opening tenor solo by Mark Watkins. An unexpected and fresh choice by the arranger and producer (Watkins). This track builds and builds through Christiansen’s guitar solo and into the rousing trumpet solo by Derrick Gardner and drum solo by Kobie Watkins.
 
“Shouldn’a Did That” shows how Mark Watkins combines contemporary grooves with a harmonically advanced approach, which gives the players a fresh and intriguing framework to improvise on. Sandon Mayhew plays his first solo on the album, adding a new timbre while skillfully navigating the colors of the progression. Christiansen, Nielsen, Mayhew, and Vincent Gardner pass the baton in turn, synergistically developing the composition, which climaxes during Gardner’s second chorus bridge. 
 
“Today, Yesterday, Tomorrow and Forever” is composed as a sax soli that shows these musicians’ understanding of pitch and blend. The piece is a seven minute long crescendo, testing the player’s endurance, but also provides opportunities for improvisation. It requires experience in both jazz and quasi-classical music and Mark Watkins, Ray Smith, Sandon Mayhew, and Jon Gudmundson are more than up to the task.
 
“Without Another Word” is a tour de force for the ensemble, with complex writing for the saxes, then the entire band. Bassist Braun Kahn’s animated solo leads into Derrick Gardner killing it like he does, followed in kind by his brother Vincent. A sprightly soprano sax solo (too much alliteration?) by Watkins leads back to the head, and after all that activity we settle into the final chord.
 
The musicians in this band are in the upper level to be sure, but to top it off, they are in complete sync with each other and listening to one other is a clear priority. This gives the music spirit and unity, causing the perception to be one of hearing a band, and not merely a group of excellent musicians at a session. The combination of great charts, insightful and perceptive players, along with solid and skillful production makes this one for your collection.
 
Gordon Goodwin
Leader, Gordon Goodwin’s Big Phat Band