By Marilyn Lester****Clarinetist Ken Peplowski is not only a virtuoso of the licorice stick, but a darn good leader too. His assembled big band at Birdland on the eve of Duke Ellington’s 120th birthday (April 29) was a knock-your-socks-off event. The show, chock full of wonderful jazz standards, smartly paced and rolled out, had the joint jumping, especially after the opener, Mary Lou Williams’ “Roll ‘Em.” This driving swing piece (an early hit for Benny Goodman) belted brass and quickly established Peplowski’s mastery and the band’s tight groove.
The first of the Ellington numbers followed, another assertive swing piece, “Rockin’ in Rhythm,” with all stops pulled out. From a documented, scientific point of view, Ellington’s music hits the brain in a feel-good way, and this tune fits that bill especially. With a drum solo by Chuck Redd in the style of Louis Bellson and the brass in the pocket, by the time a wailing trumpet hit the last note, the audience was primed for more, please. The second Ellington piece, from the six-part Liberian Suite, “I Like the Sunrise” (with lyrics by Mitchell Parrish) was performed as a gorgeous instrumental ballad. (The original 1947 version featured Al Hibbler. About 20 years later, Frank Sinatra sang it on the Francis A. & Edward K. album.) This rarely heard gem spoke keenly to Ellington’s versatility as a composer and the band’s canny interpretation of the number.
As much as the Peplowski big band swung, standards in a softer, slower tempo consistently excelled at musical storytelling. There may be a void of lyrics to guide the way, but smart arrangements give cues as to the emotional thrust and arc of a piece. “All I Need Is the Girl,” with Peplowski playing close to the melody, as well as delivering some improvisation, was a sensitive rendering, showcasing his crisp technique and smooth tone. Sitting in with the band on guitar, heavyweight John Pizzarelli performed an evocative solo. Another high point was the slow-dance arrangement of “When You Wish Upon a Star” (Leigh Harline/Ned Washington)—a reminder that in the big band era the groups played for dancing, not concertizing.
Peplowski, beside being an accomplished musician, is a strong leader. He’s relaxed, amiable and funny! The wit and good-natured cracks added a sense of camaraderie to the show, not only for the band members but for the audience too; his joviality created a bond in an uplifting “we’re in this together” spirit. Also to his great good credit, he included naming arrangers as well as composers in giving song credits. Bravo. These often unsung masters can make or break a number, so choosing the most compelling arrangements for a tune can be an art in itself. A case in point was Woody Herman’s “Apple Honey” arranged first for The Herd by Rick Stitzel and then arranged into a bop version by Flip Phillips. This hard swing version showcased most of the band members with solos, including a spotlight moment for bassist Mike Karn. An unplanned surprise was vocalist Veronica Swift who scatted quite a few bars off the top of her head. Her creativity, finesse and musicality was purely head-spinning. Swift is a young talent to watch.
As a closer, the band played one of “the greatest arrangements of all time,” according to Peplowski, Fletcher Henderson’s take on Fats Waller’s “Stealin’ Apples” (lyrics were also written for the tune by Andy Razaf), a hit for Benny Goodman. This zippy, rhythm number was the perfect exit, showcasing Peplowski’s clarinet prowess and the amazing group of musicians that came together for this exceptional evening of first class jazz. Hats off to the rest of the band: Jack Stuckey, Jon Gordon, Mark Lopeman, Aaron Johnson, Carl Maraghi, saxophones; John Allred, Bruce Eidem, Jennifer Wharton, Harvey Tibbs, Trombones; Bob Millikan, Nick Marchione, Randy Reinhart, Andy Gravish, trumpets; and Ehud Asherie, piano.
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