Bob Mintzer Albums (23)
What The Critics Say
Bob Mintzer has led big bands off and on since the late 1970s, in addition to small groups and working as a part of the jazz fusion band the Yellowjackets. These sessions open with his colorful "'Swing Out," a forward-thinking chart in the mold of Bob Brookmeyer's large ensemble writing. "Each Day" is an upbeat number with a gospel undercurrent, while "Swangalang" is an infectious midtempo blues. Vocalist Kurt Elling once again guests on a track, writing lyrics to Lyle Mays and Pat Metheny's "Minuano," delivering a heartfelt performance followed by potent solos from Mintzer and pianist Phil Markowitz. Mintzer also finds fresh approaches with his arrangements of the standards "My Shining Hour" and the venerable "Someday My Prince Will Come." The tenor saxophonist's arrangements are first-rate throughout these enjoyable sessions. A portion of the proceeds from the sale of this CD benefits the programs of the Manchester Craftsmen's Guild in Pittsburgh. ~ Ken Dryden, All Music Guide
What The Critics Say
Though Bob Mintzer normally works in the big band tradition, the tenor saxophonist does the occasional small combo session as well. In the Moment is one of those rare sets, recorded in one December 2004 session with the rhythm section of pianist Phil Markowitz, bassist Jay Anderson and drummer John Riley. A completely straightforward mainstream jazz set in the post-bop tradition, In the Moment mostly consists of originals (the highlight of which is Markowitz's lovely ballad "Forgiveness"), with a respectful take on the ballad standard "Time After Time" and a playful, swinging version of Eddie Harris' soul-jazz hit "Listen Here" thrown in for variety. Two showcases for the woody, funky tone of Mintzer's bass clarinet, "Blues" and "What's the Word," add another dimension to the album. In a way, there's nothing special about In the Moment, no mindblowing solos or particularly exciting interplay between the bandmembers. It's simply a solid contemporary jazz album with no crossover pretensions. That alone makes it an endearing, enjoyable listen. ~ Stewart Mason, All Music Guide
What The Critics Say
The Manchester Craftsman's Guild in Pittsburgh offers another rousing live concert date in this varied program led by the eclectic saxophonist who is best known as one of the Yellowjackets -- but whose early résumé also boasts everyone from Tito Puente to Thad Jones and the Mel Lewis Big Band. A dash here and a dollop there of each of these influences make this a varied date whose appeal extends beyond big-band fans and embraces those who love bebop, a touch of the avant-garde, the progressive spirit of the Yellowjackets (most notably Russell Ferrante, who contributes stunning percussive solos on pieces like the crazed, polyrhythmic "Mofongo"), and the great contemporary vocalist Kurt Elling. The singer shows a softly romantic and emotional side in extracting every heartfelt word on "My One and Only Love," but engages even more with his lively roller coaster phrasing over the bold and booming arrangement of John Coltrane's "Resolution." Later original Mintzer highlights include the percussive blues-driven playfulness of "March Majestic," the classic swinging of "Black Sand," and the mix of funk beats and swirling horn arrangements on "Go-Go." ~ Jonathan Widran, All Music Guide
What The Critics Say
Interestingly, Live at MCG is the very first live recording by Bob Mintzer's big band, a group that has been together for over a decade. Recorded at the Manchester Craftsman's Guild in Pittsburgh, this date is also the first pairing of vocalist Kurt Elling with the band, and it's a doozy of a gig. The players include bassist Rufus Reid, pianist Phil Markowitz, and trumpeter Michael Philip Mossman, just to name a few of its 16 members. Mintzer's charts are high on drama, rich in rhythmic interplay, and very, very tight. There is nothing extraneous, because the excitement is what he draws out of the music itself. While everything here is exciting, deftly executed, and wonderfully lyrical, the three vocal tunes are clearly the set's highlights, including "My Foolish Heart," a tune that has become one of Elling's signature vehicles, and the Elling-Mintzer collaboration "All Is Quiet," on which Mintzer scales the band back to a quartet. But it is on a brand new chart for Herbie Hancock's "Eye of the Hurricane" that everything here takes off. Mintzer's own solo is one of his most inspired, and Markowitz's modulations are startling. But Elling moves his own truly original practice of vocalese into the stratosphere somewhere, making this the album's most inspired performance. Any way you cut it, this is a winner. ~ Thom Jurek, All Music Guide
What The Critics Say
The Bob Mintzer Big Band has been a part-time affair for the past 18 years, but somehow the orchestra always manages to sound like a regularly working band. The premise behind Gently was to have the Mintzer Big Band playing at a lower volume, with lyrical arrangements by the leader, along with a greater use of muted brass and flutes. However the orchestra still romps in places and the tempos vary. The big band (which boasts impressive musicianship) features solos from Mintzer on tenor, trumpeters Scott Wendholt, and Michael Mossman, trombonist Michael Davis, pianist Phil Markowitz, altoist Pete Yellin and others, with drummer Peter Erskine driving the ensembles. The solo improvisations grow logically out of the arrangements, showing that Mintzer is expert at writing for specific soloists. Among the high points are the title cut (a harmonically advanced medium-tempo blues), "Body and Soul," Thad Jones' "Don't Ever Leave Me," and "Who's Walking Who" (one of Mintzer's six originals). The closing "Saxophone Quartet #2" is a complete change of pace, part of a suite that Mintzer wrote for four saxophones backed by Erskine. There are times when the Bob Mintzer Big Band sounds a bit like the orchestras of Gil Evans, Thad Jones-Mel Lewis, or Don Sebesky, but in general it displays its own personality thanks to the writing and solos of Bob Mintzer. Fans of modern big bands who enjoy hearing thoughtful music will want this set. ~ Scott Yanow, All Music Guide
What The Critics Say
Recorded over two days in 2002, Bop Boy was previously only available in Japan on the Cheetah label. Thanks to Explore and their excellent catalog of diverse jazz and classical recordings, it is now available in the United States as well. Unlike Bob Mintzer's '80s offerings on Cheetah (Source and Papa Lips), the band used on this session is a quartet made up of star talent: bassist Eddie Gómez, the elegant pianist Steve Kuhn, and drummer Steve Gadd. On first glance it might appear that Gadd is out of place among these more subtle members of the rhythm section. Being a consummate professional as a studio musician, Gadd is an excellent jazz drummer adding grace, subtlety and tension to a very sophisticated rhythm section. Mintzer a generation younger than Gómez, and Kuhn leads this band through killer arrangements of a fine batch of standards and a trio of top-flight originals. Beginning with Kenny Dorham's and Wynton Kelly's "Blue Bossa," the swing quotient is high here. Kuhn is at his most muscular on this hard bop gem, pushing his minors and thirds right into the rim shots by Gadd. Mintzer's solo is full of deep blues feeling and economy. Mintzer wrote the title track; it is what it claims to be: bebop pure and simple. Beginning with a galloping pace set by Gómez, Gadd's ride cymbal provides fuel and Kuhn plays selectively angular chords, moving right into Mintzer's stating the head and solo. Kuhn's playing around the beat as the tune goes on reveals excellent counterpoint to what's being laid down by the tenor player. The tenderness with which an edgy player like Mintzer approaches "Embraceable You" is remarkable, and here Kuhn's utterly moving pianism is at its best. This is followed by a lovely soft samba called "Francisca" written by Toninho Horta. "Invitation" brings the harder edge of bluesy, post-bop into the area, and the interplay between Gómez and Gadd is nearly symbiotic. Two Mintzer originals follow, and the stroll of "Re-Re" is contrasted in a mirror with the knotty twist and turn sprint of "Runferyerlife." The reading of "St. James Infirmary" brings the tune back to the kind of mournful blues ballad it began is. Mintzer's tone on the bass clarinet is startling. He goes underneath the melody for his phrasing and fills as Kuhn offers a constant, slowly evolving wash of minor chord voicings underneath him. The ballad "Why Did I Choose You" is a perfect way to send things off as it puts on shining display the intuitive interaction between Kuhn -- a sublime melodist through his wide array of textured chord shapes and his sense of space and economy with the right hand in his solo. Gómez is wonderful here, flowing into the body of the tune, allowing for Gadd to lay out and enter at will. Mintzer's solo is an emotive one, but never undercuts or overwhelms the tune. Bop Boy is one of the most satisfying dates in his long career as a leader, a composer, and as an arranger. ~ Thom Jurek, All Music Guide
What The Critics Say
For this recording by Bob Mintzer's big band, the tenor saxophonist and his 17-piece ensemble perform ten numbers with an Afro-Cuban beat provided by percussionist Louis Bauzo. Although Mintzer's group does not really have its own distinctive musical personality, it is full of talented players. Best-known among the sidemen are tenor saxophonist Bob Malach, altoist Pete Yellin, trumpeter Mike Mossman, trombonist Dave Taylor and pianist Phil Markowitz. Mintzer and Markowitz have the best spots and although Mossman unfortunately does not get any solos, many of the lesser-known horn players are heard from. Other than "Oye Como Va" (which is given a fresh new arrangement) most of the pieces were newly-written. Overall this Afro-Cuban flavored effort serves as a strong change of pace for Mintzer's orchestra. ~ Scott Yanow, All Music Guide
What The Critics Say
Yellowjackets reedman Bob Mintzer, best-known outside that group for his big band recordings, steps out in a more straight-ahead jazz direction with Quality Time. Several of the tracks have a feel similar to the Yellowjackets acoustic work, while "All Is Quiet" sounds like a Coltrane ballad from the mid-'60s. On eight of the album's ten tracks, Mintzer's supporting cast includes pianist Phil Markowitz, bassman Jay Anderson and drummer Peter Erskine. The remaining two cuts are probably outtakes from recent Yellowjackets' recording sessions, with Mintzer playing bass clarinet beside Russell Ferrante's clavinet on the group-written "Emit A1," and the quartet showing its acoustic chops on "Family." Quality Time is more of a blowing session than the typical Yellowjackets disc, but the compositions and performances are every bit as high in quality. ~ Jim Newsom, All Music Guide
What The Critics Say
The pairing of Bob Mintzer and Gil Goldstein as a duo is an inspired affair. With Mintzer playing tenor sax and Goldstein on piano, they each contributed a number of strong originals to the date. Mintzer's moody ballad "Longing" and intricate bop vehicle "Where's the Word" are among his finest compositions on CD. Goldstein's "Three Little Initials" is a subtle variation of the well known "Body and Soul." Mintzer switches to bass clarinet for Goldstein's lush ballad "Angelique & Ellen" (written for the film Radio Inside), a haunting treatment of the late Bill Evans' "Your Story," along with a fascinating rendition of the standard "Everything Happens to Me" that begins with an unaccompanied Eric Dolphy-inspired solo by the reed player. Goldstein's "Two to Tango" is a delightful upbeat duet for bass clarinet and accordion. Highly recommended! ~ Ken Dryden, All Music Guide
