This recording is obviously both a labor of love, and a testament to the exceptional musicianship and friendships David shares with the members of his band. The marriage of soloists and their musical personalities to the vibe of each track couldn’t be more fitting. And there is a story associated with each track, making them personal statements motivated by his musical influences, life experiences, friends, and close family ties. As composer Manny Albam said, “the music is the easy part, it’s the story you want to tell that’s sometimes the difficult part.” 

 

It is all too easy for writers to re-write the same piece, becoming caricatures of themselves, bound by the limitations of their own technique and previous experiences.  David Caffey, on the other hand, is constantly evolving and his development can be traced from each new recording. He has also never lost his own voice as a composer by allowing trends to overtly influence his work. 

 

David’s writing throughout this recording features dense, dramatic ensemble scoring contrasted with uniquely orchestrated unison lines, exceptional section solis, and cross section small group orchestrations. Backgrounds behind solos are consistently treated as meaningful additions not merely distracting fillers. Powerful dynamic contrasts grab listeners’ attention and help to shape each piece.     

 

Starlight, the opening track, leaves no doubt that this recording is going to be a swingin’ affair featuring a strong band with exceptional soloists. It is structured to introduce each section of the band through strong solis by saxophones, trombones and even trumpets in an unusual section feature. Not many writers feature trombones these days, and even fewer write sax solis, probably because they are difficult to write and play! In my opinion David’s sax soli here and others throughout this recording are some of the best of the best! Can you guess what popular standard this chart is a contrafact of?

 

At the Edge of Spring - After his many years spent in Colorado, Caffey feels that “The best part of winter is the end when you’re right at the edge of spring.” Whatever the season, I’d listen to Wil Swindler’s well-paced alto solo any day! All the soloists on this track show that the depth of creativity in this band abounds. Caffey’s writing on this score demonstrates how powerful and colorful the unison treatment of a line can be when it is orchestrated creatively and imaginatively. 

 

Old Hat is a shuffle by Steve Kovalcheck that originally appeared on his quartet CD Ghost Orchid. Guitarist Kovalcheck and tenor saxophonist Peter Sommer featured on the small group recording are once again spotlighted here. Caffey shows again on this track that he has not lost sight of the power of the unison line especially when creatively orchestrated, here with the addition of marimba and xylophone.  Like all of the charts on this album, the arranger doesn’t over write for the ensemble, making his points and moving on to allow the soloists to contribute to the overall effect. 

 

Brazilian Dances for Brooklyn isn’t about that well-known section of NY but is a gift to his dancer-granddaughter by that name. The dance forms suggested are Bossa Nova, Baiao and Samba that is the underpinning for a well-paced tenor solo by Andrew Janak that captures the rhythmic spirit of the tune. The background-writing to support this solo grabs your attention without detracting from the soloist, which is the case throughout the recording. His backgrounds are always meaningful without stealing the focus. Enchanting, quartal and chromatic angular lines with rhythmically challenging, winding scalar gestures will certainly inspire flowing dance movements. The linear unison writing throughout makes use of flute, vibes and guitar, a combination that provides an almost unidentifiable sound especially when combined with other wind instruments. 

 

The Brothers – This loose, 3/4 chart with a slightly funky feel was written as a shout-out to David’s grandsons and features the instruments they chose to play as kids.  The alto solo by Drew Zaremba is particularly passionate, inventive, beautifully shaped and even “greasy” at times! The exceptional sax soli that follows is reminiscent of Thad Jones charts because it is so well-written and exceptionally well-played. A fine solo by pianist Dana Landry serves as the perfect transition from the sax soli to Jim White’s melodically inventive drum solo. Just when you think this chart is winding down to a “factory fade” following the shout chorus, you are surprised by a final vamp building to a dramatic climax. The changing shapes, varied orchestration, dynamic contrasts throughout, the architecture of the shout chorus and relentless groove contribute to making this chart a highpoint. 

 

Direct Current is from Caffey’s early years, though it’s been given a facelift here. According to the composer it was “written in 1986 and was inspired by a Herbie Hancock tune.” The feel moves between Latin/Rock, half-time Rock and double-time Samba, characteristic of that period but timeless. The very versatile guitarist Steve Kovalcheck is once again featured in an exciting well-structured solo. He is a joy to listen to throughout the recording. 

 

One By One and This is for Albert – this pair of Wayne Shorter tunes serve as a fitting tribute to the great Jazz Master composer and saxophonist whose death just a year before this recording has inspired many such tributes. One By One is a straight ahead swinger written for the UNC Jazz Lab Band I and featured at the UNC Jazz Festival with four former members of Art Blakey’s Jazz Messengers.  David’s soloists here are Janak, tenor sax, the inimitable Brad Goode on trumpet, lead trombonist Jonathan Bumpus, and Landry again on piano. This is For Albert closes the album in swingin’ style just as it began. Once again fine soloists are featured in a score that’s texturally varied, always moving forward and changing focal point from one section to another. As a trombonist, David consistently delivers exceptional, challenging section features as he does again in this score. It is a gifted section that rises assertively to the challenge as does lead trombonist Bumpus who delivers a fine solo on the previous track. Speaking of soloists, Brad Goode who is featured on both tunes, never fails to surprise us with his amazing facility, flexibility, individuality, sense of humor and sheer virtuosity. 

 

As a writer, I’m envious that David has such a fabulous band to write for! Several unsung heroes deserve mention including the lead trumpeter Jake Boldman (who has the right last name!) and Gary Mayne on bass trombone. As writers, we are nothing without you.  

 

 

Richard Lawn, author of Jazz Scores & Analysis Volumes I & II