Ryan Middagh Jazz Orchestra, Tenor Madness Review

Nashville's Big Band Celebration: Ryan Middagh's Take on Tenor Madness

Ryan-Middagh-feature-the-jazz-word
Ryan Middagh Jazz Orchestra, Tenor Madness, Big Band Jazz, Contemporary Jazz, Jazz Album Review, Post-Bop, Saxophone Solos, Ear Up Records.

Ryan Middagh Jazz Orchestra, Tenor Madness Review

Nashville’s Big Band Celebration: Ryan Middagh’s Take on Tenor Madness

by Nolan DeBuke

Ryan-Middagh-feature-the-jazz-word-cdEvery great big band recording has a backstory, and Tenor Madness by the Ryan Middagh Jazz Orchestra is no exception. Picture a packed Nashville club, the kind where the air crackles with anticipation as the first notes hit—a fitting image for an album that aims to transport listeners into an experience where tradition meets reinvention.

Tenor Madness by the Ryan Middagh Jazz Orchestra was launched on January 10, 2025, under Ear Up Records. This album reflects the vibrant Nashville jazz scene with a stellar lineup of alto saxophonists Alex Graham and Jovan Quallo, tenor saxophonists Jeff Coffin, Don Aliquo, and Joel Frahm, multi-instrumentalist Kevin Shinskie, and baritone saxophonists Jimmy Bowland and Ryan Middagh. The brass section features trumpeters Steve Patrick, Tyler Jaeger, Jeff Bailey, and Olivia Achcet; trombonists Jonathan Salcedo, Roy Agee, and Sarah Morrow; and bass trombonists Martin McCain and Liam Barron. The rhythm section includes Lindsey Miller on guitar, Pat Coil on piano, Jake Jezioro on bass, and Marc Widenhofer on drums. Vocalist Jenna McLean lends her soulful voice to “Waiter, Make Mine Blues.” This detailed ensemble layout underscores Middagh’s dedication to spotlighting Nashville’s rich jazz talent when forming the big band ensemble.

Tenor Madness is a tribute to the saxophone and the vibrant Nashville jazz scene. Drawing inspiration from Sonny Rollins’ iconic 1956 album of the same name, Ryan Middagh aligns his work with jazz traditions while infusing it with contemporary flair. Middagh’s arrangements channel the vitality of Count Basie and Thad Jones/Mel Lewis-style big band writing, with moments that lean into the Bob Brookmeyer playbook of textural exploration.

Including saxophonists like Jeff Coffin, Don Aliquo, and Joel Frahm adds a narrative force to the ensemble. “Wiley Roots” exemplifies this synthesis with its hard-swinging jazz blues feel, celebrating heritage while driving innovation into our awareness.

This album is a celebration of the talent within Nashville’s jazz community as it features an all-star cast of local musicians; Middagh highlights the breadth of artistry in a city often associated more with country and rock. Tenor Madness reinforces Nashville’s role as a hub for genre-defying jazz and broadens its musical reputation.

Middagh’s arrangements reflect a deep respect for jazz’s big band legacy, blending swing-era traditions with post-bop expression. The inclusion of familiar standards and originals enhances this dialogue, inviting listeners into a space where past and present intersect.

Each of the six tracks offers us a journey that celebrates tradition, spontaneity, and the personalities within the ensemble. The album opens with the infectious energy of “Wiley Roots,” an original piece based on a celebratory groove and sharp horn interplay.

The middle section balances up-tempo arrangements and lyrical ballads, such as the bluesy “Waiter, Make Mine Blues,” which features a call-and-response between the horns and rhythm section. The title track, “Tenor Madness,” reimagines the bebop classic with a robust big-band sound, culminating in a climactic interlude that flows seamlessly into powerful solos.

Middagh’s arrangements feature balanced voicing choices and evolving textures that shift dynamically through counterpoint, layered harmonies, and dynamic phrasing, creating a rich orchestral palette. The brass section’s tight articulation contrasts beautifully with the fluid woodwind phrasing, reinforcing the bold character of the ensemble and bringing to life all the wonderful textures in “This Time The Dream’s On Me.”

On “Wired,” the ensemble evokes a Gil Evans-like spaciousness, blending rock influences with post-bop phrasing. Middagh’s ability to transition between full ensemble power and subtle sectional interplay is evident, as the rhythm section provides a responsive and agile foundation.

The album’s solos exemplify the ensemble’s virtuosity and individuality, with standout features throughout the tracklist. Joel Frahm opens the tenor feature on Tenor Madness with a buoyant swing feel and playful quotes that outline the harmonic progression, seamlessly supported by the rhythm section. Jeff Coffin follows with a straight eighth-note groove, building grand emotional gestures and powerful wails that contrast Frahm’s lyrical approach. Don Aliquo’s expressive solo on “Reckless Blues” blends melodic development with dynamic bursts that command attention. Jenna McLean’s vocal performance on “Cry Me a River” blends Count Basie-esque grandeur with Ellingtonian warmth, backed by lush 5+4+4 horn writing that enriches the overall texture.

Tenor Madness is a listening experience of hearing an intersection of tradition and modernity. The thirty-six-minute set incorporates elements of post-bop, swing, blues, and rock. Middagh creates an album that broadens Nashville’s reputation as a hub for jazz innovation, transcending its country and rock identity and offering a fresh take on the big band tradition.

Tags: Ryan Middagh Jazz Orchestra, Tenor Madness, Big Band Jazz, Contemporary Jazz, Jazz Album Review, Post-Bop, Saxophone Solos, Ear Up Records.

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