Russ Anixter’s Hippie Big Band, What Is? Review

Funk, Blues, and Jazz Collide: What Is? by Russ Anixter’s Hippie Big Band

by Ferell Aubre

Russ Anixter is a seasoned New York arranger who adores rock music and the spontaneous spark of jazz improvisation. The album in question, What Is?, the Hippie Big Band’s bold debut. The project has Anixter fusing his arranging and orchestration skills with rock tunes, blues staples, Broadway flair, and genuine jazz sensibilities into an 11-piece sonic festival. Each of the selections highlights the band’s ability to unify so many styles, and celebrate the ensemble’s free-wheeling but deeply cohesive vibe.

Anixter calls his group a “jazz band that plays rock music,” and What Is? is proof positive of that claim. You’ve got an all-star cast of musicians—saxophones, trumpets, trombones, plus a full rhythm section—charging through rock and blues classics while infusing each chart with a brassy swagger, classic big-band nuance, and a jam-friendly attitude. The result is an enjoyable mix of swinging horns, syncopated grooves, soulful guitar, and imaginative improvisations that break the big band into new genres. The ensemble reveal how Anixter’s arrangements dissect these tunes and rebuild them from the ground up, ensuring each track sounds fresh yet familiar. And it doesn’t hurt that everyone involved seems to be having a blast.

The record kicks off with an energetic explosion on Tower of Power’s funk gem “What Is Hip.” The horns stab and pop in lockstep with a tight backbeat, while alto saxophonist Matt Hong unleashes a scorching solo that practically leaps out of the speakers. The brass section’s collective swagger is impossible to resist, and guitarist Michael Aarons’ strumming is like rolling through a funk club. Right away, you know this big band means business.

Little Feat’s classic “Dixie Chicken” gets a spirited New Orleans-style arrangement here, complete with a second-line shuffle and mischievous slide trumpet courtesy of special guest Steven Bernstein. There’s a clever breakdown midway through with a little free ensemble chaos, then a triumphant rebuild that would make any New Orleans music fan grin. By the end, you’ll be bobbing your head, reveling in the band’s camaraderie.

Joni Mitchell meets Eddie Harris in this nifty mash-up, “Free Man in Paris>Freedom Jazz Dance.” Audrey Flores’s French horn solo adds a warm sheen to “Free Man in Paris,” while vibraphonist Bill Hayes dances lithely through the “Freedom Jazz Dance” groove. The transitions between the two tunes are beautifully orchestrated and arranged. This arrangement cleverly weaves the songs back and forth. As a medley, it showcases exactly how a jazz band can mix with pop and funk-jazz in the same breath.

The Beatles’ psychedelic nugget, “She Said, She Said” from Revolver transforms into a swirling counterpoint big-band adventure. Matt Owens introduces the theme on muted trumpet, channeling vintage Ellington coloration in his wah-wah approach. Then the horns leap in with bold harmonies that twist the original melody into new shapes. Different feels abound and each one reveals another facet of the tune’s elasticity. It’s a highlight that shows Anixter’s arrangement has a Beatles vibe with modern jazz energy.

“Heaven on Their Minds” from Jesus Christ Superstar becomes an example of the power of the Hippie Big Band. Guitarist Aarons rips into a tough rock riff, anchoring the arrangement’s edgy undercurrent. The three saxophonist reed parts adding suspense and color throughout. By stripping away vocals, the band uncovers a formidable melody and harmony perfect for jazz-rock bravado.

“Saint Stephen → Turn On Your Love Light” is a two-for-one jam that pairs the Grateful Dead’s psychedelic opus with Bobby “Blue” Bland’s (and later the Dead’s) R&B staple. The horns pivot from bright, bouncy phrases to soulful shuffle lines, bridging ’60s jam-band territory with vintage R&B. The entire ensemble seems to join the solo party at one point, culminating in a joyous swirl of horns before culminating in a triumphant final refrain. It’s an exuberant testament to how these musicians can adapt anything to a big-band format and still keep it fun.

“Uncle John’s Band” is another Grateful Dead classic, this time starting with a conversation between the woodwinds. Oz Noy guest-stars on guitar here, adding a melodic rock edge that suits the Hippie Big Band’s concept perfectly. By the end, it’s a communal jam session, radiating that warm, peace-and-love energy the Dead made famous. Bill Hayes’s vibraphone adds colors and rhythmic attack to specific passages.

“Hide Away” is a tribute to Freddie King’s blues standard amped up with big-band horns and a sly mid-tune cameo from the “Peter Gunn” theme. Aarons’ guitar leads the way with a sly, stinging tone, while the saxes, trumpets, and trombones pile on joyous riffs. The shuffle is so strong you can practically feel the dance floor quake. There’s real synergy here, as if the band is smiling at every bar.

Russ Anixter slows things down for a sweet Van Morrison gem, “Into the Mystic,” that glows with buzzing brass voicings and a laid-back rhythmic pulse. Dan Levine’s trombone handles the melody with a warm, spacious feel, leaving room for the arrangement to breathe. It’s a refreshingly tranquil interlude that spotlights the band’s dynamic sensitivity and underscores how well they handle ballads.

“Whipping Post” has a layering into a driving intensity on this Allman Brothers favorite. The horns cling to that iconic riff with unrelenting fervor, stoking a Southern rock flame that meets full-bodied swing. Steven Bernstein returns on slide trumpet, sounding raw and primal in the best way. The baritone sax roars like a caged animal, the drums thunder away in 12/8 time, and you can practically see the sparks flying. It’s a thrilling peak on the album.

“Green Hornet” brings this big band journey to a finale that marries the classic TV theme by Billy May with the spirit of “Flight of the Bumblebee.” Everybody’s cutting loose here: lightning-fast horn runs, screaming trumpet high notes, and even some xylophone dazzle. The pace is relaxed and frantic but precise, proof that this group can turn on a dime. It’s an exhilarating send-off that leaves you wanting more.

What Is? succeeds because Russ Anixter and his crew find the fundamental allure of each selection and let it shine in a new jazz vocabulary. The big band carries these melodies, reshapes the iconic riffs, and adds harmonic depth to progressions. Meanwhile, the rhythm section locks in a groove on each song that straddles rock’s punch and jazz’s fluidity. The solos are bold but never indulgent, with each improvisation reinforcing that communal big-band sound.

The album exudes personality. Whether you’re a devoted jazzhead, a classic rock aficionado, or someone who just loves big, brassy sounds, there’s something here to make you grin. The Hippie Big Band’s ability to pivot from psychedelia to funk, then from swing to blues, speaks to the group’s open-minded spirit and Russ Anixter’s unbridled creativity. In What Is?, you can hear echoes of Duke Ellington’s lush orchestral colorings, Charles Mingus’s playful chaos, and Gil Evans’s genre-expanding orchestrations. Anixter seems to relish drawing on those traditions while fearlessly adding modern touches: cameo guitarists, extra percussion, and adventurous counter medleys that highlight the essence of jam bands. The result is a cohesive statement that shows how big-band jazz can evolve without losing its soul.