The Ed Palermo Big Band, Prog vs. Fusion: A War of the Ages Review

Cutting Edge Big Band Music: The Ed Palermo Big Band’s Prog vs. Fusion: A War of the Ages

by Ferell Aubre

Ed Palermo’s latest statement, Prog vs. Fusion: A War of the Ages, plays like a manifesto for the modern big‑band ecosystem. The nineteen-song set is a place where tradition meets disruption, and where the language of progressive rock converses fluently with the dialect of jazz fusion. From the very first bar, Palermo summons the listener into a battlefield where the familiar timbres of a classic big band are repurposed as weapons of sonic intrigue.

The opening track, “Resolution,” lifts John McLaughlin’s angular motifs from the Mahavishnu Orchestra and reframes them within a brass‑driven architecture that is instantly captivating. The low‑end pulse of the double‑bass and drums establishes a gravitational centre, while the horn sections play with the harmonic colors that define McLaughlin’s compositional universe. The performance offers a balance of chordal movement and orchestral clarity, making for an outstanding contemporary big‑band chart.

The second movement, a mash‑up of Soundgarden’s “Black Hole Sun” and Steely Dan’s “Bodhisattva,” showcases Palermo’s uncanny ability to fuse cultural signifiers without diluting either source. The grunge‑laden lyricism is filtered through a syncopated swing feel, while the Steely Dan influence surfaces with a jazz‑inflected tutti. This juxtaposition serves as an illustration of how Palermo crosses boundaries deliberately. The role of harmonic reinterpretation in modern arranging can be heard in the smooth transition to “There Comes a Time.” Moreover, the rhythmic lock between the rhythm section and the horns underscores the importance of groove cohesion when the narrator brings in crucial insight. Palermo’s writing shows he is an ensemble leader seeking to maintain momentum across genre‑spanning setlists and ensemble hues.

Mid‑album, Palermo turns his attention to the progressive canon with “Tarkus” and two iterations of King Crimson’s “VROOOM.” In “Tarkus,” the band expands Emerson, Lake & Palmer’s motifs into a tableau of driving rhythmic motifs. By employing multiple layers in the horns and the mechanized armor of the rhythm section’s narrative, this arrangement is powerful. The arrangement’s dynamic contour is a joy to hear, from the surprising segues to the full‑throttle brass climax, Palermo offers a vivid case study in pacing and thematic development. The subsequent “VROOOM” illustrates Palermo’s deft handling of polyrhythmic dovetailing between the various sections of the big band. The intricate cross‑rhythms accent the kinetic energy that mirrors the original’s avant‑garde spirit while providing a fresh textural palette for jazz fans to explore.

Perhaps the most compelling segment of the record lies in its treatment of fusion icon Tony Williams’ Lifetime track “Snake Oil.” The big band captures the raw power of Tony Williams, but with a twist of the big band’s horn section assumes roles traditionally reserved for electric guitars, delivering blistering lines that mimic the ferocity of the fusion giant. The inclusion of violinist Katie Jacoby’s solo adds an exciting counterpoint. This track serves as a practical demonstration of how to integrate fusion voices into a big band context, reinforcing the idea that genre need not be the driving force.

The album’s latter half delves into more fusion terrain with “Mystic Knights of the Sea” offering a canvas that highlights Tony Williams’ compositional sensitivity through an outstanding arrangement and performance. “On the Milky Way Express,” a homage to Wayne Shorter, employs modal harmonies and creatively voiced brass that evoke a sense of cosmic travel, while the rhythm section maintains an infectious pulse.

In “One Word,” the blend of fusion and prog elements creates a world where horn passages color-effect violin melodies. This track illustrates how a big band can negotiate density and styles within a single arrangement. These moments underscore the album’s overarching theme, building contemporary expression through the marriage of fusion and prog elements.

Closing with the King Crimson epic “Pictures of a City,” Palermo delivers a grand finale that synthesizes the album’s thematic dichotomies. The arrangement expands the original’s haunting melody through layered saxophone harmonies and a resonant low‑brass foundation, culminating in a cathartic crescendo of free-ensemble playing. The final chord stab is a declaration that the dialogue between prog and fusion invites further exploration, but after all, we are all one.

Beyond the music itself, the personnel roster reads like a who’s‑who of seasoned jazz artisans. The presence of players such as Ronnie Buttacavoli on lead trumpet and Phil Chester on reeds guarantees Palermo’s charts come to life. Meanwhile, voices like Bruce McDaniel on guitar and vocals inject a contemporary edge, bridging generational gaps within the ensemble. The album’s production values offer separation of sections, balanced dynamics, and clear soloist and ensemble deliniation.

Prog vs. Fusion: A War of the Ages is Ed Palermo’s vision of the big band as a versatile, forward‑looking platform. It is music lovers to reconsider the limits of orchestration, spotlights genre hybridity, and offers a model of artistic ambition married to expressive execution. The record is a project that features a big‑band sound that has currents of modern music seldom explored in this manner.