Arrangements cover a wide spectrum in the mixed repertoire of the Pete McGuinness Jazz Orchestra

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Honing its craft over the past decade-and-a-half, the Pete McGuinness Jazz Orchestra spreads its wings

Pete McGuinness Jazz Orchestra

further in "Mixed Bag" (Summit Records). The eleven pieces are drawn from the leader's muse as well as the library of dependable standards (e.g., "Body and Soul" and "Django"). A trombonist compelled to stop playing because of "embouchure dystonia," McGuinnessnow has  to rely on his band charts individualized with occasional vocals to hold on to his performing acumen.

McGuinness' arrangements can cast a chiaroscuro light over their themes. "The Dark Hours" is relaxed but slightly gloomy, yet a lengthy sax solo by Tom Christensen convincingly lends a vital glow to the wee-amall-hours atmosphere. 

The solos are dependably well-placed throughout the set. Chris Rogers' flugelhorn gets additional flair from the way the ensemble supports it in his "Rebecca," even though the band almost obcures another Christennsen solo. Mark Woods' bass solo is another well-chosen spotlight in the unhurried ballad, "Lilac Blues." Its hesitant ending is perfect in context.

As for the standards, "Body and Soul" is surprisingly bouncy, reflecting freshly on the familiar melody. As a singer, McGuinness' smooth rendition of Cole Porter's "So in Love" drapes itself appropriately over the samba-flavored arrangement. 

 In "''Round Midnight," Thelonious Monk's principal contribution to the Great American Songbook, baritone saxophonist Dave Riekenberg paraphrases the melody to excellent effect, with just the rhythm section behind him.. Then there's a climactic chorus by the full ensemble that presents McGuinness' arranging imagination at its summit. Similarly, John Lewis' durable "Django" ascends logically from its solo piano introduction to  Mark Phaneuf's blossoming alto-sax solo, at first cheeky, then subdued.

A cameo appearance by Bill Charlap in the piano chair for Johnny Mandel's "Where Do You Start?" puts a nice cap on another McGuinness vocal, mellifluous crooning at its most idiomatic, in an arrangement that departs somewhat from the jazz focus of the rest of the program. It's certainly a "mixed bag" when you consider this song next to McGuinness' spicy foray into the 12-tone idiom in "Down the Rabbit Hole,"  a venture that he makes sound entirely natural, thanks to seamless rapport with his band.


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