It’s a sharp, good-humored big-band project that actually breathes new life into Tchaikovsky’s holiday staple—and when the CCJO leans into the jazz, it swings like crazy.
Self-Produced
Arrangers: Eric Lechliter, Dominic Marino, Matthew Anklan, Kim Pensyl, Matt Harris Trumpets: Matthew Anklan, John Zappa, Ralph DiSylvestro, Kim Pensyl Saxophones: Jeremy Long (tenor); Jamie Walkenhauer (alto); Garin Webb (tenor); Dwayne Irvin (tenor); Phil Hilger (baritone); Trombones: Zachary Granger, Marc Fields, Brian Stevens, Josh Omaits (bass); Rhythm Section: Brad Myers (guitar); Aaron Jacobs (bass); Jim Leslie (drums); Vocals: Mandy Gaines; Production Team: Rob Parton (arranger and former band director); Kim Pensyl (producer, editor, mixer, and masterer)
Most versions of The Nutcracker are hard to sit through—pretty, predictable, and played to death. The Cincinnati Contemporary Jazz Orchestra changes that. Based in Cincinnati and directed by trumpeter Eric Lechliter, the 17-piece ensemble has built a reputation for adventurous arrangements that honor jazz tradition while pushing into fresh territory. Their Nutcracker Remix kicks Tchaikovsky off his pedestal, building on Duke Ellington and Billy Strayhorn’s 1960 Nutcracker Suite, the band pushes further—less ballroom, more bandstand.
When the CCJO dives into the jazz, these aren’t just clever arrangements—they’re some of the sharpest big-band writing in recent years. “Sugar Rush,” “Everybody Digs Flowers,” and “General Tso’s Gumbo” don’t just reimagine the old ballet—they blow it wide open, with sharp horn writing, deep grooves, and solos that sound like the players have been waiting all year to cut loose.
“Sugar Rush” is where things really take off. It’s a swinging, hard-driving chart that feels like a straight-up jazz tune rather than a holiday rehash. The rhythm section sets up a tight, fast groove—bass walking, drums snapping, piano comping with bite—and the horns jump right in. The baritone sax takes an early solo, growling against those bright brass hits floating above it. Midway through, the band shifts gears into a Latin groove that completely changes the feel, giving the drummer room to stretch out before everyone dives back into the swing.
A graceful piano—relaxed, charming, and singing—opens “Everybody Digs Flowers.” The piano trio settles into a light groove that feels just right. The flute flutters around the piano, the bass and drums keep things buoyant, and the brass slips in just enough to add color without crowding the space. It’s breezy, unhurried, and one of the album’s most charming tracks.
“Caipiroska” takes that easy swing and turns it into a samba groove that makes you wish you could step onto a dance floor. The brass makes a grand entrance before giving way to the rhythm section, which keeps the beat light but steady. The guitarist steps forward with a single-note run solo—concise and lyrically confident—before the horns step in, brass and reeds exchanging lines like they’re in conversation. The tune rides out with the kind of warmth and flow that makes you wish it lasted longer.
Vocalist Mandy Gaines closes the album with three holiday tracks. On the gentle “Christmas Time Is Here” and her own tender, heartfelt “Christmas This Year” (written for a beloved friend who passed before she could thank her), Gaines floats above the arrangements with warmth and subtlety. On “Merry Christmas Baby,” she gets down and bluesy, matching the band’s swagger with effortless ease.
The Nutcracker Remix isn’t just a seasonal novelty. It’s a sharp, good-humored big-band project that actually breathes new life into Tchaikovsky’s holiday staple—and when the CCJO leans into the jazz, it swings like crazy.
