The Ryan Middagh Jazz Orchestra has created something special, an album that honors the big band tradition while breathing fresh life into the format.
Ear Up Records
Ryan Middagh – Baritone Sax; Alex Graham, Jovan Quallo – Alto Sax; Jeff Coffin, Don Aliquo, Joel Frahm – Tenor Sax; Kevin Shinskie – Alto & Tenor Sax; Jimmy Bowland – Baritone Sax; Steve Patrick,Tyler Jaeger,Jeff Bailey, Olivia-Achcet – Trumpet; Jonathan Salcedo, Roy Agee, Sarah Morrow, Jeremy Wilson – Trombone; Martin McCain, Liam Barron – Bass Trombone; Lindsey Miller – Guitar; Pat Coil – Piano; Jake Jezioro – Bass; Marc Widenhofer – Drums; Jenna McLean – Vocal on tracks 2 & 4
Before spinning Ryan Middagh’s TENOR MADNESS, I wasn’t sure what to expect, would this be a tribute to Sonny Rollins’ iconic album, or perhaps a look at the tradition of saxophone-focused ensembles like the Rova Saxophone Quartet or Saxophone Summit? What struck me on first listen was simply how much fun this music is. Nashville composer and baritone saxophonist Middagh has created a dynamic big band recording that combines sophisticated arrangements with pure joy, inviting listeners along for the ride.
Jazz history tells us that great arrangers like Duke Ellington, Charles Mingus, and Gil Evans, wrote to showcase their players ’unique personalities. Following this tradition, Middagh returned to the studio after LIVE FROM NASHVILLE to highlight his band member’s distinct talents, while maintaining a cohesive, swinging whole.
The album opens with Middagh’s composition ‘Wiley Roots,’ setting the tone with its dynamic range. The piece features beautifully contrasting tenor solos, Don Aliquo’s muscular, robust tone alongside Jeff Coffin playing it light and breezy. The “running down the track, because something’s on fire” arrangement showcases Middagh’s talent for building tension, with sax lines weaving through prominent piano figures before yielding to a sultry, swinging trombone solo that would do any Basie band proud.
Vocalist Jenna McLean’s take on Bobby Brown’s ‘Waiter, Make Mine Blues’ is a total blast. The whole band feels like it’s pulling back on the beat, setting the stage for McLean to really take off. Lindsey Miller’s guitar channels Freddie Green, steady, foundational, never flashy, but you’d miss it if it weren’t there. McLean swings effortlessly between straight-ahead blues and playful, adventurous scatting, while the band’s vintage-style arrangements and McLean’s singing recall the great Joe Turner, Bill Basie band. The horn sections are impeccably recorded, letting every nuance of Middagh’s sophisticated orchestration shine through.
One of the album’s highlights is the title track, ‘Tenor Madness.’ Drummer Widenhofer sets the stage for the whole band to light up. Lindsey Miller’s crisp, rhythmic guitar holds down the groove, locking in with the rest of the rhythm section. A fiery sax solo soars over a hard-working bassline, while the pianist and horn section toss volatile motifs back and forth.
The Harold Arlen/Johnny Mercer classic ‘This Time the Dream’s on Me’ showcases Middagh’s refined arranging skills, highlighted by his melodic baritone sax work and possibly one of the most beautiful trombone solos I’ve ever heard, thanks to Jeremy Wilson. While I don’t think it’s necessary, this track demonstrates the band’s skill in delivering subtle moments with just as much conviction as their high-energy numbers.
McLean reinvents the jazz classic ‘Cry Me a River,’ swapping Julie London’s enduring, dreamy vibe for an upbeat groove, driven by Jake Jezioro’s deep, full-bodied bass. She picks up the tempo, making it swing like never before. Coil’s smooth, flowing piano solo builds beautifully with the horns, while the rhythm changes keep things fresh and unpredictable. And then there’s Quallo’s knockout alto sax solo, reminding us this isn’t just about the tenors.
The Ryan Middagh Jazz Orchestra has created something special, an album that honors the big band tradition while breathing fresh life into the format. What makes TENOR MADNESS truly remarkable isn’t just its technical excellence or its masterful arrangements, it’s the palpable joy that radiates from every track. This is music that swings hard, speaks deeply, and reminds us why we fell in love with jazz, and big band jazz, in the first place.
