For a project that’s been gestating since the late ’80s, San Francisco 1948 arrives sounding alive and full of drive.
Glory Music
Jules Payette – Lead Alto + Flute; Allison Burik – Alto + Bass Clarinet; Steve Rosenbloom – Alto Sax + Compositions; Michael Johancsik – Tenor Sax + Clarinet; Alex Francoeur – Tenor Sax + Clarinet; Benjamin Deschamps – Baritone Sax + Clarinet; TRUMPET: Lex French, Andy King, Benjamin Cordeau, Cameron Milligan; TROMBONE: Mathieu Van Vilet, Thomas Morelli-Bernard, Taylor Donaldson, Chris Smith; Eric Harding – Piano; Mike De Masi – Bass; Jim Doxas – Drums
Steve Rosenbloom may not be a familiar name, but he’s been part of Montreal’s jazz community for decades. By day, a psychoanalyst and professor at McGill; by night, since the mid-’80s, he’s been writing jazz tunes and playing alto sax around town. Some of his early pieces were taken up by Canadian players like flugelhornist Guido Basso of Rob McConnell’s Boss Brass and saxophonist Dave Turner, but San Francisco 1948 marks his first big band album as a leader.
The 17-piece ensemble he’s assembled is a strong one, anchored by drummer Jim Doxas, a brass line with four trumpets and four trombones, and a versatile woodwind section. Baritone saxophonist Benjamin Deschamps deserves special mention—his playing is robust and propulsive, locking in with bassist Mike De Masi to drive the band forward.
The charts are split between Christopher Smith—who first arranged Rosenbloom’s music for the McGill University Jazz Band in the late ’80s—and Michael Johancsik, tying the past and present together.
The album begins with ‘Samba for Esther,’ a track that shows just how tight the band is. Bright horns, a propulsive rhythm section, a terrific tenor solo from Michael Johancsik, and Erik Harding’s laid-back, bluesy piano all come together to carry the music forward with effortless swing.
The mood shifts dramatically on ‘Mosley’ when it drifts into late-night film noir with muted brass lines and a slinky sounding alto sax from Allison Burik that really pulls the tune along. Thomas Morelli-Bernard’s trombone solo is a gem — melancholy but full of warmth.
After the noir mood of ‘Mosley,’ ‘Call from the Orient’ bursts in with a jaunty rhythm. Jules Payette’s alto sax winds around the brass, starting simply before building into a wail, while the band fires back with bold brass hits and sharp woodwind replies. The walking bass drives it all forward, making the whole piece feel like a showdown between soloist and ensemble.
Shimmering cymbals open the title track, ‘San Francisco 1948.’ The trombones lead a unison brass line before Andy King’s trumpet introduces a somber theme. As the tempo picks up, the trumpet brightens and gives way to a relaxed piano solo that nods to Red Garland or Wynton Kelly. With bass and baritone sax holding down the bottom end, the band has real weight, but the piece eventually circles back, slowing for the trumpet’s return to that opening melancholy statement.
What ties it together is the balance of craft and play. Rosenbloom writes with clear melodies and solid voicings, but there’s always room for the band to stretch. For a project that’s been gestating since the late ’80s, San Francisco 1948 arrives sounding alive and full of drive.
