ETIENNE CHARLES CREOLE ORCHESTRAMusicians: Michael Thomas, Godwin Louis (lead alto & soprano); Brian Hogans (alto sax); John Ellis (tenor sax & bass clarinet)); Seth Ebersole (tenor sax & clarinet); Paul Nedzela (baritone sax & bass clarinet); Gina Izzo (flute); Etienne Charles, Jumaane Smith, Walter Cano, Anthony Stanco, Giveton Gelin (trumpets); Dion Tucker, Michael Dease, Corey Wilcox, Chris Glassman (trombones); Sullivan Fortner (piano/fender rhodes), Alex Wintz (guitar), Ben Williams (bass ), Jonathan Michel (bass) , Obed Calvaire (drums), Etienne Charles (percussion), Jorge Glem (cuatro), Pascual Landeau (marac); special guest: Rene Marie, Brandon Rose (vocals); DJ Logic (turntables)
Tracks List: Old School; Poison; Think Twice; I Wanna Be Evil; Holy City; Ten To One Is Murder; Centerpiece; Douens; A Shade of Jade; Colorado River Song; Stompin At The Savoy; Take My Breath Away; Night Train
Defined by a riveting array of Caribbean rhythms, Etienne Charles’s first album featuring his
big band arrangements is a personal triumph, but Creole Orchestra is also part of a much larger Story. Drawing on material from several different commissions and projects, the album encompasses the key players from Charles’s band Creole Soul.
The Creole Orchestra comprises 22 members, and we hear many fine solos. Marie sings on four tracks of this album, including her own sweet tunes Colorado River Song and Take My Breath Away. With our Caribbean background, Charles orchestrates with the rhythms of the region, and it opens with his own calypso beat Old School, a bright brassy romp; however, he also provides a variety of other styles. Poison is a swinging uptown rendition of the Bellamy, Vivins, and Devoe hip hop hit — Brandon Rose does the rap — and later we hear the blues. Sweets Edison and Jon Hendricks wrote Centerpiece, René Marie gives her own interpretation backed first by piano, drums, and bass and then with the melodic harmony of the other instruments. Thus, on one side, Monty Alexander's Think Twice beautifully blends Jamaica and Manhattan into a rich, exciting dance; Mighty Sparrow's Ten to One is Murder continues the fusion of calypso and jazz, with band voicing the title kalinda style; and Charles's new arrangement of Douens (according to West African and Trinidadian folklore, mischievous faceless spirits with backward feet of unbaptized children) is influenced by African and Caribbean beats. On the other side, some track arrangements are classic jazz. Marie performs I Wanna Be Evil, with the band emphasizing the lyrics, with Krupa drum rifts, jazz joint piano, and dirty trombones. Holy City, a sophisticated Charles composition, slows the tempo, introducing the bass clarinet to set the stage. Joe Henderson's A Shade of Jade is uptempo and smashing. Stompin at The Savoy takes us back both to the 1930s and yesterday. Finally, the soulful, swinging Night Train features piano, bass, and the trumpet of Charles himself. Etienne Charles provides an impressive set of orchestrations and demonstrates his extraordinaty talent in writing different styles and adapting to the needs of vocalists.
https://youtu.be/5JBSGpMCQJE?si=mClL21ye1NERu7GF
Etienne Charles:
Born on July 24, 1983, in Port-of-Spain, Trinidad and Tobago, Charles grew up immersed in the rich musical traditions of the Caribbean. His father, Francis Charles, was a member of the renowned Trinidadian steel band Phase II Pan Groove and owned an extensive record collection, exposing young Etienne to a wide array of musical styles from an early age.
This early exposure to diverse musical traditions is evident in Charles’s approach to composition and arrangement. The album seamlessly blends elements of jazz, calypso, and other Caribbean rhythms, creating a sound that is both rooted in tradition and forward-looking in its execution.
Charles’s journey in music began with learning the trumpet as a boy, and by high school, he had followed in his father’s footsteps to become a member of Phase II Pan Groove. However, his growing interest in jazz led him to pursue further studies in the United States. In 2002, Charles enrolled at Florida State University, where he studied under the guidance of celebrated pianist and educator Marcus Roberts, who became a significant mentor in his musical development.
During his time in the United States, Charles quickly gained recognition for his musical abilities. He placed second at the 2005 International Trumpet Guild Jazz Competition in Bangkok, Thailand, and won first place a year later at the U.S. National Trumpet Competition in Fairfax, Virginia. These accolades led to a full scholarship at The Juilliard School of Music, where he earned a master’s degree and established himself in the competitive New York jazz scene.
Charles’s career has been marked by collaborations with a wide range of artists, from Maria Schneider to Wynton Marsalis, in addition to his continued work with Rene Marie. As a bandleader, he has consistently incorporated his knowledge of Caribbean music and rhythms into his jazz compositions and performances. “Creole Orchestra” represents the latest evolution in this musical journey, showcasing his ability to translate these influences into a large ensemble format.
The album also serves as a platform for Charles to highlight the often-overlooked role of the arranger in jazz music. In the album notes, Charles writes, “In many musical situations the Arranger has become the ghost. One of the first working on a project and many times the last to be recognized.” Through “Creole Orchestra,” Charles brings the art of arrangement to the forefront, demonstrating its crucial role in shaping the overall sound and impact of a jazz ensemble.
“Creole Orchestra” is Charles’s tenth album as a leader, following his debut “Culture Shock” in 2006. Each of his previous releases has contributed to his reputation as an innovative voice in jazz, blending traditional elements with contemporary influences and his Caribbean heritage. This latest offering represents a significant expansion of his musical palette, demonstrating his growth as a composer and arranger capable of working on a larger scale.
Viva The Latin Jazz!!
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