The multi-talented Ray Templin is heard here against a variety of settings. The skillful use of a dozen musicians provides a diverse melodic framework for him – as solo pianist, with a variety of sextet groupings, and, with a full orchestra, Ray, the producer, is at the piano; and, thanks to multiple recording, he’s also on drums and sings all the vocals. This material - a sampler, if you will - could act as an audition record. He certainly would get the job.
The sources of Ray’s influences flow from many directions. Fortunately, they converge in the material he has selected for this unique album. The strongest tributary unquestionably is traceable to the work of "Fat’s" Waller. Only the seldom heard "WHAT A PRETTY MISS" and, conjecturally, "SUNNYSIDE OF THE STREET", are from Waller’s pen several others, as you will note, are form his heart. While the influence is apparent, this, however, is not an imitative recreation; but it does reflect Waller’s influence-and Ray Templin’s good taste.
Another facet of Templin’s musical psyche emerges in those tunes that draw from the 52nd Street swing combos led by Red Norvo (or is Goodman’s sextet the root of their inspiration?). "RUNNIN’ WILD" and "SOMEDAY SWEETHEART" showcase the Templin piano swinging warmly against Brian Atkinson’s burnished vibes that smoothly replicate a xylophone’s warm tonality. Those gently prodding wire brushes (also by Templin) add to the lilt. John Jorgenson’s facile clarinet, sweetened by a light souffle beat, adds a tender mellowness to "DEVIL AND THE DEEP BLUE SEA". Ray’s piano, never introspective, accurately mirrors his ebullient persona. A meaningful lineal flow always keeps the melody out front as he deftly draws fresh inspiration from these archaic songs and explores the challenges the present. "MEAN TO ME", a pulsating piano solo best demonstrates the wide spectrum of musical nuances Templin holds at his fingertips.
"SWINGOLOGY", masterfully arranged by vibraphonist Brian Atkinson, is launched by Templin’s rousing four chorus piano solo and soon the sound swells to a singing twelve piece band. You will hear sixteen bars of churning rhythm- Basie would love it!
"JAMMIN" is a welcomed reminder of Tommy Dorsey’s swing era hit. "TOO BUSY", a jazz age novelty tune, recalls the 1928 Louis Armstrong Big 4 rarity and benefits from guitarist Brad Roth’s single note acoustic guitar lines and robust chordal figures. A slap bass solo by Charlie Warren spices Templin’s harmonizing vocal "group" on " SWING, BROTHER, SWING".
Bryan’s Shaw’s trumpet, in clear bell tones, and fat low notes, enhances "I CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME" .On several cuts, his reflections of Waller’s hornman, Herman Autrey, are startlingly beautiful. Lemoyne Taylor’s warm breathy tenor sax adds depth to the ensembles and appropriately fills the Gene Sedric role in the Waller tunes.
"7400 NORTH" (Templin’s boyhood Chicago address) unabashedly traced it’s lineage to the well-worn " Sweet Georgia Brown" and projects a bright new image for the old gal. She’s packed with energy and comes dressed with an Eddie Condon apogee - for bars for everyone, including Ray’s piano and drum break, with co-producer, Art Dragon, adding a few trombone glisses to the rousing ensemble. A set-ender, for sure, it appropriately closes side two. You will quickly flop and replay!
Throughout the album, an acoustic sound breathes a crisp, lively freshness into the music. Certainly the digital mastering by Templin’s trumpeter, Brian Shaw, has contributed to the in-the-flesh presence that often is marred by an engineer’s obtrusive touch. Vibraphonist Brian Atkinson masterfully arranged the Swingology Big Band sounds.
There is much more here that initially meets the ear - repeated listening can be very revealing. Ray Templin and his friends are having fun and so will you.
I DID’NT THINK THEY MADE RECORDS LIKE THIS ANY MORE!!!!