Toshiko Akiyoshi - Wishing Peace (Ascent/Ken, 1986)

This post is by Dan

Toshiko Akiyoshi (p, arr); Joe Mosello (tr); John Eckert (tr); Brian Lynch (tr); Chris Pasin (tr); Frank Wess (as, ss, fl); Lew Tabackin (ts, fl, perc); Jim Snidero (as, cl, fl); Walt Weiskopf ts, cl); Mark Lopeman (bs, bcl); Jay Anderson (b), Jeff Hirschfield (d); Daniel Ponce (conga - 1 track only)

Recorded July 21 and 22, 1986

Toshiko Akiyoshi and Lew Tabackin accomplished a rare feat in the jazz world by forming a working big band in the 1970s, at the ebb of jazz's commercial appeal. Not only did they develop unique arrangements for big band not heard before, but they also sustained the band through tours and multiple recordings on RCA. Akiyoshi was responsible for the arranging and composing, while husband Tabackin was the featured soloist on tenor and flute. Their RCA albums were critically acclaimed and should be familiar to any serious jazz lover.

In 1980, Akiyoshi formed Ascent Records dedicated to releasing the band's albums. Wishing Peace is one of six albums on the Ascent label. Almost any of them would be a good choice as a favorite of the decade, but I am especially fond of Wishing Peace, in part for its enduring relevance. The occasion for writing the Liberty Suite, which comprises the second side of the LP, was the 100th anniversary of the Statue of Liberty. Akiyoshi was among select recipients of New York City's Liberty Award, so she wrote the suite to honor what Lady Liberty stands for. 

The album kicks off with the rollicking "Feast in Milano," featuring a string of solos from several band members, including conga player Daniel Ponce. Tabackin's only composition on the record follows - a lovely ballad titled "Unrequited Love." That piece provides a clear window into the genius of Akiyoshi's approach to arranging. Basically, there are only two soloists (Tabackin on flute and Jon Eckert on muted trumpet) but the ensemble sections are long and full of rich voicings and dynamics that sustain the piece for just over 11 minutes. The orchestrations provide the main drama, not just backing for the soloists. This signature sound distinguishes the band's identity. 

Liberty Suite begins with "Lady Liberty," a high-octane workout reminiscent of the City's own fast paced rhythms. Tabackin contributes an impressive solo on tenor. 

The centerpiece of Liberty Suite is "Wishing Peace," which is reverential in its grandeur. It's a great example of how Akiyoshi uses the whole band as a palette to paint aural images of strength and beauty. It's a perfect portrait of the aspirations of a free society, as signified by the statue standing in the harbor. Frank Wess shines as the featured soloist on flute. 

The suite ends with "Uptown Stroll," which I interpret as the habit of New Yorkers to get back to their busy lives after briefly acknowledging the importance of what Lady Liberty stands for.

I recommend all of the Akiyoshi-Tabackin big band recordings, whether on RCA, Ascent, or other labels. I also recommend a video, Strive for Jive, which is instructive on the roles played by the band leaders. Filmed during a live performance, Akiyoshi is clearly shown to be in control of the band from the front, counting out measures as the photo to the right indicates. Of course, she also sits at the piano for the occasional intro or solo, but the band is all about the arrangements and the solos. It's her instrument, and she exercises complete command over it.