Phil Woods' Little Big Band - Evolution (Concord, 1988)

This post is by Scott and Dan

Phil Woods (as, cl); Nelson Hill (ts); Nick Brignola (bs); Hal Crook (tb); Tom Harrell (tr, flhn); Hal Galper (p); Steve Gilmore (b); Bill Goodwin (d)

Recorded in May 1988

What are the differences between an octet, a little big band, and a big little band? Answer: none. They all can perform as a larger unit as well as a smaller one. Phil Woods' Little Big Band displays such versatility on six outstanding tracks. 

Perhaps the greatest advantage of the size of his band is that the soloists are not smothered or masked by a larger ensemble. Given the talent on hand - Tom Harrell, Nick Brignola, Hal Galper, Hal Crook, Nelson Hill, and Woods himself - their voices should be heard, not subordinated to band arrangements. Indeed, a smaller big band permits more insight into both the arrangements and the solos than many larger big bands do.

The composing credits are also noteworthy. Four of the six tunes come from Woods, and trombonist Hal Crook and Jerry Dodgion contribute one apiece. 

Each of the tracks features a series of excellent solos by various members of the band. Most often, a soloist plays just with rhythm accompaniment for the first part, with the band filling in behind during the second part of the solo. The fills are sometimes just chords and at other times countermelodies. This pattern adds variety and interest, as the listener appreciates the individual and the collective on every tune. 

The compositions also vary. Two of them - Woods' "Hal Mallett" and Dodgion's "Thaddeus" - have an exotic feel to them and are played at shifting tempos. Woods' clarinet on "Hal Mallett" helps to create exoticism. Most of the other tunes are mid-tempo except for Hal Crook's blues, "Which Way is Uptown?". Crook's tune burns a little hotter and ends with Bill Goodwin's only drum solo of the date. "Song for Sisyphus" is a feature for baritone saxist Nick Brignola who opens the tune in freestyle, takes the only horn solo, and follows Steve Gilmore's bass solo with a low note that ends the album.

There is a lot to enjoy on Evolution. Obviously, Woods struck gold with this format, which he reprised from one of his greatest earlier recordings, Rights of Swing (Candid, 1961). Fans of either big bands or small bands should check these recordings out.