Review: EYAL VILNER BIG BAND - THE JAM! ALBUM RELEASE EVENT at Birdland by Guest Reviewer Andrew Poretz

Eyal Vilner Big Band

The Jam!

Album release event

Birdland Jazz Club

July 3, 2022

By Andrew Poretz

Israeli saxophonist, clarinetist, flutist, composer and bandleader Eyal Vilner has made quite a name for himself in the Big Apple since moving here in 2007, with several albums and countless concerts, as well as dance shows in venues like Swing 46 and The Django (there is no dancing allowed at Birdland, but many feet were swinging under the tables on July 3rd) With long, black hair tied up in a bun and sporting a goatee, the talented Vilner cuts something of a Svengali-like figure, though it is only this maestro's music and arrangements that have any hypnotic effect. This late afternoon show consisted primarily of original tunes he wrote for the band's latest album, The Jam!, along with several standards and several new works.

With 16 pieces, two guest vocalists and even a tap dancer, the company took up nearly every inch of the Birdland stage and even part of the floor. The album's title track and the evening's opening number, "The Jam!" is a brief, pleasant tune along the lines of Benny Goodman's "Let's Dance."

Mr. Vilner typically sprinkles vocal numbers throughout his shows. "Just a Lucky So and So" (Duke Ellington/Mack David) gave the Birdland crowd the first of several vocal arrangements, with the marvelous Imani Rouselle at the mic. Ms. Rouselle's second song, "Will You Be My Quarantine?" (lyrics by Tal Ronen), was not only written during the pandemic, but was one of those astonishing, multiscreen virtual music videos where all the musicians recorded their parts at home separately to a guide track, with each segment, later, synced together with technology and ingenuity. (See this video at https://www.youtube.com/watch?v=KutU4S7ZwD0). A number of the musicians on that video played on July third's gig. Eyal is not a singer, but he and Imani did a fun whistling duet for the bridge.

For the next tune, Eyal memorialized the superintendent who managed his first New York apartment in the Bushwick section of Brooklyn. No matter the complaint, the super invariably responded with "Call me tomorrow, I come next week," which became the song's title. Recurrent phrases, particularly a repetitive near-drone midway through the composition, effectively summed up the theme, while a discordant final chord left an intentionally unresolved feeling of chaos.

Eyal related that he once decided to see what it was like on the other side of the bandstand, and took a free dance class that was offered between his sets. This changed his perspective entirely and inspired this album, particularly the song "Chad's Delight," with its fast Lindy beat.

Jon Thomas's stride piano on "Another Time" and a hot, muted trombone solo brought the feel of old New York. The composition brought to mind Gordon Jenkins' Manhattan Tower, evoking the urgency of city sounds and even, perhaps, an elevated train ride of, well, another time.

Dapper guest singer Brandon Bain (known as "Mister Bain" and "Mr. B") killed on "After the Lights Go Down Low" (Leroy Lovett/Alan White). A tenor with movie star good looks, Mr. B sang the song transposed higher than baritone Al Hibbler's famous recording. A fine trumpet solo by James Zollar added much to this number.

"Chabichou" and "Belleville" were commissioned by The Joyce Theater for their Sw!ng Out show and were written while Vilner lived in Paris. On "Belleville," the bandleader soloed on flute with just a piano for a dozen measures before the band kicked in with an arrangement that seemed reminiscent of legendary arranger Nelson Riddle. Vilner's time in France also inspired "Paris Suite - Parc," a new piece that is essentially a work in progress, and which Mr. Vilner hopes to develop into a full suite.

In the unlikely event anyone could have fallen asleep during this exciting set, "Tap Tap Tap" would have gotten their attention. With special guest tap dancer Caleb Teicher (who conceived and directed the aforementioned Sw!ng Out), came a red tap board to the front of the stage, near the piano. Wearing shorts to flaunt their dancer's legs, Caleb tapped their way through this number. The song has a great old-school feel, and Mr. Vilner's arrangement showcased the dancer's sensational skills. The recording includes the tap dancing, though a number like this is best enjoyed live.

It was an excellent set by the Eyal Vilner Big Band, and hearing nearly the entire album performed live (after playing the tracks at home earlier the same day) was quite exciting. The band closed out the set with a brisk, solo-filled "Bei Mir Bist Du Schoen (Sholom Secunda; Yiddish lyrics by Jacob Jacobs and English lyrics by Sammy Cahn and Saul Chaplin).

Eyal Vilner Big Band, featuring:

Eyal Vilner - saxophone, flute, clarinet, conducting, arrangements and compositions

Imani Rouselle and Brandon Bain - vocalists

Caleb Teicher - special guest, tap dancer

Trumpets: John Lake, Brandon Lee, Summer Camargo, James Zollar

Trombones: Ron Wilkins, Sam Chess, Alix Tucou

Saxophones: Jon De Lucia, Chris Hemingway, Julieta Eugenio, Peter Reardon Anderson, Josh Lee

Piano: Jon Thomas

Bass: Ian Hutchison

Drums: Luther S. Allison

All songs composed by Eyal Vilner, except as indicated above.

For more information on the Eyal Vilner Big Band, visit www.eyalvilner.com. For more great Birdland shows, visit www.birdlandjazz.com.

Birdland Jazz Club

Andrew Poretz, "The Boulevardier of Broadway," is an entertainer (singer, guitarist, ukulele player and storyteller), producer, and a reviewer of jazz and cabaret shows, primarily for Theater Pizzazz. An early podcaster, his "Coaches' Corner on BlogTalkRadio" segments are still available on iTunes. Andrew has performed in prominent venues throughout New York and the Bay Area. Andrew is also a board member of The American Popular Song Society. His blog, "The Boulevardier," can be found at www.andrewporetz.com

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