What does Jazz have with comics? A lot, says trumpeter and comic book writer Phillip Kennedy Johnson . They are two relatively new arts and a comparatively small but dedicated audience. One of their most striking similarities is that both are based on standards. And if for jazz the standard of the standard comes from the popular songs of the first half of the last century, providing musicians with a constantly evolving frame of reference, the common place for comics is the well-known characters and superheroes that pass from generation to generation. Like ” Round Midnight ” has been playing for over 70 years and there is always room for a new interesting performance, a new story is being set up in a similar way that Batman will continue to fascinate those who follow him.
The Flying Horse Big Band was formed at the University of central Florida by saxophonist Jeff Ruppert who is there the person in charge of the curriculum of jazz. The crowd set began to record in the early years, and for his fifth work entitled ” The Bat Swings ” ( Flying Horse Records) , Ruppert gathered pieces that featured the Batman television of the 1960s. Most of them are compositions by Nelson Riddle , but also the famous Neal Hefti theme , with their orchestrations being shared between the leader of the orchestra, Michael Philip Mossman , Mark Taylor , Harry Allen and Per Danielsson . With seventeen members in the orchestra and four participants, including Marty Morell (the drummer who stayed more than any other at Bill Evans Trio ), it is next time to give more weight to the work of the whole and limit the personal roles. The one who finds the most opportunities for solos is guitarist Ryan Waszmer , while those who stand out are the Christian Herrera and the baritone saxophonist Saul Dautch . Orchestrations do not claim laurels of originality, but with graceful colors, lively passages and an integral component of the swing, they manage to grasp the climate of intensity and lasting action in which the hero takes place.