Veteran bandleader and arranger Tom Talbert's Duke's Domain is not, as the title would imply, just one more compilation of Ellington songs for at least two reasons. First, Talbert defines "Duke's Domain" to encompass Billy Strayhorn's work. Second, Ellington's arena has been expanded to make room for some of Talbert's compositions, which honor Ellington. Thus, the title tune and first track is an Ellington-like structured suite written by Talbert, subtitled "My Appreciation." The Talbert pen also honors Strayhorn with "A ...
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Veteran bandleader and arranger Tom Talbert's Duke's Domain is not, as the title would imply, just one more compilation of Ellington songs for at least two reasons. First, Talbert defines "Duke's Domain" to encompass Billy Strayhorn's work. Second, Ellington's arena has been expanded to make room for some of Talbert's compositions, which honor Ellington. Thus, the title tune and first track is an Ellington-like structured suite written by Talbert, subtitled "My Appreciation." The Talbert pen also honors Strayhorn with "A Backward Glance (A Wave to Strayhorn)." All the music on the album is arranged by Talbert and expertly and entertainingly played by an outstanding group of (mostly) West Coast studio musicians. Talbert's arrangements reflect his association early in his career with the orchestras of Claude Thornhill and Stan Kenton. His Kenton experience is most evident on "Duke's Domain," while Thornhill's influence is heard with the voicings on Strayhorn's "Chelsea Bridge." There Suzette Moriarty's pure-toned French horn weaves in and out with Lee Callet's clarinet, a signature of the Thornhill Orchestras of the '50s, when Talbert was with him. Gary Foster's alto saxophone is put to good use, especially on Strayhorn's "After All" which was composed in 1941. One of Strayhorn's more creative periods, this was when he produced such classics as "Chelsea Bridge," "Rain Check," and "Passion Flower." Providing an opportunity for all the excellent musicians to solo on this album wasn't possible. But those who got the chance made the most of it. There's Moriarty's French horn and Callet's clarinet once again uniting on "In a Sentimental Mood," Don Shelton's alto sax with Talbert's piano on "Bojangles," Tom Garvin's piano on "Snibor," and Bob Hardaway's' tenor sax and Don Shelton's clarinet on "Lotus Blossom," to mention a few. (This is the same Don Shelton who was a member of the singing group the Hi-Lo's). Duke's Domain is not a copycat of Ellington-Strayhorn arrangements of their own material, but Talbert's admiring and credible interpretation of this classic music, aided and abetted by musicians of similar bents. ~ Dave Nathan, Rovi
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