by Max Newman
If you’re looking for a display of collegiate jazz brilliance, look no further than Oberlin Conservatory’s Sonny Rollins Jazz Ensemble. Selected through an extremely competitive audition process, this premier ensemble was formed in 2018 after a generous donation from its namesake. The group often tours the nation, wowing audiences with their remarkable performances and showcasing the next generation set to make their mark on jazz.
On January 13, the ensemble, led by jazz guitar professor Bobby Ferrazza, performed at Oberlin’s Dionysus Club (known as the ‘Sco), previewing ten pieces for their upcoming tour to San Francisco. The group transfixed the audience with performances that were at times lively, at times sultry, at times laid back, and always supremely impressive.
Particularly noteworthy was the wide variety of music on display. There were tunes that were played as if the musicians had all the time in the world, dancing over gorgeous refrains with delightful solos, filling the concert space with a sort of joyous calm — such as the Rollins composition No Moe. This nocturnal tune was framed by a classic swung rhythm and highlighted by Harrison Fink’s emotion-lathered saxophone solo.
There were pieces that were sensual and alluring, such as Them There Eyes, which featured a fantastic, compelling vocal performance from the virtuosic Gabi Allemana — and, to boot, another fantastic saxophone performance from Fink.
There were songs that felt chock-full of tension, like Somali Rose, featuring sheer tonal brilliance from pianist Matthew Tanner III, whose intriguing and almost psychedelic chord progressions made you feel like you were floating above the clouds on a rainy day.
There were songs played at a rapid pace, such as Fink’s own arrangement of Italian Ice, which featured a beautiful, sun-kissed central refrain and a winding, mind-bending solo from Avery Ghose on trumpet.
There was a great deal of variety in the playlist, but it all came together for a well-balanced set — never too much or too little of any emotion.
Several moments stood out, etching the performance into the minds of the audience. In I’ll Be Seeing You, one refrain led by Ahmed McLemore’s infectious bassline felt oceanic, like swimming through warm tropical waters, rising and falling. In the concert’s opener, Tim Picard’s guitar solo was played at a frightening pace — it boggles the mind how fingers could move that fast, pulsating over a dense, grooving instrumental backing.
During the highlight of the night, Lovely and Bubbly — which felt like watching the sun rise — Aaron Yanda’s two-minute drum solo toyed playfully with the rules of rhythm. It was an incredible display of musicianship that left you with your eyes glued to the stage.
Indeed, Yanda was the evening’s standout performer. While it took a bit of time for the band to find its chemistry, Yanda was electric from the beginning, providing exciting flourish after flourish, spectacular fill after fill. At times, it felt as though he was playing with more than two arms, octopus-esque.
The concert also marked the drummer’s birthday, an occasion celebrated around the evening’s midpoint with an improvised rendition of Happy Birthday — a wholesome, heartwarming moment.
All in all, an alluring night that was as musically diverse as it was technically impressive.
Published on ClevelandClassical.com January 16, 2024.
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