Elliot Deutsch Big Band

Last year, I applauded the festival organizers for adding more jazz to the line-up since they introduced JAM Day on Sunday, which was previously called Jazz Day. Their gamble paid off handsomely once again with a line-up of jazz featuring Dr. Lonnie Smith, John Densmore and Tribal Jazz, Elliot Deutsch Big Band and The Brent Canter Trio. The Elliot Deutsch Big Band kicked off the festival with a swinging extravaganza of straight ahead jazz with his big band. Elliot Deutsch is a gifted trumpeter/arranger. Their set consisted of “Yeah, We Are Sleeping Together” based on the tune “Just Friends” (pun intended), “There Will Never Be Another Chet Baker” based on “There Will Never Be Another You” which featured Elliot Deutsch hitting some high notes on the trumpet that would make Jon Faddis beam with delight. The group concluded their all too brief set with “Cheek to Cheek” arranged by the leader of the group.

-Ricky Ricardo - BrooWaha

The Elliot Deutsch Big Band puts a young face on an old form.

The swing renaissance hit big time in the late 1990s, and its echo can still be heard today. A new generation of swingers has been making its mark on the form their grandparents enjoyed, and you can catch a great example of the trend Tuesday night when the Elliot Deutsch Big Band swings by Café 322 in Sierra Madre.

This group performs all original tunes, propelled by a lineup of 17 of the hottest young players on the LA scene. While keeping true to the feel of the genre, the band puts its own mark on the music, with a slick, modern, jazzy style. Unlike other big bands that stick to the classics, EDBB takes pride in its repertoire of songs penned by trumpeter and composer Deutsch and other band members, all of whom are in their mid to late 20s. Since forming in 2007, the group has garnered raves from jazz aficionados and casual listeners alike, keeping up a busy schedule performing at top jazz clubs and private affairs around Southern California. The band’s debut CD, “Weeknight Music,” was released in 2009 and is available on iTunes and CD Baby. Check them out at edbigband.com.

12/09/2010

-John Sollenberger - Pasadena Weekly

Trumpeter, flugelhornist, composer, arranger Elliot Deutsch presented his young, new Big Band at Vitello's. Deutsch has a new CD out, titled Weeknight Music, which is self-released. It's always amazing how a big band can fit so well in the upstairs room at Vitello's but it works. The band was in top form, consisting of some very fine, young players that included: Walt Simonsen, Bijon Watson, Jon Bradley, Brian Owen - trumpets; Mike Briones, Erm Navarro, Paul Young, Steve Hughes - trombones; Stephan Cardenas, Ken Moran, Will Vargas, Nate Ketner, Jimmy Emerzian - saxes; Dan Marschak - piano, A.J. Polidoro - bass and Adam Alesi - drums.

"There Will Never Be Another You" was a tribute to Chet Baker, arranged by Deutsch, who played the trumpet solo beautifully. He was followed by a mighty trombone solo from Dr. Paul Young. The sax ensemble work was very fine then Deutsch took the tune out. The next tune, written by Simonsen, was dedicated to the late trumpeter, Bill Armstrong. Marschak was powerful at the piano and Emerzian and Simonsen were also given solo spots. The piece roared with excitement, powered by Alesi's swinging drumming. Deutsch played the trumpet on the pretty ballad, "The Nearness of You." Once again the band exploded with energy and excitement on this arrangement. I really liked their rendition. "Rhythm Challenge," from their new CD, featured Moran on a tenor solo and a t-bone solo from Navarro. The tune burned at a rapid fire pace.

Dr. Paul Young arranged "Reflections" and his smooth, lush sounding trombone was a pure delight. Emerzian was also in fine form on his tenor sax. Young took the tune out, with pretty ensemble playing behind him. The crowd loved it. "Nunda Bar," written by Brian Owen, started out with Simonsen playing his trumpet in a beautiful brass choir style. Marschak's piano added a gospel sound, then the tune went into swinging mode, with crisp ensemble work. Owen got in some trumpet licks before the tune went into the church choir effect before the ending. "Take the A-Train," arranged by Deutsch, was a strong and solid romp for the whole band. Deutsch added his impeccable trumpet for good measure. Another swinger, "Home," started with Marschak's piano in an easy, mellow way as the band showed their wonderful ensemble work. Emerzian, again, contributed a strong tenor solo and Watson also added a strong trumpet solo. This was a fine showing by a young group of players. I want to thank April Williams, who books Vitello's, for giving this band a chance to be heard at Vitello's. More and more, Vitello's is becoming the hot spot in L.A., with their variety of musical styles all month and special guests, such as Eddie Daniels, who played two nights there in June.
- LA Jazz Scene

I’m always amazed at the number of bands of young musicians around the country, rehearsing regularly and playing gigs at small clubs. One of these is Elliot Deutsch's Southern California-based ensemble, which roars onto the scene in its debut release Weeknight Music.

These unheralded 17 players reach near cohesive brilliance in a selection of seven originals written by Deutsch, trumpeter Brian Owen and tenor saxophonist Jimmy Emerzian, augmented with four sterling standards.

All arrangements are by Deutsch. It is clear he has listened to big band greats. On some numbers, the influence of Count Basie is palpable – buoyant sax section, in front of a solid, assertive horn section. Others suggest the brash, hard-charging sound of a Woody Herman.

These comparison are not to say the band is stuck in the past. On the contrary, the charts are fresh and of today.

Deutsch, on trumpet, delivers several quality solos. He has been on the Los Angeles Jazz scene since 2007, having graduated with a Masters at CSU Long Beach, studying trumpet under respected jazz veteran Bobby Rodriguez. As well, Deutsch has taught at Cal Tech in Pasadena. He has played with such varied stars as Lalo Schifrin, BB King, Jason Mraz, Kenny Burrell, Les McCann, Hubert Laws and Rodriguez.

Besides Deutsch, the albums first-rate solists are Emerzian and Owen, as well as trombonists Nick DePinna, Ermuelito Navarro and Paul Young, alto sax Will Vargas, tenor sax Ken Moran, baritone sax Stephan Cardenas and pianist Nick Paul. Besides delivering “kicking” solos, drummer Adam Alesi is a strong presence on all pieces.

The CD starts with a blistering take on Irving’s Berlin’s venerable “Cheek to Cheek.” In this, rapid-fire phrasing on solos by Owen and Depinna, give way to a torrid foray by Alesi on drums.

Best of the Basie-flavored numbers is Victor Young’s “When I Fall in Love” Nick Paul’s piano sets the mellow mood, accentuated by wispy saxes. This opening sets up Moran's tenor in an extended solo which becomes increasingly assertive until it breaks out above the band, soaring over the shouting horns. A “Countish” piano tinkle finishes off the wonderful groove.

The Herman touch is felt in Deutsch’s “Yeah...We’re Sleeping Together.” This bright and lively piece re-fashions “Just Friends.” Here, Owens delivers another vibrant trumpet solo, followed by the band's “five brothers” on sax – Cardenas, Moran, Emerzian, Vargas, and alto man Dan Kaneyuki.

The bandleader gives himself time to shine on Hoagy Carmichael’s “Nearness of You.” The pulsating chart, with brasses loud and clear a la Stan Kenton, is capped by Deutsch’s lyric trumpet interlude.

Full of many fine moments this album warrants more from this young band. - JazzReview

The brightest new jazz orchestra in Southern California, the Elliot Deutsch Big Band, makes its recording debut on Weeknight Music. Led by 26-year old arranger-trumpeter Deutsch, the 17-piece orchestra was formed in 2007 while he was still in college. The musicians are young and enthusiastic and their repertoire includes a few standards but is mostly comprised of newer material.

Elliot Deutsch is a top-notch arranger. Sometimes his charts sound a little like Bill Holman's (which is a compliment) and in other cases he keeps the writing a bit more basic and lets his sidemen stretch out. 13 members of the band (everyone except two trumpeters, the guitarist and bassist) have solo space along the way.

To name a few highlights, “Cheek To Cheek” undergoes a modern transformation while still swinging. “The Jury's Out” is an altered uptempo blues. “A Beautiful Friendship” features a warm vocal by Khalil Wilson. “Rhythm Challenge” is a romp through the “I Got Rhythm” chord changes in several keys. The humorously titled “Yeah...We're Sleeping Together” is an uptempo “Just Friends” which features the saxophone section. And while Elliot Deutsch is responsible for most of the arrangements (Brian Owen and Jimmy Emerzian also wrote a couple), he joins his musicians by taking excellent trumpet solos on “The Nearness Of You” and “Stroll At The Beach.”

All in all, Weeknight Music is a very impressive debut for the Elliot Deutsch Big Band, one of the most promising jazz orchestras around today. It is available from www.edbigband.com. - LA Jazz scene

Elliot Deutsch knows the truth, that Jazz was Rock N Roll before Rock was born. The twenty-six year old performer, composer and bandleader has been knocking them for a loop on the Los Angeles Jazz scene since 2007, and released the debut album from the Elliot Deutsch Big Band, Weeknight Music, last year. Hard driving swing is the order of the day, mixed with rambunctious play and musical risk taking that harkens back to a time when Jazz was the high-wire act of American music and here adherents were the stars. Deutsch's background is rock solid, having played with or under the likes of Lalo Schifrin, BB King, Jason Mraz, Kenny Burrell, Les McCann, Hubert Laws, Bobby Rodriquez and Pato Banton.

Weeknight Music opens with a lively take on Cheek To Cheek before barreling into The Jury's Out with gleeful abandon. The spark of mischief that runs through the songs presented on Weeknight Music speaks to how much fun and creative energy went into the project. Beautiful Friendship takes listeners back to an era when big bands ruled the world, throwing in a decent vocal line over a lush orchestral jazz score. Aside from top-of-the-line musicianship, Deutsch takes risks in the writing/arranging of songs that are far beyond that most staid jazz musicians would ever dare. Even when these risks don't quite pay off the experience is still very worthwhile for the listener. Rhythm Challenge finds Deutsch having a race with himself; speeding things up right to the edge of losing control. A little of that control actually slips away on Space Cowboys, which plays a bit like Duke Ellington on speed.

Deutsch goes to the other extreme on Coffee Time, a pensive, halting tune that's more about setting the stage with atmosphere. The song is a nice change of pace, but is a bit listless at times. Yeah, We're Sleeping Together features some of the best solo work on the album, as Elliot Deutsche mixes brash confidence with musical subtlety beyond his twenty-six years that speak volumes into every note and every phrase. The finest work on the album, however, is the ensemble work on Nearness Of You, with subtly charged phrasing and a master's touch. Right behind it (figuratively and literally) is When I Fall In Love. The same sort of energy is at play here, although perhaps to a slightly lesser extent. Weeknight Music closes out with the sprightly Stroll At The Beach, exuding the same playful energy that has made much of the album live and breathe.

Take a look around the Jazz world in twenty years and it won't be a big surprise to see each of the 17 members of Elliot Deutsch Jazz Band active in one project or another. I wouldn't go quite so far as to say Deutsch is the future of Jazz, but he brings the same sort of fresh perspective and exuberance that Harry Connick Jr. displays in the late 1980's. Weeknight Music is brilliant, balancing a healthy look forward with clear reminiscence on where Jazz came from; all from a young man who sports what may be one of the brightest young talents in Jazz.

Rating: 4.5 Stars (Out of 5) - Wildy's World

Weeknight Music, as it turns out, is suitable for any time of day or night, for weekends, holidays and any type of special occasion where the music must be sultry and swinging. Trumpeter Elliot Deutsch's young southern California-based ensemble comes out roaring on its debut album and keeps the pedal to the metal through a marvelous sequence of engaging charts by Deutsch, trumpeter Brian Owen and tenor saxophonist Jimmy Emerzian.

That's not to imply that every number is played at or near warp speed. Au contraire. Easygoing anthems can't evince much more charm than Deutsch's "Coffee Time," Emerzian's "Home," or the leader's shimmering arrangements of "The Nearness of You" (on which his gossamer flugelhorn is front and center) and "When I Fall in Love." Deutsch also wrote the buoyant ensemble showpiece "Rhythm Challenge," the deeply-grooved "Yeah...We're Sleeping Together" (a.k.a "Just Friends") and leisurely "Stroll at the Beach," Emerzian "The Jury's Out," Owen the wild-riding "Space Cowboys." There is (alas) one vocal, by Kalil Wilson, on Sammy Cahn / Jule Styne's "Beautiful Friendship" (the authors would probably wonder who "Donald Kahn" and "Stanley Styne" were). Well, at least they got Irving Berlin's name right, on the fiery opener, "Cheek to Cheek."

Besides Deutsch, the band's soloists, each of whom is first-rate, include Emerzian, Owen, trombonists Nick Depinna, Ermeluito Navarro and Paul Young, alto Will Vargas (showcased on "Coffee Time"), tenor Ken Moran, baritone Stephan Cardenas, pianist Nick Paul and drummer Adam Alesi. The band as a whole is as tight as Alesi's snare, the rhythm section sharp and industrious. According to Deutsch's bio, he has performed with Solomon Burke, Bobby Rodriguez' Latin Jazz Band, B.B. King, Lalo Schifrin and Kenny Burrell, among others, none of which would lead one to anticipate a big-band date as captivating and resourceful as Weeknight Music. But here it is, and Deutsch deserves a round of applause for marshaling (and recording) an ensemble of this caliber. Let's hope we haven't heard the last of them.

-Jack Bowers - AllAboutJazz