Brian Setzer Orchestra CD

The Brian Setzer Orchestra: Brian Setzer (guitar, vocals); Ray Herrmann, Steve Fowler (alto saxophone); Michael Acosta, Bob Sandman (tenor saxophone); Don Roberts (baritone saxophone); Dan Fornero, Jon Fumo, Les Lovitt, Ramon Flores (trumpet); Dana Hughes (baritone trombone); Art Valasco, Bruce Fowler, Mark Jones (trombone); Gary Stockdale (piano); Bob Parr (bass); Bernie Dresel (drums).
Personnel: Brian Setzer (vocals, guitar); Ray Hermann, Steve Fowler, Ray Herrmann (alto saxophone); Michael Acosta, Bob Sandman (tenor saxophone); Don Roberts (baritone saxophone); Dan Fornero, Les Lovitt, John Fumo, Ramon Flores (trumpet); Art Valasco, Mark Jones, Bruce Fowler (trombone); Dana Hughes (bass trombone); Gary Stockdale (piano); Bernie Dresel (drums).
Audio Mixer: Al Schmitt.
Recording information: Capitol Recording Studios.
Director: Michael Acosta.
Photographer: Larry Busacca.
Arrangers: Michael Acosta; Mark Jones; Billy May; Brian Setzer.
Who'd have thought that former rockabilly bad boy Brian Setzer's fondest dream was to lead a swinging big band? Setzer and his 17-piece band strut through a set of standards and originals, all featuring his growling guitar and vocals. The disc kicks off in high gear with screeching trumpet and a quintet of sweet saxes before Setzer fills up the room with the originals "Lady Luck" and "Ball and Chain." Both feature witty lyrics that recall the smoke-filled bars and dance halls of the '40s and '50s while still sounding contemporary. That's the trick Setzer maintains throughout the whole record: the style references Louis Jordan and Louis Prima through Count Basie and Henry Mancini, but the band is powerful and tight as a drum. The swing is natural and never dated, and the sound is as in-your-face as the Stray Cats ever were. However, on the slower numbers, Setzer's vocal limitations are evident; he sounds more like Dino than Frankie. Both "Route 66" and "A Nightingale Sang in Berkeley Square" pale in comparison to other recent versions by Natalie Cole or the Manhattan Transfer. But, as he remakes Carl Perkins, Al Jolson, and even his own Stray Cats past, Setzer swings throughout in a way that makes it obvious he both enjoys and understands the music. More vital than anything by any of the ghost bands, and more enjoyable as well, this recording set the stage for the '90s swing movement that included Royal Crown Revue and Big Bad Voodoo Daddy. Subsequent LPs by Setzer and band proved it was no fluke. ~ Ross Boissoneau
In retrospect, Setzer might seem like a prognosticator, what with the runaway success of neo-swing in the late '90s. In 1994 however, a big-band swing album by the former Stray Cats leader was an extremely chancy endeavor; more people were grooving to Pearl Jam than to the Squirrel Nut Zippers. For Setzer it was part of a natural progression; reviving another bygone era of his beloved American music traditions. While the BSO horn section is deft and punchy, the rhythm section bears a hint of the rock & roll from whence it came. Nevertheless, the album takes the listener on an amiable retro trip. Surprisingly, the majority of the tunes here were written by Setzer himself. He does tackle such chestnuts as "A Nightingale Sang in Berkeley Square" (where the singing lessons he seems to have taken bear fruit) and "Route 66," but most of the album finds Setzer blazing fresh trails through the swing/jump blues landscape.