Scott Reeves

DOWNBEAT, Suzanne Lorge, August, 2018 “The decades he spent playing and arranging for big bands under the direction of Dave Liebman and Bill Mobley taught Reeves how to work within the classic big band sound. But for his own group, the 17-piece Scott Reeves Jazz Orchestra, he wanted to explore the dissonances and unexpected forms of contemporary jazz, emulating large ensembles like those of Jim McNeely and Gil Evans and fellow trombonist Bob Brookmeyer. Reeves arrives at his sound – modern metric ideas, sweetly stacked harmonies that move in surprising directions, atypical musical alliances – by utilizing the full scope of his playing experience. If he can’t play it, he doesn’t write it. His new album, “Without a Trace” – a more eclectic mix of tunes than 2016’s all-original “Portraits and Places” (Origin Records) – illustrates the success of this approach. How does he view his skills as a composer nowadays? “I’m still working at it,” he said, speculating that his best years yet lie ahead.”

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DOWNBEAT, Suzanne Lorge, August, 2018 “The decades he spent playing and arranging for big bands under the direction of Dave Liebman and Bill Mobley taught Reeves how to work within the classic big band sound. But for his own group, the 17-piece Scott Reeves Jazz Orchestra, he wanted to explore the dissonances and unexpected forms of contemporary jazz, emulating large ensembles like those of Jim McNeely and Gil Evans and fellow trombonist Bob Brookmeyer. Reeves arrives at his sound – modern metric ideas, sweetly stacked harmonies that move in surprising directions, atypical musical alliances – by utilizing the full scope of his playing experience. If he can’t play it, he doesn’t write it. His new album, “Without a Trace” – a more eclectic mix of tunes than 2016’s all-original “Portraits and Places” (Origin Records) – illustrates the success of this approach. How does he view his skills as a composer nowadays? “I’m still working at it,” he said, speculating that his best years yet lie ahead.”

NEW YORK CITY JAZZ RECORD, Scott Yanow “A fine trombonist and alto flugelhornist, Scott Reeves has led small groups, but it is with big bands that he really excels. The date begins with a stirring version of “Speak Low,” with strong solos from alto saxophonist Steve Wilson and trumpeter Chris Rogers…Wayne Shorter’s “JuJu” is taken for a stormy ride. The saxophone section plays two choruses from Shorter’s original solo...”Shapeshifter,” using a 12-tone row, goes through several different sections...and gets quite free in the last part… “Something For Thad” tips it cap to Thad Jones…This is an excellent example of both modern big band music and the arranging of Reeves”

ALL ABOUT JAZZ, Edward Blanco “The Scott Reeves Jazz Orchestra follows up the highly successful debut album Portraits and Places (Origin, 2016), with another masterpiece recording on Without A Trace offering new and exciting arrangements of three standards and four creative Reeves originals that all together, pack quite a powerful musical punch. A full-tenured professor at The City University of New York (CUNY), composer, trombonist and flugelhornist Reeves, takes this twenty-piece ensemble to a higher level in fashioning a riveting musical statement that is sure to resonate with lovers of the big band sound. 
 
Comprising some of the finest musicians from the New York jazz scene, Reeves spices the cast by including such luminaries as saxophonists Steve Wilson and Tim Armacost, along with pianist Jim Ridiand vocalist Carolyn Leonhart among the world-class personnel… Ending in high-octane fashion, the band lets it all hang out on a tribute for the great Thad Jones on "Something for Thad," featuring sparkling solos from trumpeter Andy Gravish and trombonist Matt Haviland capping a vibrant and powerful session of big band jazz from the Scott Reeves Jazz Orchestra, kudos to Reeves and the band.”

LONDON JAZZ NEWS, Nigel Waddington “New York Big Band leader and composer Scott Reeves is someone whose music I wish I'd discovered sooner. His new release, Without A Trace, contains originals and standards, colourfully orchestrated and recorded with an intimate, club-like ambience. These pieces really are “composed”, and what a difference it makes. They are led by the line, so there is always a feeling of forward travel. No fewer than 12 soloists offer their artistry, including the composer himself on trombone and alto flugelhorn.

Admirers of alto saxophonist Steve Wilson will be glad to find the band's sound shot through with his glorious, full-throated lead, making the diverting sax soli passages really sing. Take, for example, Juju. Wayne Shorter's '60s classic is re-imagined with the aid of Wayne's own recent revisions. Incandescence is a model of orchestral contrasts, moving between skilfully controlled, white-hot dissonance, to gentle repose and resolution. All or Nothing at All is perhaps my favourite, affording the sharp-eared some beautifully inter-woven cameos from Cole Porter and Horace Silver. The single vocal number Without A Trace is delivered with grace by Carolyn Leonhart, who is never overshadowed by the transparent, perfectly judged backings. It is hard for a British ear not to wonder at a Norma influence here, but she makes the song very much her own, and beautifully so. Speak Low, in a novel Afro-Cuban setting, repeatedly defies expectations with its uncoupled, free-moving sax lines and varied rhythmic variations. It engaged this listener throughout, as did the entire disc.”


JAZZ JOURNAL, July, 2018 Jack Gordon “For his second album with his own band (Reeves) has once again assemble a stellar line-up some of New York’s finest to interpret his intriguing originals as wll as taking fresh looks at some songbook classics. The Latin-tinged Speak Low features Steve Wilson, who shows why he has become the city’s first call on alto. His fluent soprano on Incandescence is just as impressive. Without A Trace is a compelling vehicle for Carolyn Leonhart (Jay Leonhart’s daughter) who is usually heard with Steely Dan. Se handles the unconventional harmonies, angular phrasing and difficult intervals with aplomb and her pure, viatrato-less sound helps create an album highlight. All Or Nothing At All, with its repeated bass pedal point, is notable not only for the leader’s elegant trombone but also for the subtle hints of Horace Silver’s Nica’s Dream and Duke Pearson’s Jeanine in the final shout chorus…”

JAZZ WORD PRES.com weblog, Dee Dee McNeil “The Scott Reeves Jazz Orchestra is another very fine example of precision arrangements and excellent musicianship in pursuance of jazz orchestration. From the first Latin strains of cut #1, “Speak Low,” I was captivated. This familiar jazz standard features alto saxophonist Steve Wilson and trumpeter Chris Rogers. Each soloist is dynamic and technically astute. Reeves has composed and arranged over half of the seven tunes on this production. His arrangements are lush and lovely, giving opportunity to his orchestra members to step forward and solo in meaningful ways. “Without a Trace” is an edgy tune with shocking intervals and a challenging melody. Carolyn Leonhart is featured vocalist and her soprano tones are expressive and pure. Scott Reeves is a trombonist who also plays flugelhorn, composes, arranges, conducts and finds time to be an author and college jazz educator. His two books, “Creative Jazz Imrovisation” and “Creative Beginnings” are widely used texts in their field. He’s a native of Chicago, Illinois and somehow finds time to perform regularly with the Dave Liebman Big Band, the Bill Mobley Big Band and the Valery Ponomarev Big Band. He often subs in a variety of orchestras, while keeping his own seventeen-piece jazz orchestra alive, well and working. You will find this album to be a treasure-trove of well-written original songs and arrangements, as well as a couple of familiar songs with refreshing and exploratory arrangements that celebrate Scott Reeves and his multi-talents at their best.”

GREECE – JAZZ REVIEWS, Phontas Troussas 
“Starting from this orchestra, and of course by the director and arranger, Scott Reeves , we would say that the distinct traditions of historical leaders Duke Ellington, Gil Evans and Thad Jones… find the way to emerge through the pieces of the set relating to four originals and three versions (the " Speak low " Kurt Weill - Ogden Nash , " All or nothing at all " by Arthur Altman - Jack Lawrence , " Juju " by Wayne Shorter ). In simple words, Reeves has done a great job, managing to balance between the classic and the more modern, but not weakening the final result. Reeves and the possibilities offered by his impeccable instrumentalists, manages to give the tracks a very attractive "air" without ever making them audible or even expected..and closes in such a perfect way this completely fun album.

SUMMARY OF REVIEWS: SCOTT REEVES JAZZ ORCHESTRA “PORTRAITS AND PLACES”

Adrian Fry, London Jazz News “…the listener can hear clearly the considerable time, care and attention that has been spent rehearsing this music: the performances are as relaxed as they are accomplished. The opener, a tribute to the late pianist James Williams, features Reeves on the rarely ­heard alto flugelhorn and the first of several excellent piano solos from Jim Ridl. 3 'n 2 demonstrates his ability to weave strong themes, rich harmony and improvisation over a seemingly unstoppable groove. Sara Serpa's wordless vocal on Osaka June. floats over the ensemble adding perfectly intonated warmth and softness. Reeves has made (Aguas de Março) his own, retaining the lilting bossa feel but demonstrating his skill as an arranger in almost ten minutes of development and invention. The centrepiece of the album is the L & T Suite which weaves themes from four twentieth century composers with Reeves' own invention. This group of fabulous musicians are continuing and developing the great tradition of big band music. I can honestly say this is one of the most enjoyable albums I have heard in recent years. Lovely charts, great playing and first­class recording.

Brian Keegan, International Trombone Association Journal “The Soulful Mr. Williams ’brooding textures lead immediately into an excellent alto flugelhorn solo by Scott Reeves. 3 ‘n 2 is a vehicle for Tim Armacost's intense tenor solo and Bill Mobley's lyrical trumpet. Reeves's ensemble writing seems to recall some of the great Dizzy Gillespie big-band recordings. Osaka June is a jazz waltz, but with more modern sensibilities. The woodwind/vocal unison remind the listener of Maria Schneider’s and Guillermo Klein’s modern treatment of voice. Reeves’s wry treatment of Jobim’s Aquas de Marco feels fresh and light. L & T Suite is riddled through with references to many classical composers such as Copeland, Stravinsky and Bartok. If you love fantastic section playing and modern writing, consider picking up this album.”

Thomas Conrad, Stereophile “Within the highly specialized, invaluable, economically endangered discipline of composing and arranging for large jazz ensemble, a new badass has arrived. Reeves’s touch is always deft and light, his designs traced in fine lines. Even the complex unfolding of the most ambitious work here, the three-part “L & T Suites,” is agile. Because Reeves’s charts are such finished forms, solo opportunities are concise and pivotal. Steve Wilson, on soprano saxophone, spills from the tight control of “Osaka June” in an ecstasy of free melody. In “Last Call,” Max Seigel makes you wonder why there are not more bass trombone solos in jazz.”

Travis Rogers Jazz Times  “Portraits and Places” by Scott Reeves Jazz Orchestra is a wonder…hot compositions…sizzling band. Reeves has crafted a masterpiece for a debut album. Portraits and Places brings together an assemblage of brilliant artists…the music is exciting, even thrilling, and this is why we like big bands in the first place.”

Jack Bowers All About Jazz Reeves is a resourceful writer with...a keen ear for melody, harmony and counterpoint, his arrangements scrupulously burnished and invariably engaging.”

Jazz Music Archives Reeves is an inventive writer with a strong grasp of the components. his compositions are stylish yet accessible, his arrangements meticulously polished and consistently engaging. His choice in sidemen is stellar with a lineup that reads like a who's who of New York’s most sought-after musicians. Reeves the director of jazz studies at CCNY, certainly walks the walk, and with Portraits and Places, he shows he can also bring forth a new generation of orchestra tunes that delight, challenge and push the lineage forward. Fantastic writing, top-notch playing by all, makes this a superbly preeminent orchestra offering. A highly recommended “must” to any collection.

Ken Dryden (NY Jazz Record) “Reeves makes good use of top-shelf instrumentalist, which include more than a few leaders and in-demand session players in New York City. ”The Soulful Mr. Williams”…captures the spirit of its namesake, with a brooding undercurrent for a superb mix of horns and reeds…

Raul da Gama - Jazz da Gama The Scott Reeves Jazz Orchestra explores the newest ideas in big band performance while also acknowledging history. Hints of Ellington, Jones and Brookmeyer are woven into the fabric of explosive and tranquil appeal. These creations lead to one to suggest that they will become the foundations of 21st century repertoire; The ‘L & T Suite’ would certainly qualify for this distinction, despite it being very personal in nature, as will ‘The Soulful Mr. Williams’. The performances of the two pieces eschew any suggestion of romantic excess, instead making points through artistry of lean and vibrant persuasion. One can glean from scores of these compositions, for instance, that Scott Reeves and his art is highly prized and sophisticated. But it is another thing to hear the works performed so convincingly; how potent and vital the art of each soloist is. Such is the spirit of freshness and adventure the Scott Reeves Jazz Orchestra bring to these works that one cannot help but wonder not what their next record will sound like but how soon we will get to hear it. (

REVIEWS of "Shape Shifter" He has forged an original compositional style which All About Jazz described as "varied and substantial, ranging from hard bop and Latin oriented themes...to French impressionist influences. His arrangements are restless, full of color, and provide ample solo space...amidst variable underpinnings."

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