Frank Ambrosetti & Strings: Sweet Caress

Swiss flugelhornist/trumpeter Franco Ambrosetti teamed with pianist/arranger Alan Broadbent in 2022 for the exquisite Nora (Enja Records), a top-shelf orchestral jazz album with a core group of mainstream all-stars. Listening back to the history of the 'jazz with strings' sub-genre—the shot across the bow, Charlie Parker With Strings (Verve, 1950), followed in short order by Chet Baker with Strings (Columbia, 1953), Clifford Brown with Strings (Verve, 1955)—Nora could be considered a leap forward in terms of the richness of the arrangements, the subtle intricacies of the rhythm section and the pure polish and rich beauty of Ambrosetti's playing on flugelhorn.

But the growth heard in Nora in relationship to Parker and the other early with strings forays came about via an incremental evolution. A good percentage of top-line jazz artists have felt the gravitational pull of the orchestra or a string section: Saxophonist Stan Getz with Focus (Verve, 1961); alto saxophonist Paul Desmond with Desmond Blue (RCA/Victor, 1962); saxophonist Art Pepper with Winter Moon (Galaxy, 1981); and trumpeter Wallace Roney's overlooked masterpiece Misteriosos (Warner Brothers, 1994). These examples are, of course, just a dusting off of the surface of jazz artists' endeavors into orchestral efforts.

Ambrosetti and Alan Broadbent—who arranged the orchestrations on Nora—were so pleased with their initial pairing that they decided to do it again. The result is the sublime jazz with strings outing Sweet Caress, two words that perfectly describe the music. There; that could serve as the review of the sound: sweet caress.

As it was with Nora, this is a ballad affair, often richly poignant, sometimes melancholy, brimming with the heartfelt emotion only a seasoned veteran—of life and music—can express. Mal Waldron's classic "Soul Eyes" opens with a dark orchestration that leads into Ambrosetti's lugubriously lovely articulation of the melody. This is followed up by "Portrait Of Jennie," from the 1948 movie of the same name, with the orchestra painting a lilting, almost diaphanous backdrop. They also cover Charlie Haden's "Nightfall," Broadbent's composition "Old Friends" and four Ambrosetti originals, including the gorgeous title tune.

On repeated spins of the disc, the difference between Nora and Sweet Caress crystallizes: the orchestra and the arrangements are just a hint more assertive, and the soloists from the jazz core—guitarist John Scofield; pianist Broadbent as well as concertmaster/violinist Sara Caswell—are given just a bit more freedom. They use it well.

Ambrosetti is—at the time of the release of Sweet Caress—82 years old. If what he has felt and experienced in a long life comes out of his horn (it does), it has been a life well lived. This is a spell-casting reverie recalling special times and special loves. And Broadbent has helped translate Ambrosetti's loves and passions for what he (Broadbent) calls "the most beautiful thing on the face of the planet," the orchestra.

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