Hip, Slick & Cool

Description

As one reviewer wrote: “From the opening downbeat of Wally Minko’s crisp, swaggering arrangement of “Hip, Slick & Cool,” it is abundantly clear that trumpeter-leader Rich Willey has captured something refreshing in contemporary jazz: a session that breathes. Culled from his delightful new release, Laid Back Vol. 1, the track does not merely sit in a groove; it inhabits it with the sort of relaxed, sophisticated assurance that defined the finest mid-century jazz record dates.

Minko’s chart is a masterclass in modern big-ensemble writing, striking a perfect equilibrium between structured sophistication and block-accented grit. Much of the credit for this pristine sonic architecture must go to producer Carey Deadman, whose sharp ears have ensured that every layer—from the delicate shimmer of the cymbals to the formidable weight of the bottom end—is perfectly transparent.

And what a bottom end it is. The foundations here are anchored by the impeccable and robust electric bass of Chuck Webb. Working in tandem with Webb to give the track its distinct, muscular character is a low-brass contingent of uncommon power: Steve Duncan handles the trombone duties with agile authority, while Willey himself doubles on tuba, providing a foundational warmth that effectively roots the entire arrangement.

The rhythm section moves with a unified, supple pulse that keeps the listener leaned-back but thoroughly engaged. Organist Paul Mutzabaugh guides the harmonic flow with a deft touch, perfectly complemented by the tasteful, propulsive guitar work of Felton Offard, and the crisp drumming of powerhouse Charles Heath. Together, they create an enviable canvas for the soloists.

The improvisational outings are uniformly top-tier. John Swana delivers a captivating turn on the Electronic Valve Instrument (EVI), an instrument too often relegated to novelty status but here treated with genuine harmonic curiosity and a fluid, trumpet-like lyricism. Willey follows with a commanding, beautifully articulated trumpet solo that reminds us of his deep fluency in the bop vernacular. Not to be outdone, Jim Gailloreto takes to the soprano saxophone, weaving a solo of pristine tonal clarity and melodic logic that avoids the shrill pitfalls of the instrument, opting instead for pure, singing swing.

In an era where “laid back” too often equates to lackadaisical, Rich Willey and his stellar cast prove that true relaxation in jazz requires the highest caliber of musicianship. “Hip, Slick & Cool” is precisely as advertised—a triumphant slice of modern jazz craftsmanship.”