That’s My Little Girl

Description

As one reviewer wrote: “In an era where much of the contemporary jazz landscape is divided between the overly cerebral and the commercially sterile, trumpeter Rich Willey’s latest offering arrives as a welcome tonic. The standout track, “That’s My Little Girl,” from his Laid Back Vol. 1 collection, is a case in point. It is a buoyant, expertly engineered excursion that marries the sophisticated architecture of modern big-band writing with the irresistible, sunlit propulsion of a classic samba feel.

Wally Minko’s arrangement is a masterclass in tonal balance and texture. A particularly delightful touch is the integration of a human voice gliding in unison with the horns during the statements of the main theme—a subtle, wordless vocal color that lends the melody a warm, deeply personal resonance. Much of the credit for the session’s immaculate sonic clarity and cohesive, breezy feel must go to producer Carey Deadman, who has captured the natural warmth of this formidable Chicago-based ensemble without sacrificing an ounce of its rhythmic drive.

The performance is anchored by an exceptionally fluid rhythm section that understands the nuances of the South American pulse. Drummer Charles Heath and percussionist Rich Trelease lock into a sparkling, multi-layered samba groove that floats rather than pounds. Bassist Chuck Webb provides a supple, grounding counterpoint, while guitarist Felton Offard injects beautiful acoustic textures that give the piece its essential, festive character.

The solo sequence unfolds with impeccable narrative logic, building beautifully toward the track’s compositional climax. Taking the first turn, the leader delivers a statement that sparkles with melodic clarity. His tone is bright and assured, executing elegant lines that display a mature, post-bop sensibility while remaining delightfully accessible. Jim Gailloreto follows with a contrasting voice that is pure whimsy and charm. Avoiding the nasal pitfalls of the instrument, his soprano work is airborne, nimble, and laced with a lyrical grace that perfectly mirrors the song’s title. Pianist Paul Mutzabaugh bats clean-up, grounding the improvisation with a beautifully articulated, rhythmically sophisticated solo. His touch is light but firm, dancing over the chord changes with a pristine harmonic intelligence.

Following Mutzabaugh’s piano solo, Minko brilliantly cuts the rhythm section completely away for an unexpected, *a cappella* horn interlude. Left exposed, the brass and reeds execute a tightly knit, harmonically rich passage with flawless intonation—a breathless moment of pure acoustic sophistication that sets the stage perfectly for the final, vocal-tinted statement of the melody.

Ultimately, “That’s My Little Girl” demonstrates that jazz can be thoroughly sophisticated without losing its sense of joy. It is a high-grade, feel-good performance that swings with a sophistication that should satisfy the purist while welcoming the casual listener.”