{"id":4853,"date":"2013-06-23T14:32:55","date_gmt":"2013-06-23T21:32:55","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=4853"},"modified":"2013-06-23T14:32:55","modified_gmt":"2013-06-23T21:32:55","slug":"medium-but-well-done-groenewald-edition","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/06\/medium-but-well-done-groenewald-edition\/","title":{"rendered":"Medium But Well Done, Groenewald Edition"},"content":{"rendered":"<p>Five years ago, I started what I intended to be a series of <em>Rifftides<\/em> pieces about little big bands. This was the rationale:<\/p>\n<blockquote><p>Six to eleven pieces allow arrangers freedom that the conventions and sheer size of sixteen-piece bands tend to limit. Medium-sized groups have been important since the beginnings of jazz.<\/p><\/blockquote>\n<p>For reasons I don\u00e2\u20ac\u2122t remember&#151;sloth, possibly&#151;the series stopped after <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2008\/03\/medium_but_well_done.html\"target=\"_blank\">this installment<\/a> and <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2008\/04\/medium_bul_well_done_part_2.html\"target=\"_blank\">this one<\/a>. A new ten-piece band has reignited the idea.<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/06\/Oliver-Groenewald.jpg\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2013\/06\/Oliver-Groenewald.jpg\" alt=\"Oliver Groenewald\" width=\"150\" height=\"203\" class=\"alignleft size-full wp-image-4854\" \/><\/a>The tentet\u00e2\u20ac\u2122s leader is Oliver Groenewald, a trumpeter, composer and arranger educated at <em>Hochschule f\u00c3\u00bcr Musik<\/em> in Detmold, Germany. Groenewald studied trumpet with Art Farmer in Austria and Willie Thomas in the US, composition and arranging in the US with Chuck Israels. He has written extensively for World Brass, Canadian Brass and other ensembles. He now lives on Orcas Island in Puget Sound near Seattle. He is rehearsing a band of Pacific Northwest stalwarts that includes stars of the Seattle Repertory Jazz Orchestra. Here, they run through Groenewald\u00e2\u20ac\u2122s arrangement of \u00e2\u20ac\u0153You Don\u00e2\u20ac\u2122t Know What Love Is.\u00e2\u20ac\u009d Brad Allison has the flugelhorn lead. Jay Thomas is the alto saxophone soloist. The video closes with names of all the players. <\/p>\n<p>\n<div style=\"text-align: center;\"> <iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"http:\/\/www.youtube.com\/embed\/2azbT139tYQ?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n<p><p>There was a sort of followup to the Medium But Well Done venture. To see it, <a href=\"http:\/\/www.artsjournal.com\/rifftides\/2008\/12\/three_octets.html\"target=\"_blank\">go here<\/a>. If you would like more on the topic, let me know, and we\u00e2\u20ac\u2122ll put the slothful <em>Rifftides<\/em> staff to work on it. To send an email message, click on the word \u00e2\u20ac\u0153Contact\u00e2\u20ac\u009d in the blue band at the top of the page, or submit a comment using the \u00e2\u20ac\u0153Speak Your Mind\u00e2\u20ac\u009d box at the end of the post.<\/p>\n<p>Just for fun, here&#8217;s World Brass with a witty Groenewald arrangement of &#8220;The Flight of the Bumblebee,&#8221; of all things. Let&#8217;s hear it for the drummer. <\/p>\n<p>\n<div style=\"text-align: center;\"><iframe loading=\"lazy\" width=\"440\" height=\"355\" src=\"http:\/\/www.youtube.com\/embed\/uMQK6QZabbA?rel=0\" frameborder=\"0\" allowfullscreen><\/iframe><\/iframe><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Five years ago, I started what I intended to be a series of Rifftides pieces about little big bands. This was the rationale: Six to eleven pieces allow arrangers freedom that the conventions and sheer size of sixteen-piece bands tend to limit. Medium-sized groups have been important since the beginnings of jazz. For reasons I [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-4853","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4853","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=4853"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/4853\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=4853"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=4853"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=4853"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}