Pedro Giraudo Big Band

After 14 years of composing and releasing albums for formations ranging in size from septet to 12-piece jazz orchestra, this is my first album for a full big band. This larger formation is especially meaningful to me, since it gives me a depth of resources for my composing and arranging. I have a broader range of possibilities for combining instruments, a wider dynamic range, and expanded ability to achieve emotional impact.

It also has made me feel the huge weight and inspiration of the American big band tradition. In a way I feel now that I’m working in the territory mastered by Duke Ellington, Sammy Nestico, Thad Jones, Gil Evans, and many others whom I deeply admire. I believe that ultimately, music should be an emotional experience, and this expanded formation, featuring some of the finest musicians I've ever worked with, has given me a richness of resources I am grateful for.

1. Muñeca (Doll) This piece features an animated ⅝ rhythm loosely based on the Venezuelan merengue and a tonal but yet very dense harmonic language. It features Ryan Keberle on trombone solo, mastering the complex harmonies and rhythm, while keeping his solo very emotional and melodic. Like "Push Gift" (track 8), this tune is largely based on motivic development. Most of the music here can be traced back to the first 5 notes of the main theme played by the saxes after the introduction.

2-5. Angela Suite This four-part suite is dedicated to my second daughter, Angela, and attempts to express the many and profound feelings that emerge when one becomes a father. It uses several traditional rhythms from Argentina. First, the cueca, then the zamba, and finally the chacarera, all in 6/8 but each with a very distinct character.

The first movement serves as an overture, which features a solo by Todd Bashore on alto sax, leading to a dramatic piano solo and cadenza by Jess Jurkovic. The zamba that follows is titled Ojos que no ven or ‘Blind eyes’ which refers to a saying that you are unable to love what you cannot see (an arguable saying, needless to say!) This tune explores both sides of the argument and features Josh Deutsch on trumpet.

After a brief chaotic moment, a clear sky emerges, which quickly turns into an emotional storm. Next, La rabiosa is a frenetic and aggressive piece that depicts a very angry woman (I refrain from explanations here!) Carl Maraghi captures the essence of this tune with his baritone sax solo. The last section, which I consider an extended and dramatic coda, combines most of the musical elements presented in the whole suite, all together at last, with a strong sense of forward motion in the rhythm as well as in the harmony. This section demonstrates with pride the virtuosity of the ensemble.