Gary Smulyan                         & Frank Basile: Boss Baritones

STEEPLECHASE 31963 (RECORDED DECEMBER 2023)

 “Oh Gee,” a tune recorded by Eddie “Lockjaw” Davis and Johnny Griffin on their 1961 Blues Up & Down release, is the perfect way to kick off Boss Baritones. After baritone players Frank Basile and Gary Smulyan state the melody, they immediately start trading choruses. Basile throws the first punch with his lighter more lyrical sound. Smulyan responds with his warmer and more aggressive approach to the horn. According to Basile, the idea behind the session was to capture the sound of classic two tenor battles but with two bari players. Basile and Smulyan are up for the challenge as they spar through nine tunes, including “ Hey Lock,” “Fifty-Six” and “Land of Dreams,” which were recorded by Davis and Griffin, as well as other songs like Don Byas’ “Byas-a-Drink” and J.R. Montrose’s “Straight Ahead” that Basile arranged specifically for the session.  Basile and Smulyan start each tune intertwined with the melody and then go their separate ways demonstrating why their command of this cumbersome instrument makes them “boss baritones”. But it’s not all about the baris, pianist Steve Ash, bassist Mike Karn and drummer Aaron Seeber also have opportunities to shine throughout the release. Despite the fact the two “bosses” are 24 years apart in age (Smulyan born in 1954 and Basile in 1978) and grew up 1,200 miles away from each other (Smulyan in Bethpage, NY and Basile in Omaha, NE), the two share a common passion for playing the baritone — with passion, joy and precision. Although some might view this recording as a baritone battle, there is only on real winner — you, the listener.

BOTTOM LINE:  Within the first few minute of the opening track, “Oh Gee,” you know what to expect from Boss Baritones — a good old-fashioned blowing session featuring two of the today’s most in demand baritone saxophonists. Mentor Gary Smulyan shares the spotlight with Frank Basile on this outing of nine tunes reminiscent of classic two tenor sax battles from the early 1960s.

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Welcome to Papatamus Redux

I started reading Cadence in the early 1980s. Since that time, I have come to respect editor and jazz critic Robert Rusch for his intelligent, succinct and unbiased reviews. Over the past twenty years, it has been my pleasure to get to know Robert and his family, making frequent trips from our home in Iowa to New York’s North Country. Several years ago, I was honored to be asked to help edit Robert’s Papatamus column.
I was equally honored to be asked by his family to keep Robert’s legacy of intelligent, succinct and unbiased jazz reviews alive with Papatamus Redux. You can view older editions of Papatamus at papatamus.com.