OMAR THOMAS LARGE ENSEMBLE

GRIOT SONGS

Independent Label

Omar Thomas, composer/arranger/bandleader; RHYTHM: Marc Cocheo, electric & acoustic guitar; Alex Brown, piano/Fender Rhodes; James Heazlewood-Dale, electric & acoustic bass; Mark Walker, drums/percussion; Jacob Means, mandolin; Reese Maultsby, prepared vibraphone. REEDS: Mark Zeleski, also saxophone/clarinet; Jon Bean, tenor saxophone/clarinet; Lihi Haruvi, alto & soprano saxophone/flute; Kenny Pexton, tenor saxophone/flute/clarinet; Brian Landrus, baritone saxophone/bass clarinet/flute/alto flute. TRUMPETS/FLUGELHORNS: BiJon Watson, Josh Reed, Dan Rosenthal, & Jason Palmer. TROMBONES: Will Ford, Evan Amoroso, Randy Pingrey & Chris Beaudry on bass trombone.

In the West African nations, a griot is a storyteller, a poet, a musician who passes down history through songs, poetry, and recitations.  This is the project that Thomas has envisioned for his ‘Large Ensemble’ since its inception.  First there was his album “I Am” in 2013 that entered the iTunes Jazz Charts in the #1 position.

This was followed by “We Will Know: An LGBT Civil Rights Piece in Four Movements.”   It was multi-layered and Terri Lyne Carrington called it “a thought-provoking masterpiece.”

Today, Omar Thomas is an in-demand and respected composer for wind ensembles.  In fact, in 2019 Thomas was awarded the National Bandmasters Association/Revelli Award for his wind composition “Come Sunday.”  That award showcased him as the first African American composer awarded that honor in the contest’s 42-year history.

Omar Thomas is stepping confidently onto the stage of the big band landscape and planting a modern music flag. He introduces us to five original compositions he has penned for this album. Two songs are ‘covers.’ Thomas introduces the listener to music pieces that are very personal to him including “Obeah Woman” that refers to African-based religious ceremonies, sometimes frowned upon by Anglo-Saxon religions.

Once his college band director made Thomas aware of Bob Brookmeyer, Jim McNeely, Maria Schneider and John Hollenbeck, Omar’s mind and ears were opened to a brand-new musical expansion.  You hear a lot of Bob Brookmeyer’s influence in his opening composition titled, “The Sun in September.”  It features a tender soprano saxophone introduction by Lihi Haruvi played atop a very gospel flavored piano accompaniment by Alex Brown. The soprano sax solo flies like a spirited bird above the orchestration. Jason Palmer’s trumpet solo brings magic to the arrangement.

This is a double set CD that celebrates Omar Thomas as a new voice in the development of jazz in future modern settings.  He combines his European classical training with an extensive study and development of contemporary jazz. A favorite track of mine was #4, “Nothing There” featuring an exquisite solo by Jon Bean on tenor saxophone.

The first tune on the second CD is a tribute to pianist Lyle Mays, formerly with the Pat Methney Group. Mays passed away in 2020, at 66 years old.  His music was a strong influence on the teenaged Omar Thomas. Mays actually composed this song. Thomas celebrates him by arranging it.

If I were to have one criticism of this album, it would be the teeny tiny print that makes it impossible for me to read any of the notations or credits without a huge magnifying glass.  Shame on the artistic director.  The names of songs and musical credits are as important as this wonderful music.  Use a bigger font!!!

Omar Thomas is currently an Associate Professor of Composition and Jazz Studies at the University of Texas at Austin. This music will be released during Black History Month on February 7^th.

Reviewed by Dee Dee McNeil

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