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Idan Santhaus and the Reedless Big Band Live at Garage

August 8, 2006

By Dan Bilawsky

Putting a unique stamp on the genre of “Big Band Music” has become increasingly difficult. We have the classic models of the Basie and Ellington bands and the fire and brimstone of Buddy Rich’s groups. Oliver Nelson and Charles Mingus gave the music a greater depth with their arranging skills for their respective ensembles. In recent years, Maria Schneider has made a mark on the genre by expanding the form and instrumental combinations to create a classically infused big band sound. Idan Santhaus, a talented saxophonist/flautist, has now made his mark on the genre. Santhaus, with his Reedless Big Band, whipped through an intense and joyful set of music at Garage on a recent mid-summer evening.

“Dig Dis”, a twelve bar blues, was the set opener. The piano, bass and drums began the piece and the brass section joined in with tight punctuation and short, high-pitched bursts behind Santhaus’ saxophone solos. While Santhaus was the only reed player on the stage, the clever arrangements did not want for a saxophone section during the proceedings. The highlight of this tune was when Santhaus and different members of the band traded two measure phrases across the twelve bar form of the piece.

The second tune of the evening was built on a relaxing Latin groove. Santhaus, and the ensemble in general, had a much looser feel on this piece. The leader seduced the listeners with saxophone playing that glided over the muted brass section. “Mr. Nelson” began with the melodic material passing between different sections of the band. Baron Lewis Jr. contributed a terrific trumpet solo, and the piece ended when a chaotic hurricane of notes shifted into a single, suspense-filled chord. After a highly charged rendition of Horace Silver’s “Nica’s Dream”, the band slowed things down with their version of “If You Could See Me Now”. This was the only ballad-esque tune in the set and was the strongest saxophone vehicle for Santhaus.

“I Have A Bad Feeling About This”, written by trombonist Dave White, was propelled by a snappy bass line and some first class solo work by the composer. White put his big sound, strong technique and solid intonation to good use on all of the material throughout the performance. A medium-slow piece, entitled “For You”, focused on the piano trio and Santhaus while leaving lots of room for the sound of the muted brass players to sweep through the room. The most exciting tune, and the closer of the set, was “A Night In Tunisia”. This particular arrangement, which exploded with energy, repeatedly bounced between the original feel of the song and a double-time feel. The short accented bursts of brass threatened to blow the room apart! Santhaus, who had already demonstrated his saxophone talents on the prior tunes, could very well become a major musical force on flute. Dexterity, range, creativity, speed and stylish sophistication seemed to spring forth from the flute as Santhaus shot rapid-fire sixteenth notes through the room. This tour-deforce was the perfect ending to a well-balanced and highly enjoyable set of music.

Jazz Improv's New York Jazz Guide & Directory 

September 2006

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