Deborah Silver’s Basie Rocks!, is an ambitious jazz experiment that revitalizes the classic practice of jazz artists adapting contemporary hits into their own swinging idioms. Backed by the formidable Count Basie Orchestra under Scotty Barnhart’s baton and produced by Steve Jordan, Silver’s dynamic interpretations breathe jazz life into well-loved rock standards, drawing fresh ears to the timeless allure of big-band swing.
Opening the album with the Rolling Stones’ “Paint It, Black,” Silver lures us with her expressive vocal clarity and rhythmic assurance. Arturo Sandoval’s vibrant trumpet solo complements the song with his energy over the orchestra’s Latin-infused textures. Percussionist Pedrito Martinez’s contributions give the Latin pulse, underpinning Silver’s commanding vocal range, especially compelling as Sandoval switches to a muted trumpet, enriching the final moments with distinct tonal colors between them.
The swing transformation of Peter Frampton’s classic “Baby, I Love Your Way” reveals Silver’s capacity to sculpt melodies with jazz phrasing. The Basie Orchestra’s lush brass and warm saxophone textures frame Silver’s performance beautifully. These horn voicings and rhythmic guitar strums, reminiscent of Freddie Green, create a richly emotive backdrop. Frampton’s tasteful guitar solo has expressive bends and rock meets jazz-infused tones.
“Tainted Love,” performed as a sultry duet with Kurt Elling, is a standout track, compellingly opening with minimalist finger-snaps and a steady bass groove before the full orchestra enters. Silver and Elling create a call-and-response to exploit their phrasing and vocal inflections, progressively intensifying the blues-inspired arrangement. Each vocalist trades melodic lines with increasing intricacy and bluesy embellishment, building toward a dynamic exchange in the climactic chorus. The arrangement’s counterpoint and harmonic layers culminate in a stunning arrangement, and the final chord has both singers linger on vibrant sustained color tones, encapsulating the track’s moody allure.
The reinterpretation of “Old Time Rock & Roll” features Wycliffe Gordon’s performance as a vocalist and trombonist. His muted trombone interjections color the intro. Silver and Gordon engage in a playful vocal exchange. Silver imbues the arrangement with spirited energy. Gordon’s trombone solo showcases his trademark trombone effects and stylistic flair. Herlin Riley’s rhythmically supportive drumming keeps everything feeling like old-time swing. Overall, though, the song’s approach comes as a novelty. The ensemble’s precision, Riley’s feel, and Silver’s showmanship undeniably drive the character of this track.
Among the remaining songs, “Fly Like An Eagle” stands out for its creative fusion of swing and modern jazz textures, including tones from Bill Frisell’s unique guitar work. The Police’s “Every Breath You Take,” featuring George Coleman’s outstanding saxophone, is transformed into a poignant jazz ballad, with Silver’s vocals delivering emotional depth. Additionally, “Band On The Run” and “A Hard Day’s Night” benefit from the orchestra’s wonderful performance of the well-written arrangements; each tune is given fresh rhythmic vitality and engaging harmonic treatment.
Basie Rocks! represents a vibrant celebration of jazz’s adaptability and enduring relevance. Through these arrangements and stellar musicianship, Silver and the Count Basie Orchestra bridge generations and genres, creating a swing-infused homage that feels invigorating.
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