PAUL MARINARO, Mood Ellington

First let it be said of renowned and hip, ever so stylish Chicago based jazz Paul Marinaro that he’s the only cat in the genre to follow a tribute to David Bowie (The Bowie Project with the Metropolitan Jazz Octet with another, more bold, ambitious and expansive one to Duke Ellington.

In the spirit of Dave Grusin’s 1993 instrumental gem Homage to Duke and Joe Jackson’s #1 Billboard jazz album The Duke, Mood Ellington explores the vast Ellington oeuvre (including some of Billy Strayhorn’s pieces as well) with appreciation, dedication and passion and respect for the timelessness of the melodies and the heartfelt storytelling penned by some of the top lyricists of the era.

While those earlier projects limited the selections to what would fit on a single CD, Marinaro’s concept has a much wider scope, showcasing his dynamic phrasing and expertise with ballads and swing over the course of a whopping 25 tunes (over two CDs) divided into three sets, each featuring a different thematic thrust.

The opening batch of nine, highlighted by “I’m Beginning to See The Light,” “Love You Madly” and “In a Mellow Tone,” tap into Ellington’s penchant for tunes about love and beauty. Set Two, starting with the tender caress of “Mood Indigo” and including the moody ballad “Azure” and the splendidly melancholy “I Got It Bad (And That Ain’t Good),” puts the spotlight on Ellington’s darker, haunting and introspective vibes. The third (on CD 2) mixes it up a little stylistically, offering songs that Marinaro says “tend to be more realistic, slightly sardonic, adult and exotic,” taking us on the final stretch of the journey with soulfully rendered takes on the relatively obscure likes of “Take Love Easy” and “Day Dream” as well as beloved, oft-covered (but never quite this well!) spins through “Don’t Get Around Much Anymore,” “Caravan” and “In A Sentimental Mood,” arguably Ellington’s best loved tune performed here with the panache and inviting soul of a young Nat King Cole.

Another fascinating aspect of Mood Ellington – and testament to the intricate care Marinaro invested in the project – is his decision to pair a total of 13 top jazz arrangers to align with a few songs each, allowing for fresh perspectives from track to track. Among those the singer chose are Alan Broadbent, John Clayton, Ryan Cohan, Carey Deadman, Bill Cunliffe and Tom Matta. 

In addition to his core quartet of Chicago greats Tom Vaitsas (piano), Mike Allemana (guitar), John Tate (bass) and Neil Hemphill (drums), Marinaro surrounds his vocal prowess with a five piece horn/woodwind section (many of whom take memorable solos) and a 12-piece violin section. It’s beyond just better than the Grusin and Jackson tributes – it just may be the ultimate  Duke Ellington tribute album of all time.