Search - David Benoit :: Orchestral Stories

Renaissance Man

Bryan Y. Wong | 09/14/2005

(5 out of 5 stars)

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Orchestral Stories is a much awaited (well, by me, at least) showcase of orchestral compositions written by Benoit in the past few years; it contains 5 pieces, the longest being the final suite "Kobe" which runs shortly under 30 minutes. Orchestral Stories signifies a major departure from Benoit's usual smooth jazz fare, but I guess a better way to put it is that it shows us his compositional talents that we've all grown to love in a brand new light -- a light that we may not be so familiar with or only have had notions of. After all, Benoit frequently finds ways to sneak his lush arrangement prowess into his prolifically successful albums; even the arrangment of his ballad "Dad's Room" off of Professional Dreamer was recognized as being Grammy worthy. The fact is, in addition to Benoit's jazz career, he has also been an active figure in composition and arrangement for soundtracks, musicals, and straight-up classical music.



Should you be excited? As a Benoit fan, I think so! But be forewarned: upon a first listen, you may be surprised to discover Benoit's most complexly arranged pieces to date, as well as some of the most challenging and emotional music he's offered in his career. But, stripping away the surprise, you will find what you've probably heard in his music all along: gorgeous melodies, sheer beauty, rousing drama, and a respect for his pioneering musical forefathers. Along with Pat Metheny's latest offering, The Way Up, Orchestral Stories demonstrates the possibility of crossing over contemporary jazz into the arena of more involved, long form pieces.



Like his semi-suite American Landscape, Benoit's programme here lingers between themes of melancholy and hope; so be prepared for an emotional ride. Benoit's dedication to the victims of 9-11 is, I feel, a healing song plain and simple, that does so effectively by echoing the warm, sentimental overtones of his characteristic compositional style; this opening piece will probably seem the most "Benoit" sounding to listeners. The performance of the orchestra(s) on this album is immaculate as are the soloists, including Benoit on most pieces, and Eric Marienthal wailing on the soprano here. Deeply effectual, 9-11 demonstrates the consideration put into the writing here.



Something's Gotta Give is part of a soliloquy for a musical about Marilyn Monroe, undertoning her despair and sadness; this gentle piece is reminiscent of jazz tinged musicals like Porgy and Bess. By the way, Benoit does his own nod to Gershwin with his rendition of "I Loves You Porgy" on "Great Composers of Jazz." I could only imagine that he's done his reading (and listening) when it comes to this context.



Of course, we're just getting warmed up. LAXperience, an interpretation of LAX architecture and LA's people, is probably the most wholly upbeat piece on this album, featuring a dizzying array of 16th note passages against a backdrop of fierce horns and percussion, and a clustered sonic sensibility reminiscent of 19th and 20th century American composers such as Aaron Copland. Benoit's compositional acrobatics surprised me here as well, as the music takes all the fun complexity he folded into tunes like "Houston" and "Beach Trails" and amplified it about 10 times. Ladies and Gentlemen, this is some very mature composing here.



The lovely "Centaur and The Sphinx" is the first of two multi-part suites on this album, and further demonstrates Benoit's deftness as programmic soundtrack music (as well as some astoundingly virtuosic concerto piano passages by Mister D B himself). The story behind the piece is described in liner notes, a whimsical fable about a Centaur and a Sphinx falling in love. Part 4, "The Party" is notable for bringing in drums and bass and gearing up the orchestra for a really swinging time; the shift is organic and not choppy at all, and the overall effect actually makes you feel like you're at "the party", hors d'ourves and all.



The finale is the magnum opus "Kobe", a thirty minute suite illustrating a Japanese woman's perserverence through tragedy multiple times in her life, and finally gaining the will to live because of her desire to help others the way others have helped her. As you may guess, there are some truly trepidating sections, only to be juxtaposed with rousing and hopeful choruses, as Benoit pulls out all stops and cards, striking up emotion from the orchestra in a profound way. On top of that are koto and shakuhachi soloists, making this piece a blend of traditional Japanese music, Gershwin like themes, and a wide array of orchestral styles. Benoit's advanced musical understandings are subtly wrought out throughout the piece.



Gorgeous, thematic, and meaningful. That's what Orchestral Stories is. I don't expect Benoit to be coming out with another one of these soon, but let's hope that, in addition to his smooth jazz offerings, his name will figure more and more prominently into the music we will hear in movies and theater; he truly is a musical renaissance man.



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Bravo Maesto Benoit!

abunaiyo | Southern California | 10/11/2005

(5 out of 5 stars)

""Orchestral Stories" is truly a departure for Mr. Benoit, who has been known as an innovator and leader in the genre of Smooth Jazz. On this album, he displays his considerable talents as a composer, arranger, conductor as well as a pianist. The end result is a wonderfully thoughtful, creative, and memorable album that illustrates Mr. Benoit's incredible musical gifts.



The album begins with three pieces. Written in the wake of the World Trade Center disaster, "9-11" conveys a quiet strength that offers in it a sense of hope and renewal. "Something's Gotta Give" is a bit more tender and bittersweet, with a soul-searching quality. "LAXperience" creates a robust and dramatic mood which far outshines the pylons at LAX (which this piece was intended to characterize). Rather, this piece seems more appropriate to enhance the majesty of a spectacular IMAX film.



The next two compositions were recorded with the Czech National Symphony Orchestra. "The Centaur and The Sphinx", described as "a short fable", is a lovely, magical tale with a poetic grace. "The Party" is a joyful, jaunty piece midway through, and features Mr. Benoit's trademark keyboard work. The story surrounding "Kobe" is both tragic and amazing. The liner notes describe in great detail the story of Ms. Keiko Kimura who lived through the atomic bomb, the Kobe earthquake, and other personal tragedies. The music goes a long way to help tell this remarkable tale.



In "Orchestral Stories", Mr. Benoit redefines himself to his listeners by showcasing his talents and passions previously unheard on his prior albums. I hope his fans will appreciate this very special album as much as I do.



For those inclined to find out more information about this album, check out Mr. Benoit's interview on www.smoothviews.com (October 2005) and on Smooth Jazz TV at: www.smoothjazztv.com/video/DBenoit_EPKV1.wmv

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Not a typical Benoit recording

InfidelForJesus | Somewhere, USA | 08/27/2008

(2 out of 5 stars)

"This recording, though not typical David Benoit, demonstrates David Benoit's talents. Nevertheless, I was disappointed. My first disappointment came when I noticed that I'd purchased a Not-For-Resale promo CD. Next, the recordings aren't that catchy. Still, this piece may be one of those that I have to let grow on me. It has two mini-orchestral works that are multi-segment pieces, one or both of an oriental theme. The fact that I don't really remember shows that I just don't care for the work, it just doesn't inspire. The only nice work is a testimony to the fallen at Ground Zero, New York where the Twin Towers once stood before 9/11/2001. It's very touching.



If you want to risk a few bucks on a 50s sounding orchestral work, buy it. Its somewhat interesting. It is definitely NOT smooth jazz. But it just never caught me by surprise.

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