Ryan Middagh Jazz Orchestra,  A Merry Bari Christmas Review

By Jeff Becker

There is something exhilarating about a big band that can deliver a consistent orchestral statement and still make every note swing. Ryan Middagh brings that balance. On A Merry Bari Christmas, his jazz orchestra has the warmth of the baritone saxophone, the muscle of a full horn section, and a rhythm section that keeps the music moving. The result is a holiday recording with plenty of personality, grounded in big-band tradition and energized by imaginative arrangements.

The baritone saxophone gives the album its distinctive voice, but Middagh makes the entire orchestra part of the action. Walking bass lines, crisp ensemble attacks, contrapuntal figures, and well-timed shout choruses establish the character of each performance. The writing has detail, yet the musicians maintain the relaxed confidence that makes a large ensemble swing.

“(If I Were Giant) Jingle Bells” makes its entrance with the full authority of the orchestra. A low-register pedal supports a bright major-triad figure before the drums launch into an uptempo swing. The saxophones carry the melody over walking bass and articulated ensemble hits. The development of brass figures and counterpoint build layers of excitement.

Pianist Pat Coil takes the first extended solo, developing his improvisation over backgrounds that keep the melody in play. Baritone saxophonist Jeff Coffin follows with agile lines that move through the changes with clarity and melodic purpose. His rhythmic accents fit naturally into the band’s pulse, bringing out the baritone’s remarkable agility and expressive range.

The shout chorus brings the sections into animated exchanges, alternating independent lines with powerful full-ensemble chords. A contrasting passage then opens into a more relaxed feel, where unified horn voicings and developing drum figures carry the performance toward its final cadence. The transitions are carefully constructed, but the sense of time remains effortless.

“I’ve Got My Love to Keep Me Warm (In Havana)” heads into Afro-Cuban territory with bold horn voicings and a piano montuno that establishes the groove. Percussion and drums interlock with syncopated bass figures, creating a lively foundation for Vinéecia Buchanan’s elegant vocal interpretation. Her clear diction and rhythmic ease provide a natural contrast to the bright orchestral setting.

The instrumental passages give the arrangement another dimension. Trumpet improvisations introduce melodic variety before Mark Douthit’s alto saxophone solo builds toward higher-register intensity. Horn backgrounds develop around his lines while the montuno maintains a recurring point of reference. A powerful shout chorus brings the entire band into focus, and the closing vamp returns to the music’s Afro-Cuban pulse.

“Santa Digs Me” shifts into a playful medium swing. Written by Jeff Coffin and Chris Walters, the original composition finds Walters delivering the melody with a relaxed jazz-blues inflection. Tightly articulated horn figures reinforce the song’s lighthearted character, setting up the instrumental exchanges that follow.

Middagh, Michael Dease, and Coffin take turns on baritone saxophone, bringing contrasting tones, rhythmic phrasing, and bebop vocabulary to the musical conversation. An unaccompanied baritone passage places those rich lower-register colors directly in the foreground. It is an entertaining moment, but also an effective demonstration of the instrument’s expressive flexibility.

Elsewhere, Jimmy Bowland contributes warm baritone tone and fluid bop phrasing to “The (Cute) Little Drummer Boy.” “Un Flambeau Jeannette Isabelle” explores contrasting orchestral textures through unified articulation and carefully controlled dynamics. On “Christmas Time Is Here (Killer Joe),” a relaxed swing setting gives Mark Douthit’s baritone improvisation room to stretch.

Across A Merry Bari Christmas, the arrangements bring the featured musicians into focus without losing the full band’s personality. The horn sections can deliver commanding statements, then pull back to support a soloist. Rhythmic figures give shape to the improvisations, while contrasting grooves prevent the program from settling into a single approach to holiday repertoire.

Middagh’s album has orchestral power and individual expression. The baritone saxophone supplies the album’s unmistakable character, but the excitement comes from hearing an entire ensemble play with such unified purpose. This is holiday jazz with imagination, personality, and a genuine feel for the Holidays.