Rich Willey, Boptism Christmas Review

by Stamish Malcuss

Rich Willey’s Boptism Christmas puts his brassy mark of jazz life into timeless Holiday traditions. Willey, a seasoned multi-instrumentalist who has made his mark across a spectrum of brass instruments, brings a lifetime of experience—from New York City’s jazz clubs to the big band tours of Maynard Ferguson and the Tommy Dorsey Orchestra—to this joyous holiday collection. His background is as rich as his name suggests, and here, he wears all his hats: composer, arranger, bandleader, and performer, infusing beloved Christmas classics with swinging rhythm and the improvisational spirit of jazz.

Opening with “Merry Gentlemen Kings,” a medley of traditional carols, Willey establishes a festive yet laid-back tone that swings as much at home in a cozy living room as it would in a jazz club. The arrangement layers in melodic lines in a way that develops in individual lines, forming the grandeur of moving harmony. Willey’s line writing allows each musician’s voice to be heard while maintaining a sense of collective harmony. Willey’s trumpet leads the charge for the solo section, showcasing his warm and resonant tone, while the band navigates the background line’s subtle shifts with precision.

“White Christmas” follows, an interpretation that stretches Irving Berlin’s iconic tune into an extended meditation, with solos from Dylan Hannan on alto sax and Alex Taub on piano that float like snowflakes in a light breeze. There’s a sense of space throughout with Willey’s writing creating a deliberate pacing that captures the jazz voicing and nostalgia embedded in the song. The rhythm section, anchored by Zack Page’s upright bass and Justin Watt’s gentle drumming, provides a Latin-influenced foundation, with syncopated rhythms and smooth, swaying grooves that evoke the Latin jazz styles of the 40s and 50s. This period, which saw musicians like Stan Getz beginning to integrate Afro-Cuban and Brazilian rhythms into their jazz, adds warmth and depth to the track, underscoring its nostalgic mood while introducing a fresh, dynamic texture.

Willey’s rendition of “Rudolph The Red-Nosed Reindeer” brings in Russ Wilson’s vocals to add a playful, crooner-esque dimension, capturing the joy of that classic with a smooth, swinging phrasing that recalls the golden age of jazz vocalists. The band embraces a relaxed, yet vibrant groove, with Ashley Pritchard’s tenor saxophone and Willey’s trumpet adding rich solos of harmonic depth and a touch of whimsy to the familiar chord changes.

“Little Drummer Boyz” continues the spirit with a percussive twist that features Wilson on drums. The track builds on a hypnotic rhythm, allowing each musician to contribute layers of texture, echoing the simplicity of the original carol while transforming it into a rich, evolving jam. Zack Page’s bass work shines here, providing both rhythmic comping and melodic flourishes that elevate the arrangement into something almost meditative—a testament to Willey’s thoughtful approach to the material.

The slower tunes, like “Have Yourself A Merry Little Christmas” and “The Christmas Song,” reveal the heart of Boptism Christmas. Willey’s writing captures the full warmth of the melodies’ structural beauty and harmonic possibilities. Each arrangement provides a lush counterpoint between the sections, and the interplay between the horns evokes a musical dialogue that speaks directly to the listener’s attention. In these interactive moments, the album reveals its structural core—a reflection on the joy and nostalgia of the jazz canon, infused with a touch of wistfulness from the Holidays.

The closing track, “O Come, O Come, Emmanuel,” is an excellently written swinging arrangement with a call-and-response pattern. Willey’s interpretation leans into jazz blues qualities to give the original melody a distinct cool jazz vibe. Page, Willey, Pritchard, and Taub deliver excellent solos. The result is a stunning hip reimagining of a traditional hymn that closes the album on a note of joy and Holiday contemplation.

Recorded at Seclusion Hill Studio in Asheville, NC, Boptism Christmas carries a warm, live feel—a sense of musicians gathering to share in the season’s spirit. The arrangements balance complexity and accessibility, highlighting the individual flair of each musician while ensuring the band’s sound remains unified and harmonious. Willey’s years of study, from his time at the Manhattan School of Music to his deep dive into jazz improvisation under greats like Rich Matteson and Bob Brookmeyer, come together in these arrangements, which blend traditional melodies with jazz harmonies in a way that feels organic and heartfelt. Boptism Christmas is an album that celebrates both the holiday season and the spirit of jazz—a perfect blend of nostalgia, joy, and improvisation.