Ryan Middagh Jazz Orchestra, Tenor Madness Review

by Icrom Bigrad

The Nashville jazz scene adds another big band jewel to its crown with the January 10, 2025, release of Tenor Madness on Ear Up Records. Led by baritone saxophonist, composer, and arranger Ryan Middagh, the Ryan Middagh Jazz Orchestra comprises a cadre of top-tier musicians whose collective presence is unmistakable from the very first bar. By invoking the same title as Sonny Rollins’ iconic 1956 album, Tenor Madness firmly situates itself in the lineage of fifties jazz while propelling the big band tradition into the present.

From the opening notes of “Wiley Roots,” the listener is immersed in a New Orleans shuffle that lays the groundwork for a stirring saxophone exchange between Jeff Coffin and Don Aliquo. The band’s deft interplay brings a spirited energy to the composition, underscoring Middagh’s gift for writing nuanced horn lines that balance harmonic voicings with polished ensemble precision. Such moments confirm Middagh’s stated goal for this project: to spotlight each player’s individuality within the context of the larger arrangement.

A key highlight arrives with the ensemble’s rendering of “Tenor Madness,” the album’s title track. Here, Jeff Coffin and Joel Frahm demonstrate the fervor of a classic tenor battle, with each soloist building on and answering the other’s melodic ideas. Amidst this robust exchange, Middagh’s arrangement peppers in bold counterpoint punctuation and shifting ensemble hits and textures, a nod to jazz’s swing-era roots infused with a contemporary spark. It’s a vibrant performance that takes the 50s jazz tradition and today’s linear expressions and expresses them with style. The shout chorus is excellently written.

Throughout Tenor Madness, Middagh’s skillful orchestrations pay homage to the great big band writers, from Gil Evans rock exploration to the vibrant swing of Thad Jones/Mel Lewis, and the collaborative spirit of combining different eras of jazz like Charles Mingus. The brass and woodwinds alternate between brisk unison lines and dazzling counterpoint, imbuing the record with a sleek synergy. The ever-evolving rhythm section—Lindsey Miller (guitar), Pat Coil (piano), Jake Jezioro (bass), and Marc Widenhofer (drums)—anchors each track with a driving energy that adapts fluidly to ballads, blues, and rock-tinged explorations.

The album unfolds with a curated sense of journey. Tracks like “Cry Me A River,” featuring vocalist Jenna McLean, offer a soulful expression of the melody as the horns engage in a call-and-response that amplifies McLean’s confident, blues-rich phrasing. The sly interplay of “Wired” (penned by alto saxophonist Alex Graham) hints at rock influences melded with a post-bop vocabulary. Layered harmonies and shimmering chords create a modern hue that perfectly complements the robust saxophone section.

Although Tenor Madness takes obvious cues from mid-century bebop and swing, Middagh embraces a broader spectrum of influences by weaving in post-bop and even touches of rock. The result is an album that honors tradition while affirming Nashville’s place in forward-thinking jazz. In an era when the city is best known for country and rock, Middagh’s ensemble underscores the area’s capacity for jazz innovation by performers shaped by today’s jazz landscape.

Tenor Madness succeeds as a love letter to the saxophone and a testament to the tight-knit, creative synergy of the Ryan Middagh Jazz Orchestra. Each track reflects Middagh’s deep respect for the personalities within his band—a hallmark of legendary jazz writers who wrote to the strengths of their musicians. With virtuosic solos, intricate ensemble writing, and an unmistakable vitality that courses through every track, Tenor Madness invites repeated listening and anyone seeking to experience the timeless spirit of jazz in a fresh new light.