Kenny Wheeler, Some Days Are Better: The Lost Scores Review

by Icrom Bigrad

Some Days Are Better: The Lost Scores is a chance to hear Kenny Wheeler’s orchestral imagination from a little-documented stretch of his career. With two ensembles, the Royal Academy of Music Jazz Orchestra and the Frost Jazz Orchestra, joining forces at Abbey Road, the album delivers Wheeler’s writing in high definition, showing his fascination with harmonic richness, sectional counterpoint, and big-band textures.

“Smatta” buzzes with ensemble precision. The opening statements immediately establish Wheeler’s penchant for layering with the saxes, brass, and rhythm section weaving in independent but interlocking figures. The ensemble transitions are seamless, demonstrating Wheeler’s gift for structural pacing.

The eleven-minute “Some Days Are Better Suite” acts as a survey of Wheeler’s ensemble vocabulary. Vocal integration with brass and woodwinds highlights the coloristic focus of his orchestration. The score alternates between tightly harmonized tuttis and open, almost chamber-like textures. The ensemble’s dynamic control allows space for different sections to emerge, underscoring Wheeler’s ability to write big without losing intimacy.

On “Dallab,” the brass voicings come to life with interesting voicings. Harmonized saxophone lines ride over steady rhythm section underpinnings, with the writing showing Wheeler’s knack for giving warmth to large-group phrasing. The building of the section’s intensities underscores Wheeler’s sensitivity to balance.

“Sweet Yakity Waltz” is Wheeler using waltz time to emphasize vertical harmony, letting the sections speak in block-like phrases that build momentum. The alternating lightness and density of the ensemble passages illustrate his capacity to stretch formal expectations within a jazz orchestra. Norma Winstone’s singing brings a new perspective and orchestral color. Chris Potter’s tenor saxophone solo is fantastic as usual.

“D.G.S.” highlights sectional interplay in both written and freely improvised settings. Brass riffs and reed lines chase one another, contrasting rhythmic figures that create propulsion between the rhythm section and horns. The ensemble layering recalls Wheeler’s post-bop influences but broadened into a large jazz ensemble scope.

With “Song for Someone,” the orchestration shifts to the moody colors of a jazz ballad. The ensemble frames the ethereal, wordless singing of Maria Quintanilla. Her tone blends with the winds and brass in carefully staggered phrases. The colors of the melody are striking and are an example of Wheeler’s dramatic use of harmonic color and layering in large settings.

“C.P.E.P.” leans into rhythmic drive after a slow, building introduction featuring Sam Keedy’s trombone. Set to an up-tempo swing, the brass figures anchor the texture while saxophones provide angular commentary, demonstrating Wheeler’s balance of register and timbre. The ensemble punches are taut and well-articulated, creating a controlled intensity.

“Who’s Standing in My Corner” demonstrates Wheeler’s melodic sensibility. The full ensemble builds the theme in stages, layering choirs of brass and reeds. The harmonic progression is delivered with clarity, showing Wheeler’s ability to make large forces sing with lyric directness.

“Introduction To No Particular Song” has multiple feel changes, beginning with a brass ensemble palette before expanding outward into a ballad feel. The structure allows Wheeler’s gradual textural growth to shine, with the orchestration giving each section a moment before recombining. The waltz time sections also give a nice variety to the flow of the album. Ananda Brandão’s drum solo is delightful.

“Some Doors Are Better Open” emphasizes flow between brass choirs and reeds in an up-tempo swing setting. The writing highlights Wheeler’s fondness for conversational textures. The ensemble feels constantly in motion, colors trading off across the orchestra with fluidity. The chemistry between the members forming this large ensemble can be felt and heard.

Closing with “Everybody Knows It,” Wheeler brings the full ensemble forces together. Full buzzing harmonies crest and recede, with the band handling his layered counterpoint and shifting meters with clarity and attention to maintaining the feel. It’s a fitting summation, showcasing the power and subtlety of Wheeler’s orchestral design.

Taken as a whole, Some Days Are Better: The Lost Scores illustrates Wheeler’s genius for melody and harmony. His mastery of writing for large ensembles makes this dual-orchestra format engaging with its heft and depth. The recording at Abbey Road captures every shade, whispered passages, and full-band surges. This is Wheeler in transition, bold, experimental, and fully engaged with the possibilities of the jazz orchestra.