Sometimes albums linger in my to-be-reviewed stack long enough that upon rediscovering them, I scratch my head and wonder why I saved them in the first place. This is especially true when it’s something far outside my normal range of interest, like, say, an independent release by a jazz trombonist I’ve never heard of.
Fortunately, within two minutes of slapping this disc in the player it all came back to me. Sure, I was probably intrigued by the fact Don Immel’s credentials include lead trombonist in two different major symphony orchestras, plus leading his own jazz combos, playing in rock, ska and classical groups, and playing on Hollywood film and video game soundtracks (now that’s range). And I was definitely curious to hear his reimagined jazz version of Led Zeppelin’s “Whole Lotta Love.” But those were just the visual teasers; what sold me was hearing Immel’s gorgeous tone and snazzy, uber-hip arrangements of these tracks.
Long Way Home
features a nice mix of instrumental and vocal tracks. That in itself is an accomplishment; in my experience most mixed-use jazz discs feel like they would have been better off going one direction or the other, vocals or no vocals. But here instrumentals like the soul-jazz-fusion-y opening title track and the classy, love-story-soundtrack-ish ”Still in Love” rub shoulders comfortably with vocal numbers like the Flamenco-flavored ”Fool’s Full Quiver,” featuring a spot-on lead vocal from Jake Bergiven.
Not to mention the aforementioned reimagination of “Whole Lotta Love,” which does not disappoint, even if the track is unrecognizable at first. Immel turns the infamous hard rock powderkeg into a sultry jazz ballad, with snappy trombone and Hammond backing guest Chandry Moore’s suitably seductive vocals. Wowza.
The highlights keep on coming, as just about every track here has something of interest to offer. “Lemonade Alchemy” starts out as gentle funk before segueing smoothly into upbeat fusion somewhere past midway, crashing cymbals forming a vibrant backdrop for Immel’s warm phrases. The simmering “Leaving Paradise” features Chris Spencer on acoustic guitar trading lines and solos with Immel in a sunny melodic dance.
The final third of the album finds Immel experimenting a bit with mostly fascinating results. “Dualife,” arranged by keyboard player Andrew Nelson, features a rather somber opening that leads into a fairly psychedelic midsection with the basic jazz framework augmented by a variety of synth effects and what sounds in places like backwards guitar. It’s odd at times but never less than interesting. “Charm Offensive” follows on its heels with a similarly abstract, ambient opening before moving into an airy, spacy groove that builds and morphs and jams sweetly.
Of the closing trio, only “Last Dance” disappoints, a rather subdued number that counterpoints Immel and vibes man Ben Thomas with guest cellist Walter Gray in an arrangement that’s intriguing but feels like it never quite pays off.
Long Way Home is an eye-opening album showing tremendous range and talent. Immel’s tone is wonderful throughout, warm and rich and full of an understated confidence that lends each arrangement an air of genuine cool. It’s clear to me now why I hung onto this one: this is some fine, fine jazz.