Erick Storckman: Press

“Jazz trombonist/composer Erick Storckman is the kind of artist who can fall too easily between the cracks in a 21st century musical landscape divided up between Wynton Marsalis-school classicists and unrelentingly avant-garde free jazzers. SCRAPBOOK stands as proof that contemporary jazz composition is far from a lost art. Storckman is equally adept at penning a spare, elegant ballad (“The Golden Boy”), a churning, bluesy burner (“Purify”), or a hard-bopper (“This Thing Called Madness”).”

“It doesn’t hurt that Storckman surrounds himself with a stellar group of New York jazzers. Trumpeter Rob Henke’s light-hearted fluidity, sax man Mary Fogel’s marriage of intellect and burning passion”…aid his cause greatly. “ SCRAPBOOK provides a candid snapshot of the artist in motion, standing still just long enough for you to catch a glimpse of his muse at work.”

“His trombone playing is impressive as is his mellifluous tone.” “(Scrapbook) makes an emotional connection on a personally revealing level, and has a dash of hot sauce put in for good measure.”

“Storckman’s tone and control on the trombone are delicious, smooth and velvety…... His lyric style on the ballad “Barbara” is particularly beautiful, somewhat reminiscent of Urbie Green, while the plunger-mute solos on the light-hearted shuffle “Barefoot Dance” fairly brim with good humor. His compositional prowess is impressive; his tunes have grace, balance and flow, and his melodies are frequently hummable……(Scrapbook shows) not only promise, but also a considerable amount of delivery. I’m looking forward to hearing more of Erick Storckman, especially his horn, composing and arranging.”

“Breathtaking balladry”

The last Wednesday of the month at Trumpets Jazz Club in Montclair has belonged to Diane Moser's Composers Big Band for some time now. This Wednesday, however, the generous Ms. Moser gave that night over to one of her star trombonists and composers, Erick Storckman, who led his bravura septet.

For the handful of listeners there for the first set -- a disappointing turnout, as this band, like Moser's CBB, deserves to be widely heard -- Storckman laid out a rich banquet of modern mainstream to bordering-abstract sounds, stimulating his musicians and the audience.

The band was comprised of NYC/NJ jazz scene stalwarts: Storckman, trumpeter Rob Henke, tenor and soprano saxophonist Marty Fogel, alto saxophonist Tom Colao, pianist Mitch Schechter, bassist Mike Carino, and drummer Scott Neumann. Also along was guest guitarist Josh Rubin. Variously, these fellows have played with such notables as Moser, the Vanguard Jazz Orchestra, Papo Vasquez, Ray Barretto, and the Spirit of Life Ensemble.

Storckman, whose website is erickstorckman.com, is a fine composer and arranger who can write compelling themes and rich textures. When the writing is dense, his ensemble sounds like a little big band. When the writing is leaner, the septet's more like a combo where soloists stand front and center.

Most of the material was drawn from his two CDs: 2000's "Scrapbook" and 2006's "Chuckle Factor" (both Twin Rivers Records). The opening "Purify" -- a blues theme that shifted between semi-abstraction and solid swinging -- found the horns offering call-and-response phrases at points. It gave all the members a couple of solo choruses to loosen up.

Then came the engaging Latin number, "Sy Kosis," with a theme of smooth statements followed by punchy remarks. Here, and throughout the set, Schechter, Carino, and Neumann underpinned the piece with vital rhythm, the drummer especially boisterous.

Henke's improvisation, bolstered by occasional horn shouts, showcased his buzzy-to-clarion tone, his way of making small statements say a lot, and his exciting manner of starting a phrase in the low range and ripping fast to a high, ringing note. Subsequently, Storckman, Colao and Fogel all exposed their rich sounds and capacity for meaty, percolating remarks, and Rubin scored with charged ideas delivered via a wiry, pliable tone.

The leader was spotlighted on the lush ballad, "The Golden Boy," which shifted tempos enticingly. At points, his big, round notes hung in the air like glowing lanterns. Schechter's riveting slot boasted chords played at a whisper.

"Barefoot Dance" was a spirited, funky-leaning number with a bold Neumann beat and all the horns in for the theme, with the leader adding humorous, vocal-like sentiments via a cup mute. Fogel and Henke soloed simultaneously, sometimes weaving their lines together, creating waves of sound elsewhere. Colao scored with bluesy turns and flowing bursts, and Rubin added funky clusters over band riffs.

Also heard were the spiffy jazz waltz, "One for Jeano," and the zipping-right-along, spunky-themed "Chuckle Factor."

Upcoming at Trumpets, 6 Depot Sq., Montclair, is flutist Elise Wood and the John Hicks Legacy Band with Craig Handy and Roni Ben-Hur, tonight, 8:30 p.m.; guitarist Carol Hamersma, with Tim Givens and Nick Scheuble, tomorrow, 7:30 p.m.; ensembles from New Jersey City University, Monday, 7:30 p.m.; singer Marlene VerPlanck, Friday, 8:30 p.m.; and singer Judy Niemack, Mar. 8, 7:30 p.m. Call (973) 744-2600 or visit trumpetsjazz.com.

Zan Stewart is the Star-Ledger's jazz writer. He is also a musician who occasionally performs at local clubs. He may be reached at zstewart@starledger.com or at (973) 324-9930.