Composer | Arranger | Conductor | Woodwinds
http://www.jsojazzscene.org/CDReviews/201107_CDReviews.htm
Here’s a New York-based big band led by Toronto-born Jamieson. Most of the album consists of his original writing for this ensemble, and it is varied in tempo, mood and style. I liked the linear feeling of “Song for Anna” and the “rush” of “Sudden Appearance.” The originals are surrounded by the opener, a very dissonant “Alone Together,” and the closer, a richly harmonic version
of “Smile.”
http://www.popmatters.com/pm/review/142293-daniel-jamiesons-danjam-orchestra-sudden-appearance/
Click here to read John Garratt’s review of our CD!
https://www.facebook.com/event.php?eid=129349510480956
23rd Annual Concert- featuring 9 new works by:
Glenn Mills, Florian Höfner, Jim Saltzman, Chris Zuar, Dan Jamieson, Darren Litzie, Matt Steckler, Alexis Cuadrado, Nathan Smtih.
Performed by the New York Jazz Orchestra:
Jim McNeely, Mike Holober – musical directors
Marc Phaneuf, Steve Kenyon, Dan Willis, Rob Middleton, Alden Banta – woodwinds
Jeff Wilfore, John Eckert, Jim O’Connor, Steve Smyth – trumpets
Tim Sessions, Mark Patterson, JC Sanford, Mike Christianson – trombones
Pete McCann – guitar
Deanna Witkowski – piano
Evan Gregor – bass
Bryson Kern – drums
Friday, July 1 · 7:30pm – 10:30pm
Christ & St Stephen’s Episcopal Church
120 69th St
New York, NY
Check out Bill Milkowski’s complementary review of our CD!
http://www.oa2records.com/oa2/reviews/review.php?ReviewID=377
From a radical reinvention of “Alone Together” to the lushly orchestrated “Calming” and the burnings Liebman protege Daniel Jamieson shows great promise as an arranger-composer-bandleader on his ambitious debut. Jamieson’s company shines as well: Veteran drummer John Riley underscores solos by bassist Justin Gray and guitarist Nils Weinhold on “Calming” with supple brushwork, and then fuels the jauntily swinging “Crunchy Peanut Butter” with an infectious Jo Jones-style hi-hat beat. Anna Webber is featured on flute on the evocative “Song for Anna” before blowing robust, facile tenor saxophone lines on the darkly beautiful “Ballad for Hope.” Jamieson makes his lone playing appearance on a richly re-harmonized take on Charlie Chaplin’s “Smile,” blowing serpentine alto sax lines around the familiar melody.