Dave Panichi is widely regarded as one of the greatest jazz trombonists Australia has produced. Born and raised in Sydney, he moved to New York in 1981, where he lived for two decades. He performed with a multitude of notable artists while in NY including, among many others, the Buddy Rich Big Band, Toshiko Akiyoshi, Blood Sweat & Tears, Sarah Vaughan, Joe Williams, Aretha Franklin, Dave Liebman, Mulgrew Miller and Marc Copland. During his time with Buddy Rich’s band, Rich once threatened to fire him for growing a beard. The entire incident was taped and became a well-known bootleg showcasing the great drummer’s wild temper and unique turns of phrase. Dialogue from this exchange was later referenced in several episodes of “Seinfeld”.
Panichi returned to the US in November 2017 to record a DVD Paradigm of his original big band compositions and arrangements performed live with an all-star group he assembled of New York’s finest players. His latest project is a further exploration of his skills as a composer and big band arranger: The London Sessions, recorded in April 2024, showcases five of his compositions recorded with Callum Au’s Big Band, featuring many players who will be familiar to our readers…
UKJazz News: All five tracks on the album are your originals. What’s the story behind their composition?
Dave Panichi:
- 1. Gentle
Is a piece that evolved over a period of years into its present form. It started life as a simple melody over a pedal point and morphed into a different direction as world events caught the planet by surprise. You can hear this in the near repudiation of gentleness in the climax of the tenor solo. The featured soloist is the tenorist Nadim Teimoori, who plays a masterful solo. Nadim is an elite level improvisor, with a very complete skill set. I love what he brought to this album! Pianist Chris Eldred plays a sparkling commentary on the development section.
- 2. Hits & Spaces
Dedicated to Bob Brookmeyer, a huge influence as a player and a writer. This piece is my attempt to organise a piece in terms of two elements Brookmeyer believed in – accents (hits) and the gaps between accents (spaces). It is a feature for Freddie Gavita, who plays a wonderful solo. He has a beautifully warm tone on the instrument and an interesting intervallic concept while improvising.
- 3. Harry Potter
Is dedicated to the kids who love the Harry Potter books. My son Max went through a Harry Potter phase. I really enjoyed watching him develop a love of reading through that series. Freddie and Nadim return for solos. The ending features a drum solo over five ensemble chords by Mike Smith, whose playing embodies both precision and fire.
- 4. Ruby
Dedicated to a favourite ex-student, Ruby Hillsmith. The piece attempts to capture a little of her soulful spirit. I wrote it while trying to finish a piece dedicated to my son for my doctorate. Normally when you write, the piece that you’re working on is running through your head all day. For more than a month, this other melody kept intruding. I wrote it down in order to return to the other piece. Sometimes tunes choose you! Listeners seem to really respond to it. Bone solo by me.
- 5. Pyldriver
Dedicated to trumpeter Ralph Pyl, leader of the Sydney All-Star Big Band. Guitar feature by Tommy Emmerton, who plays a beautifully musical solo. Also featuring another excellent drum solo by Mike Smith. I love the fire and dynamic contrast of this performance.
UKJN: Each track seems to have at its core one or more strong, quickly memorable melodies – a refreshing contrast to many contemporary big band works that place greater emphasis on the arrangement over the tune. Would you say that is an intrinsic part of your writing process or more of a conscious choice for this project?
DP: Thanks for the compliment! I do strive for a strong theme. I’ve long said that listeners can expect three things from my music – great melodies, grooves and solos. I do believe in the importance of memorable melodies. It’s my aim to move listeners with my melodies. “Ruby”, for instance is a very simple melody. That simplicity is a plus. It allows listeners to follow the story of the piece, because being simple makes it comprehensible to the audience. Listeners definitely respond to effective melodies in my experience, to melodies that they can follow and understand.
UKJN: There must be many wonderful stories from your time working with great bandleaders and artists. But are there any lessons that stand out in particular from those experiences that you try to bring to your own band leading?
DP: In terms of lessons learnt, one is the importance of acknowledging everyone in the band. I feel so incredibly fortunate to have recorded with so many elite level musicians, including Callum’s band. As a result of this experience, I’ve learned how to intelligently challenge my musicians and bring out their best. Another lesson was writing for individual soloists, trying to design settings that highlight the talents of the people who will perform the music.
UKJN: You mentioned Callum Au, who performs your music on the album with his band (and will play it again at the launch on 6 April) – how did you two meet?
DP: I first became aware of Callum’s writing through the video of Louis Dowdeswell playing the theme from Rocky. It has an insane number of views on YouTube. Over two million, from memory. Callum wrote the chart, and it was a fantastic chart. He also won the Brussels Jazz Orchestra composition competition shortly before COVID. COVID happened and I had a lot of free time on my hands. I used the time wisely and reached out to Callum for some online lessons. We have stayed in touch since.
UKJN: What led you to record this project with him and this band in London last April?
DP: I was looking to record these tunes and given the level of excellence in this London band, I was inspired to hear just how well this band would bring my music to life. I really enjoy the excitement and energy that they bring and the conviction with which they play. The attention to detail was next level. The dynamics were the best I’ve ever received as a composer.
UKJN: Were any other players in Callum’s band known to you before the recording?
DP: Yes indeed! I’ve been aware of Mark Nightingale since the first Claire Martin album came out (I believe in the ‘90s). Being a trombonist I’m also very aware of Andy Wood. I consider him the best ballad player on the planet at the moment. Interestingly, on the album he plays bass trombone and does an incredible job. As previously mentioned, I have closely followed Louis Dowdeswell and Callum Au since the Rocky video. Pianist Chris Eldred and Tommy Emerton were also both on the Rocky video.
UKJN: How did working with them compare with your previous experiences composing for other bands?
DP: The UK in general has had a long tradition of exceptional brass players and it was next level ensemble playing. I was also enormously impressed with the rhythm section’s versatility. My Sydney and New York bands have brought out different aspects to the music, giving each band a different personality.
UKJN: You are back in London on 6 April to launch The London Sessions at Pizza Express (Soho). The concert is a double bill of your music and Callum Au’s. What can audience members expect from your half of the evening?
DP: The audience will hear the entire album plus my most famous composition “Manhattan”, recorded in 1983 by Buddy Rich and performed more than 500 times internationally. Plus the chance to hear the fire and excitement of the recording performed live.
UKJN: What’s next for you as a composer, arranger and player?
DP: I’m working on new ways to challenge players musically and excited to be expanding my musical relationships into Europe. It’s an exciting time for me!
Dave Panichi’s The London Sessions will be launched on 6 April 2025 at Pizza Express Live in Soho (booking link below). The evening will be a collaboration, The Callum Au Big Band performing a set of Callum’s music, followed by a performance of Dave’s new album.
FEATURED PERFORMERS ON THE LONDON SESSIONS
Reeds: Simon Marsh, Graeme Blevins, Martin Williams, Nadim Teimoori, Jonathan Shenoy
Trumpets: Tom Walsh, Louis Dowdeswell, James Davison, Freddie Gavita
Trombones: Mark Nightingale, Robbie Harvey, Callum Au, Andy Wood
Piano: Chris Eldred, Bass: Chris Hill, Guitar: Tommy Emmerton, Drums: Mike Smith
