Concert Review: Keith Pray’s Big Soul Ensemble @ The Cock ‘n Bull, 05/20/2023

Swingin’ before the gig even started, Keith Pray’s Big Soul Ensemble launched a new monthly residency Tuesday at the Cock ’N’ Bull in Galway.

As bandmates set up in the patio band shed, those ready early didn’t wait. Pianist David Gleason and bassist Lou Smaldone eased into “Lullabye of Birdland,” noodling tentatively before the song formed. Horn players caught the vibe and joined it, or kept noodling their warm-ups.

The KPBSE began at Albany’s Lark Tavern, moved to the Van Dyck in Schenectady – since closed, purchased and re-branded as Stella Pasta Bar – and now has a new home, after a one-off show there last summer.

Tuesday, saxophonist and leader Keith Pray gave the downbeat and a simmering, innocent-sounding vamp began, soon punching up dramatically as “Meetin’ and Greetin’.” The rhythm section walked quietly into the tune, five saxes going mellow up top A few bars in, five trumpets detonated a hair-raising blast. Delightful to regulars who know it’s coming, this ambush feels positively scary to newcomers.

It was more than a prank, though; the players grooved it for real. Tenor saxophonist Mike Newman took the main solo in a dialog with everybody, trumpeter Chris Pasin also played a conversation with the whole crew.

Alan Ferber’s “The Compass” followed, a complex wave pattern Brian Patneaude’s tenor sax surfed gracefully. Pray took over next, turning the riff inside out with alto runs as an all-in ensemble rush faded into a piano (David Gleason), bass (Lou Smaldone) and drums (Bob Halek) trio before valve trombonist Tyler Giroux blew a fine solo to close.

In their first full gig in months, perhaps their first since last summer, they were crisp and commanding anyway. With everybody on board, it was a strong, smooth train.

Yet, Pray also called audibles throughout the 84-minute set, changing the set list, keys and solo assignments. This showed how fresh the band could feel, despite the need for precision playing.

Billy Strayhorn’s “Upper Manhattan Medical Group” – a cheerful number despite its maybe-morbid title – had an antique swing feel, a low-pressure vamp that David Gleason’s piano first commented on then escaped altogether, then Pray’s alto, then the whole sax section in strong statements before Steve Lambert’s trumpet took it home.

Re-setting the flight plan for the first time, Pray called trumpeter Dylan Canterbury’s new “Starsign.” Sign.” Smaldone’s bass set a bossa beat, low saxes supported it before trombones polished it up. Meanwhile, Canterbury’s flugelhorn led the way, up top, before the rhythm section set a subdued bridge under Patneaude;s tenor tale.

Patneaude also owned Chris Potter’s “All In All,” a slower, elegiac journey that came next and built to a ferocious climax as the trumpets soared sky-high.

More risky business: Pray introduced his own new “Turn the Corner” with some hesitation. No worries, though; this episodic funk romp had polish and punch that felt unanimous. At the end, he said, with relief, “We survived it.” Too modest, by half.

Faster but just as funky was an updated “One Mint Julep” with wordless group vocals dropped in for humorous effect and a Dave Fisk alto solo that cooked so well that Pray cued him to keep going.

One of the few ragged moments came in the intro to “The Other Funk,” aptly titled as one funky number followed another. They instantly smoothed the groove on this new Pray tune as his alto led a tempo shift into a seething, energetic exposition.

Pray then called an audible to sub in ‘Trane’s “After the Rain” with piano, bass and drums cueing a brassy fanfare, Gleason going strong and sweet. Patneaude’s tenor solo was rich in recognizable ‘Trane-isms that took the tune from contained earth orbit up over the moon, but it was all Patneaude, too. Mike Newman came in at the coda.

Kenny Garrett’s “Qing Wen” set up stereotypical Asian sonorities with mellow saxes and muted trumpets; then baritone saxophonist Kaitlyn Fay made the most of her only solo of the night. The whole band simmered up behind her, with Pray leading the recap.

Like “Qing Wen,” Sonny Phillips’s “Goin’ Home” – Pray urged, “Don’t do that yet!” – rocked and swung. Smaldone’s walking bass line led everybody into this up, fun number with Travis Malone’s trombone exploding atop a muscular groove. Late in this energetic number, Malone ping-ponged the lead with massed trumpets in a happy conversation.

Pray then featured Malone again in his “Down at the Lark,” a New Orleans-y tribute to the band’s earliest days at the Lark Tavern. Relaxed, stately at first, it did that Second Line upshift that makes funeral street parades more fun coming back from the cemetery than going out. Again, Malone and the trumpets knocked the riff back and forth, hot and joyful.

Pray bookended this first-of-a-series show with his own tunes that held up well with more familiar covers. His arrangements challenged the soloists, as usual, bringing in larger forces around them. Anybody who wasn’t in full flight would have been swept away by this incoming tide, but everybody was ready, holding their own.

Also, as usual, the rhythm section locomotive’d the whole thing, all full-throttle push on the uptempo numbers but quietly nudging the ballads. The band showed off the honed ensemble grace that makes them such overwhelming fun when everybody is blowing. They make an eloquent scramble, flowing through tunes old and new. As for the newest, seeing Pray trust his crew engages everybody on both sides of the stage. He announced they’d never played his “Turn the Corner” – he’d just distributed the music for it that night, before the show. Everybody was up there with him, happily without a net, united in their eloquent scramble.

Keith Pray’s Big Soul Ensemble plays the last Tuesday of the month through the summer on the Cock ’N’ Bull outdoor patio.

Keith Pray’s Big Soul Ensemble:
Saxophones – Keith Pray, Brian Patneaude, Dave Fisk, Mike Newman, Kaitlyn Fay
Trumpets – Chris Pasin, Dylan Canterbury, Scott Thompson, Omar Williams, Steve Lambert
Trombones – Travis Malone, Arthur Falbush, Tyler Giroux
Tuba – Adam Streeter
Piano – David Gleason
Bass – Lou Smaldone
Drums – Bob Halek

Photo Gallery by Rudy Lu