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Click here to see Bill Warfield calendar |
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The Morning Call
- Bethlehem, Pa February, 2003 by Tim Blangger |
Click here
to see the article recently published in the Morning Call. |
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Jazz Journal International
- Great Britain November 1984 by Barry McRae |
The choice of material here is impressive and it is treated with considerable respect. Neverthe less, it does not restrict soloists and there is a particularly lyrical effort from Warfield on Songbird and a well constricted tenor outing by lalama on Supermarket. The arrangements, in the main by Bill Warfield and the leader, are tasteful and imaginative. They pay particular attention to dynamic levels and always seem to offer the right backgrounds in support of the soloists. The writing for reeds is especially pleasing and the rhythm section is integrated in a way that serves reeds and brass alike. |
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Jazz Beat
- The Courier-News New Jersey September 1984 by John S. Brodhead Jr. and Tek Talmonnt |
But the attack, with fewer pieces, is much more aggressive, particularly on "A Little Circus Music," a funky march with a big-top flavor written by trumbpeter Bill Warfield, and "Street Corner Supermarket," another Warfield piece depicting Mahattan's Hell's Kitchen. Ralph Lalama's tenor sax is featured on thelatter. Warfield contributes a fine performance on fluegelhorn on "Songbird," a Loonis McGlohon salute to Teddi King and Irene Kral. |
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The Star-Ledger
- Newark, New Jersey December 1984 by George Kanzler |
The group closed the concert in rousing fashion with a Warfild arrangement of Clifford Brown's hard-bop classic, "Dahoud," featuring the trumpets, first, and then tenor and bartone saxes, in spirited changes and chases, separated by a fiercely swinging arranged pair of choruses for the sax ensemble. It was a bouyant end to a fullfilling concert. |
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The Wire
- Great Britain December 1986 by Max Harrison |
... In fact there are only two standard items, both on the first LP, and "Sunny Side" is packed with more surprises than one could expect of anything so familiar. Warfield's score is typical of the band's recorded output in using the ensemble in a strikingly flexible way, with frequent changes of pace, emphasis, texture. This is to say that the arrangements are very demanding, but the band, which on this showing has few evident weaknesses, plays them with fire and accuracy.
... With "Daahoud" we come to an understanding performance of an exceptionally engagin score (which quotes Tadd Dameron's "Hot House") by Warfield, who takes a good, long solo. ... On the second record the writing is if anything more complex, yet the performances are looser, as in the long closing ensemble of "Supermarket", presumably as a result of added experience in playing together. The scores contain some enterprising instrumental combinations, and the solos are even better. |
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Greenwich Time
- Connecticut February 27, 1985 by John S. Sweeney |
They showed that they could dazzle with breath-taking solos in Clifford Brown's "Daahoud," arranged by trumpeter Bill Warfield, pitting one trumpet against the other in ever mounting frenzy. They can develop a wild beat to a raucous riot as in Warfield's own "Scootzie"
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The Vindicator
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October 18, 1981 by B. David Wolf
In fact, "Daahoud," which closed the concert, also was the highlight of the evening, especially with its trade-off solos between LaLama and Wilson on tenor and baritone saxes, respectively, and Warfield and Jim Powell on trumpets.
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Texas Monthly
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- Dallas January 1984 by Doug Ramsey
The depth of the arrangements by Bill Warfield is matched by the band's relaxed, assured execution. The group even rises to passages like Warfield's demanding intricacies in his reworking of Clifford Brown's "Daahoud." Warfield's cockeyed treatment of "On the Sunny Side of the Street" is a high point.
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USA Today
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March 10, 1983 by Neil Tesser
The next thing you notice is the scoring for this group trumpeter Bill Warfield has crafted arrangements that have power and punch.
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OP Magazine
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by Milo Fine
An Amazing arrangement of "On The Sunny Side of The Street" by trumpeter Bill Warfield kicks off this rather fresh LP of main-stream jazz with its open sensibilities.
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Things never quite reach that height again during the course of the record, but there are plenty of good to excellent moments and sections. The solo/ensemble playing of trumpeters Warfield and Brian Lynch. They often add a loose rough edge, balancing what can tend to be overkill clean executions in sessions of this ilk.
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