Tobin Mueller’s Fragments album certainly gives the listener a lot to sink his teeth into. Plenty of thick arrangements leave the tracks with many nuggets to enjoy with each listening. Connecticut’s Mueller digs in so deep that he has to give himself a composer’s credit with the original songwriters from the world of popular music whose music he not only arranges but, in many cases, rewrites portions of.
Opening cut “Dueling On Tobacco Road,” based on John D. Loudermilk’s “Tobacco Road,” offers soulful organ surrounding an edgy electric guitar shakedown. While the vibe continues, the guitar keeps releasing stabs of phrasing that express the sensation that something huge is going down. When a trumpet chimes in and blows over brittle piano and rollicking drums, forget about it. One can only sit back and let this speedy ride take the listener wherever it wants to go.
Chuck Mangione’s “Feels So Good” gets an eloquent piano arrangement. There are plenty of sensitive notes paying homage to the original composition. A horn section completes the sweeping sound as guitarist Bob Lanzetti fills in the main melodic phrase with a tasteful application for this version.
Based on the work of Elton John, “Electric Boots” gets a dual horn treatment. Tomas Martinez brings his saxophone cool to create swinging motions and Mikie Martel’s trumpet work expands the melody line and makes it feel like something wide and involving. This arrangement makes one feel the large possibilities of what Elton John was trying to convey in many of his songs.
“Dreamer,” inspired by John Lennon and arranged by Tobin Mueller, finds plenty of joyful notes in this horn filled track. The horns expand on the hopeful tones of Lennon’s “Imagine” and develops them into something happier, snappier, and all encompassing. There is a thick low end line in the backdrop that also gives this all a marching feel, like the listener is being ushered toward a pleasant world.
“All Come To Look For America,” based on the Simon & Garfunkel song “America,” feels more airy than the original. Ruben de Ruiter’s percussion keeps this one in special place, being sensitive to the numerous notes above while giving it its own special motion. Woody Mankowski’s vocal coos and sustains make it a winner, something that could get traction on the right radio station. Vibraphone notes add to the feeling of being caught up in a special place while also making this listener feel the positive vibe.
“Winding Road” is a play on The Beatles “Long And Winding Road.” Here Mueller and his merry players flesh it out with a sweet jaunty groove and a playfully light horn melody. Listening to this version certainly brightens one’s day with its plentiful percussion notes and gliding melody line.
“Always Thought I’d See You Again” is an arrangement of James Taylor’s “Fire And Rain.” It captures the torrent of emotions of losing one’s band and losing one’s friend to mental illness. Its Noah Hoffeld cello persists in letting us understand the sadness that goes into this sort of songwriting. The listener can feel it in those forlorn notes while urgently played piano notes give a sense of anxiety during a trying time.
Based on Joni Mitchell’s work, “An Empty Space To Fill” is loaded with many fine touches and exciting moments. Sweet brittle notes mingle with a sunny horn melody, contrasting well to make the arrangement more enjoyable to the heart as well as to the ears. At points a sense of urgency is created by hitting some cautionary notes and slowing the horn tempo. There is a myriad of things going on in this version and each section makes for a pleasant view along the journey.
The second disc in this album continues to offer more of the complex expansion of songs that we’ve known all of our lives. “Seasons Will Pass You By” is based on the work of English progressive rock band Yes. A combination of keyboard flow and gymnastic guitar work create a vibrant sound, something that rocks hard and fanciful. Amit Erez’s electric guitar phrasing and Tomas Martinez’s mellifluous sax playing recaptured the urgency of the original Yes sound, something melodic and driving. Muller’s places a softer center within the song, making it similar to Yes’ penchant for having many moving parts within each of their pieces.
Dark, sly, and mischievous, “Is It Tomorrow Or Just The End Of Time” takes on Jimi Hendrix motifs to create kaleidoscopic guitar works, played by Amit Erez, while vocalist Woody Mankowski spreads out the lyrical beauty with wide, smooth applications of his voice. Mueller chimes in with a dark piano interpretation of what Hendrix was playing. His ivories to tap out a fine emotive web that explores the possibilities of the original composition. This has got to be the most inventive arrangement of a Hendrix song.
“Apollo’s Lyre Reimagined,” a wholly Mueller original, offers a sweet piano line, plenty of light notes that together form a lively melody. Peppering it with percussion gives it a forceful punctuation, enough to make it grab even more attention with its sudden shift in dynamics.
Before the single edits that round out this second disc, “No Place Like Home,” an interpretations of Harold Arlen’s composition for The Wizard Of Oz soundtrack, popularized by Judy Garland, closes out the fresh arrangements on Fragments. Its sensitive piano interpretation reminds of the magic of that film and Ruben de Ruiter’s percussion line reminds of little dancing feet. Woody Mankowski’s pleasant Soprano sax cries out its melodic line, drawing the listener deeper into the song.
Tobin Mueller and his band members create a lot of fun intrigue on this Fragments album. It’s always inspiring to hear songs in new ways and this arranger offers plenty of inspiration. He and his fellows on this recording are adept at finding new means of expression to offer up these robust works. Produced by Kenny Cash, every color and tone rings out with authenticity.
www.TobinMueller.com/fragments
