Highly original, Frank Macchia’s ensembles deliver straight-ahead jazz with a few unusual twists. When was the last time you sat down and listened to a bass ocarina, a contrabass flute, or an electric bass clarinet? Fortunately, the leader blends his large array of woodwind instruments into the fold, allowing his original compositions to flow with mainstream sounds that seem quite familiar. In fact, many of the selections have the sounds found in popular television themes, but without aping. Excuse the pun. Complex time signatures and exotic melodic themes allow the composer to heighten interest while embellishing with a relaxed attitude.

Macchia has considered both instrumental textures and musical themes in portraying his animal subjects. "Pigs" features the Bb contrabass clarinet in a slow swinger that rambles around the room with a laid-back spirit. "Chickens," on the other hand, features clarinet and banjo in a quirky affair with walking bass and a soulful strut. The 11/8, 10/8 meter of "Frogs" keeps things hopping with a fun-loving approach that features Macchia’s electric bass clarinet in a surreal adventure. He captures the voice of the frog through his deep-throated instrument, while the piece drives with the rhythmic intensity of a few dozen of the creatures leaping into the water as you approach. The majestic 10/8, 12/8 groove found in "lions" comes complete with a big band sound anchored by Macchia’s tenor saxophone.

From San Francisco, the woodwind virtuoso and composer attended the Berklee College of Music in Boston, graduating in 1980. Since ’92, he’s remained in Los Angeles, where he composes film and television scores. That’s why his jazz scores seem to so familiar. Many of the pieces take on the essence of a favorite cartoon character or a lovable sitcom fall guy. From the wordless vocals and deep, bass woodwind instruments of "Whales," to the helter-skelter drama that Macchia exposes on "Rhinos" through his baritone saxophones’ character,  Mo’Animals offers a superb showcase of jazz impressions suitable for framing.
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Mo' Animals is the third straight release from Frank Macchia that has vigorously flattened me on first hearing. A West Coast composer/arranger/instrumentalist whose CV includes Tony Bennett, Hollywood movies, and television might be initially looked at askance by us avant types, but I'll shuffle play this guy with Sun Ra, Ellington, Gil Evans, and Henry Mancini any day. Macchia's particular genius is how he has molded an apparently vast intake of influences into his own, very distinct universe. As with its predecessor, Animals, the 10 tracks on Mo'  are each named for a different animal, and yes, the writing and arranging evoke said animals. But this is no cutesy anthropomorphism – this is wonderfully conceived, beautifully executed stuff. 	"Whales," for example, is a ghostly, multi-tracked duet for Macchia and vocalist Tracy London. Using jazz as a basis, it pulls in such reference points as Brian Wilson, Lambert, Hendricks and Ross, and Nurse With Wound's Salt Marie Celeste. The insane, flute-led melody of "Hummingbirds" throws up a Macchia alto solo that's a glorious mix of free swagger and bebop rigor, while "Chickens" has marvelous, spastic pecking banjo motion by Grant Geissman. "Rhinos" shows Macchia's affinity for Frank Zappa in a wild, electric stomper with a sexy baritone sax solo from the leader, while "Pigs," with its lumbering low end scoring and contrabass clarinet, can't help evoke Anthony Braxton's writing for the nether registers. The breathtaking hues of "Bats" resonate with a striking wash of color, akin to Henry Mancini's great "Lujon," from 1961. Headphones are recommended to hear the full range of Maccia's fertile imagination, but by all means listen.
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Multiwoodwinds specialist Frank Macchia is also a skilled composer, arranger and orchestrator for film and television.  Mo’Animals is the third album on which he paints convincing musical pictures of members of the animal kingdom through a combination of often unique instrumentation and various musical styles, including jazz, rock and funk.  A listener can easily visualize flitting “Hummingbirds,” wallowing “Pigs,” strutting “Chickens,” gliding “Bats and lumbering “Rhinos” as well as the other five species portrayed.

	Macchia plays an array of instruments, often overdubbed, including most of the saxophones, several of the clarinets and flutes, the bass ocarina and synthesizers.  Various combinations of trumpets, flutes, electric guitar, banjo, harmonics, synthesizers and human voice over a rhythm section of pianist Billy Childs, bassist Dave Carpenter and drummer Vinnie Colaiuta offer the composer a broad palette.

	Aside from its programmatic aspects, Mo’Animals appeals on purely musical grounds.  Moods and tempos are diverse, and such elements as form, harmony and rhythm are inventively handled so that the compositions hold the listener’s attention.

	Macchia, Childs, harmonica player Howard Levy, trumpeter Wayne Bergeron, trombonist Bruce Fowler and guitarist/banjoist Grant Geissman play strategically placed, well-integrated improvised solos.
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Having written two entire CDs of original compositions dedicated to animals (Mo’Animals being the second), it’s safe to say that multi-reedist Frank Macchia is an animal lover who inspires animal lovers. The titles of his songs are simple and strange: "Chickens," "Frogs," "Monkeys" . . .

Yet, Macchia’s photo on the CD booklet looks pretty normal: a pleasant-looking middle-aged jazz cat seated with his tenor saxophone. No sign of jungle man, no wide-angle shot playing the blues to King Kong.

Employing a heavyweight cast of West Coast players – including pianist Billy Childs, guitarist Grant Geissman, drummer Vinnie Colaiuta, and harmonica sensation Howard Levy – Macchia presents 10 of the craftiest, most cleverly amusing jazz compositions heard in some time. Expertly arranged in the tradition of West Coast jazz at its best, Macchia’s multi-overdubbed fare comes alive. Hyperactive chromatic lines merge into an upbeat samba on "Hummingbird." A playful jungle groove swings into an imaginative fugue on "Monkeys." "Bats" features an array of flutes in flight over a 6/8 pulse that periodically suspends time as the tiny creatures pause to alight.

Macchia is proficient at every reed instrument imaginable (and some unimaginable). The man is a total gearhead, a fact most obvious on two of the most memorable pieces. "Whales" is an eerie yet beautiful ode to the gentle giants, featuring Macchia’s overdubbed bass ocarinas, bass, and contrabass flutes. (Every aquarium should have this playing.) "Pigs" is a slop-happy endeavor featuring Ken Kugler’s muted bass trombone and Macchia’s contrabass clarinet. (His numerous clarinets are his strongest suit as per jazz soloing.) Alternating humorous with heady, the evocative sounds of Mo’Animals might be described as a major musical accomplishment masquerading in a monkey suit.

-- James Rozzi
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