Rich Willey : Boptism Christmas Review

by Steven Miller

Jazz and Christmas music have a long history of harmonious interplay; Rich Willey’s Boptism Christmas celebrates this spirit. Released under Willey’s Boptism Music label, the album merges beloved holiday standards with the harmonic colors, improvisational vigor, and rhythmic drive of jazz. Drawing on decades of performance experience and arranging skills, Willey brings a lively set of some of the season’s most familiar melodies.

Willey’s genius shines through his arrangements, transforming time-honored tunes into relatable jazz statements. His four-horn voicings—featuring alto and tenor saxophones, trumpet, and trombone- capture a small jazz band’s lush and intricate warmth that brings a full sound to each track.

“Merry Gentlemen Kings” opens with a swing march, where the horns’ syncopated hits and clever counterpoint form a tightly woven arrangement that celebrates the Holiday spirit. The blend of bluesy lines colors the harmonized melody. Willey’s trumpet solo is musical, and guitarist Andy Page accompanies him. Willey’s arrangement creates a vibrant and celebratory atmosphere for the soloist to thrive. His arrangement flows and keeps the music moving and fresh. His rhythmic displacement of the melody is excellent in the last time through the form.

In “White Christmas,” Willey transforms Irving Berlin’s classic into a gentle bossa nova featuring elegant horn orchestration reminiscent of the classic big bands of the 50s. The arrangement builds with wonderfully voiced horn harmonies led by the trumpet. Willey uses the many colors available to him in his arrangement. For example, his solo is just trumpet and guitar, giving a fresh color to the arrangement’s flow and allowing plenty of room for development. Willey’s writing in the short chorus is very impressive as he further captures the 50s big band sound within his four-horn ensemble.

“Silver Bells” surprises with a reggae-inspired groove, supported by Zack Page’s basslines and Justin Watt’s drumming. Alex Taub’s organ lines enhance the track’s festive energy. The feel change offers a nice change of pace and shows Willey’s imaginative arranging skills that reach out to other genres.

Every arrangement presents the melody clearly and functions as a playground for improvisation. Willey’s trumpet solos embody swing’s fluidity, combining lyrical phrasing with bold chordal outlines. In “Little Drummer Boyz, his eloquent trumpet improvisation builds to spirited exchanges with Watt’s drums before leading into a climactic final chorus filled with vintage big-band brilliance in a call and response with the drums.

“The Christmas Song” pulses with an upbeat samba feel, featuring inventive solos from Willey, Pritchard, and Andy Page. Willey’s arrangement allows each soloist the space and setting to perform solos of interest in a well-conceived small ensemble setting.

Willey balances festive familiarity with jazz ingenuity throughout the nine tracks. His arrangements retain Christmas’s core spirit while capturing a big band’s harmonic and rhythmic energy. “O Come, O Come, Emmanuel” is a jazz arrangement featuring Zack Page’s lush bass solo and horn writing that sings with lyrical warmth and classic big band voicings.

Even “Rudolph the Red-Nosed Reindeer” finds new life through Russ Wilson’s swinging vocal delivery, elevated by inventive horn backgrounds that weave around the melody with effortless charm.

Willey’s trumpet playing is crisp, lyrical, and precise, whether delivering soulful ballad tones or fiery swing runs. His brass arrangements feature-rich harmonic palettes and fluid counterpoint, allowing each horn line to function independently while contributing to the ensemble’s collective sound.

The entire ensemble operates with cohesion, blending individual artistry with collective synergy. Willey can be heard on trumpet, bass trumpet, valve trombone, tuba, and Electronic Valve Instrument (EVI), showcasing his versatility. Dylan Hannan (alto sax) and Ashley Pritchard (tenor sax) infuse the reed section with precise articulation and expressive solos. Bill Reichenbach’s robust trombone and bass trumpet add depth, while Alex Taub’s fluid piano and warm organ textures provide harmonic richness.

Guitarist Andy Page’s melodic solo sense and flowing comping create a perfect harmonic bridge between the horns and rhythm section. Zack Page’s upright and electric bass playing is foundational yet agile, propelling the music forward with swing, funk, reggae, and Latin grooves. Drummer Justin Watt’s dynamic and responsive drumming ties it all together with rhythmic precision and creative interplay.

Russ Wilson’s vocal performance on “Rudolph the Red-Nosed Reindeer” adds a touch of old-school holiday charm, perfectly complemented by the ensemble’s intricate horn voicings and swinging rhythm section. Collectively, the musicians on Boptism Christmas provide a high-level jazz experience, making each track a showcase of artistry and collaborative joy.

Boptism Christmas stands proudly within the rich tradition of jazz holiday albums, evoking a classic sound while carving out a fresh path of arrangements. Willey’s arranging style reflects influences from mentors like Bob Brookmeyer and Thad Jones, blending their sonic big band sensibilities with his love for four-horn textures. His inventive arrangements and the dynamic ensemble performances make this recording a must-listen for holiday music fans yearning for holiday nostalgia with hard-swinging jazz. Boptism Christmas is a solid playlist-stuffer for the soul—a festive reminder that jazz and holiday music were meant to swing together.