Steve Smith first delivered an exciting homage to Buddy Rich’s small group work with 1999’s Steve Smith and Buddy’s Buddies. Mining Rich’s songbook, with arrangements that make a quintet sound like a larger group, Very Live at Ronnie Scott’s – Set One continues the tribute in the first of two releases culled from a 2002 gig at that institution of London jazz clubs.

The idea for the group originally formed when long-time friend of Rich, Stanley Kay, along with Rich’s daughter Cathy and her husband Steve Arnold contacted tenor/soprano saxophonist Steve Marcus and alto player Andy Fusco, both long-time alumni of Rich’s big bands. They immediately thought of Smith, for whom the project seemed like the ideal way to close the circle, as his first tours were with a big band led by Rich cohort Lin Biviano. Smith suggested bassist Anthony Jackson and pianist/arranger Lee Musiker, who recorded the first album. Steve Smith and Buddy’s Buddies was well-received, and there was much hope that the project would continue.

Fast-forward to 2002. When the possibility of a week’s residence at Ronnie Scott’s came up Smith jumped at the chance. With Jackson and Musiker unavailable, Smith recruited Steps Ahead/Vital Information bassist Baron Browne and pianist/arranger Mark Soskin, who has played with everyone from Billy Cobham to Sonny Rollins, to fill out the group. The decision was made to record the week, and present two CDs, representing first and second sets from the week, so we could all feel as if we were there for a night.

What many people don’t know is that the small group was a format that Rich used in addition to his more well-known big bands, and in fact a small group recorded Very Live at Buddy’s Place in 1974. What makes Rich’s small groups, and Buddy’s Buddies, unique, is the harmonic spread of the arrangements, which make a small group sound much bigger by having the instruments imply what is not there. Kudos to Lee Musiker and Mark Soskin for getting to the essence of Rich's concept, and making it live with this group.

Listen to the horns in the set opener, "Love for Sale"; by playing unison lines an octave apart, as well as more widely spread harmony lines, it sounds more like a horn section than just two horns. The same goes for the uptempo Horace Silver chestnut, "Nutville". Originals like Soskin’s "Bopformation" fit right in with the overall concept of the group.

Like a big band, the arrangements are tight. While there is plenty of solo space for everyone, solo lengths are predetermined.

And like Rich himself, this is extremely extroverted music. Most of the tunes are taken at a clip, and even the one ballad, the lyrical "How Do You Keep the Music Playing?", grooves along with an assertive sound that belies a larger ensemble.

Unlike other Rich tributes that sound like the one-time, all-star affairs that they usually are, this project sounds like a band. The chemistry between Smith and Brown is obvious, coming from years of playing together. Soskin is a sympathetic accompanist and an engaging soloist. Marcus continues to demonstrate why he is one of the most under-rated reedmen around. Fusco is another talent deserving wider recognition.

And what about drums solos? Smith has clearly done his homework. Clever ideas and brash bravado abound, showing that he is a far broader musician than fans of his fusion efforts should think. Dave Binder

Very Live at Ronnie Scott’s – Set One is a high energy set of live music from an intensely swinging group. Personally, I can’t wait to hear set two, which will be available in September, 2003.

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