In a landmark moment for one of Europe’s most celebrated large ensembles, Big Band Bass—out November 7, 2025 on Bass Lion Publishing—sees American bassist John Goldsby step into the spotlight as composer and featured soloist with the Grammy winning WDR Big Band. Marking his 30th anniversary as a member of the Cologne-based group, the album showcases eight original compositions arranged by long-time collaborators Bob Mintzer, Michael Abene, Dave Horler, and Vince Mendoza.
Listen to a preview of “You Can Call Him Maestro” from the new album Big Band Bass!
From swinging hard bop and lyrical ballads to
Brazilian grooves and brassy dance-party climaxes,
Big Band Bass pushes the tradition forward while
staying rooted in decades of shared musical
history. At the core of this recording lies John Goldsby’s unmistakable tone and lyrical
sensibility—qualities seldom heard from a big band bassist, and rarer still as the defining voice
of an entire album.
Mintzer’s arrangements form the core of the album, alongside a standout contribution by
Mendoza—”Sonatinita”—which pairs Goldsby’s deep-toned lyricism with airy woodwind textures
and a Latin rhythmic edge. Other highlights include “Blue Balloon,” a soulful hard bop tribute to
Goldsby’s early days in New York, and the playful “You Can Call Him Maestro,” which blends
funky acoustic bass with CTI-era flair.
The full WDR Big Band is in formidable form, with standout solos from Karolina Strassmayer,
Ludwig Nuss, Johan Hörlén, Ruud Breuls, and Mintzer himself, whose saxophone fires up the
driving closer The Baron’s Dilemma.
Goldsby, a former mainstay of the New York jazz scene, joined the WDR Big Band in 1994 and
has since collaborated with Maria Schneider, Joe Lovano, McCoy Tyner and Roy Hargrove. Big
Band Bass is his most personal project to date.
“Working with the WDR Big Band for 30 years has been a joy—and showcasing my
original music on this album is a dream come true,” says Goldsby.
“With Bob [Mintzer] arranging and playing sax, and contributions from Vince Mendoza and other longtime
friends, it felt like a family project.”
Liner Notes:
Steven A. Cerra, Jazz Journalists Association
Big Band Bass—at first glance, the phrase seems contradictory. The double bass is rarely the melodic centerpiece in big band recordings, even though it has always played a vital role in shaping the ensemble’s rhythmic feel. It’s hard to imagine the light, airy groove of the early Count Basie Big Band without the presence of bassist Walter Page, or the way Jimmie Blanton transformed the time feel of the Duke Ellington Orchestra during his short stint as bassist in the early ‘40s. The same holds true for Chubby Jackson with Woody Herman’s First Herd in the ‘40s, Buddy Clark with Terry Gibbs Dream Band in the ‘50s, or Bill Crow with Gerry Mulligan’s Concert Jazz band in the ‘60s.
For the past thirty years, virtuoso bassist John Goldsby has been the underlying rhythmic force in the WDR Big Band, and on the band’s latest recording he reveals his brilliance by creating compositions that make the double bass voice more pronounced. Goldsby’s project compares to other “bass-up-front” big band albums such as Ray Brown with the All-Star Big Band, The Good Feeling with the Christian McBride Big Band, and My Personal Songbook with Ron Carter and the WDR Big Band.
What we discover in listening to the eight original compositions that John has written for the album (plus one by Vince Mendoza) is that John has a gift for melody. Whether it’s the haunting ballad “Dahlia Garden” with its Ellingtonian overtones; the up-tempo burner “The Baron’s Dilemma” featuring a tenor saxophone chase showcasing Ben Fitzpatrick, Paul Heller, and Bob Mintzer [who arranged the tune]; or the catchy, samba-infused “Sergio,” John has a marvelous way of creating melodies that resonate with clarity. Goldsby’s compositions feature what Duke Ellington referred to as “the feeling of Jazz.”
In the talented hands of arrangers Bob Mintzer, Michael Abene, and Dave Horler, John’s melodies and harmonies transform into breathtaking big band arrangements, providing a perfect vehicle for the celebration of John’s 30th anniversary with the WDR. The members of the band perform these arrangements with a precision that reflects their long-standing status as a world-class jazz ensemble in residence. The phrasing and timing by the brass and reed sections are impeccable and the band generates an overall sound quality which is rich and full. Oh, and yes, every big band needs a musical drummer to boot things along and the WDR Big Band has its long serving drummer Hans Dekker doing just that in the engine room.
I particularly enjoyed the interaction between the flute section (all saxes doubling on flutes) and bass on Vince Mendoza’s “Sonatinita” which opens the album, and John’s interplay with bass clarinetist Jens Neufang on the closing track, “Sergio,” masterfully arranged by Michael Abene, who logged a ten-year stint as principal conductor of the band.
Compelling melodies and exhilarating solos abound in John’s other originals—the hard bop infused “Blue Balloon;” the Kenton-esque brass volleys that open “In the Hills” (a Dave Horler arrangement) which give way to a scintillating unison statement of the melody by bass and trombone; and the woodwind choir, pairing with John’s bass, that frames the opening of the melody on Bob Mintzer’s funky arrangement of “You Can Call Him Maestro.”
Big Band Bass is a showcase for John Goldsby’s unmistakable and irrepressible musical spirit. He puts his stamp on the music with unique melodies that blend joy, beauty, and wonderful sonorities. Goldsby marks three decades with the WDR Big Band by composing a soundtrack that highlights the bass and honors the big band legacy—a fitting tribute to his journey with the ensemble.
Martin Johnson, Jazz Critic for NPR Fresh Air, the Wall Street Journal and Downbeat
The lineage of bass players in the 21 st Century who have taken the helm of a big band is a short list of all-time greats: Ron Carter, Dave Holland, and Rufus Reid to name just three. It takes ambition and creative fortitude to join the lineage, but John Goldsby accomplishes just that on his album Big Band Bass, a recording that celebrates his 30 years with the WDR Big Band with arrangements by the legendary Bob Mintzer.
Goldsby, a Louisville native who established himself on the rugged New York City jazz scene of the ‘80s and ‘90s before relocating to Germany, has a classic tone. His bass sound recalls the early cornerstones of the instrument like Jimmie Blanton and Oscar Pettiford, and he applies it to a delightful mélange of music, showcasing a diverse range of contemporary orchestral jazz.
The recording leads with that diversity on “Sonatinita,” a Vince Mendoza composition and arrangement that deftly features Goldsby’s fluid style contrasted by a lovely chorus of woodwinds before shifting into a resplendent full band segment highlighted by a solo from trombonist Ludwig Nuss, and a closing with a slight recasting of the beginning featuring the leader and woodwinds. Goldsby’s “In the Hills,” arranged by Dave Holder, former lead trombonist in the band, also features Nuss and the leader, but this time against the backdrop of boisterous exuberance from the horn sections, providing remarkable contrasts and excitement.
Goldsby’s “Blue Balloon” (yes it was inspired by the sight of a hot air balloon in Baden Baden) is reminiscent of classic Blue Note 60s hard bop, and it features rousing solos by trumpeter Ruud Breuls, alto saxophonist Johan Hörlén, and tenor saxophonist Paul Heller, who elevate the composition to a contemporary urgency.
“Kléopatre’s Secret” also takes its inspiration from a renowned resident of Baden Baden, the white Burmese cat that patrols the Brenners Park Hotel. The piece is alternately pensive and strident, featuring pianist Billy Test, alto saxophonist Karolina Strassmayer, and flugelhornist Bastian Stein. Mintzer’s arrangement brings out the wide-ranging feline moods.
The leader takes charge again on “You Can Call Him Maestro,” a meditation on both the reverence in which the term is properly used and ribald snark over the way in which it is often casually assigned. Goldsby’s stellar solo is followed by similar power from trombonist Jonathan Böbel.
A sumptuous ballad,“Dahlia Gardens,” is also inspired by a setting in Baden Baden, the Lichtenthaler Allee. Mintzer’s arrangements recall Ellingtonian style, especially the baritone sax solo by Jens Neufang, so reminiscent of Harry Carney’s signature work with the Duke. Goldsby captures the stately elements of the setting without becoming stuffy. The music’s elegance is stunning.
No big band recording is complete without an uptempo burner, and on “Baron’s Dilemma,” three tenor saxophonists, Ben Fitzpatrick, Paul Heller, and Mintzer, offer contrasting and intertwined commentary on the presumed hectic life on a Baron, and inherited title that is no longer officially recognized but carries social weight and obligation.
The Brazilian influence heard in “Sergio” may bring to mind the classic composer and bandleader Sergio Mendes, but it’s actually dedicated to a tour guide Goldsby met on a trip to Salvador, Bahia. Samba rhythms underpin a complex weave of instruments highlighting both the drama and splendor in Brazil.
During Goldsby’s time with the WDR, big band music in jazz grew in stature and recognition. Rather than being a relic of an earlier era, orchestral jazz is now again recognized as a vital, contemporary part of jazz. Composers and bandleaders from every corner of the genre are assembling large groups that push the envelope. Some draw on classic influences like Woody Herman, Quincy Jones, Count Basie, Duke Ellington, Thad Jones-Mel Lewis, Gil Evans and Maria Schneider; others are bringing new concepts into the fold.
With this valedictory statement, Goldsby illustrates the power and savvy that one virtuoso player can make among many and how the orchestra can rise to highlight that player. Big Band Bass does what great jazz does; it celebrates a glorious past and projects a promising future.