While Rich Wetzel’s third release The Mayn Thing strengthens the trumpeter’s links with the big band legacies of Stan Kenton, Woody Herman and Don Ellis, it declares in no uncertain terms that his “mayn” man is still the legendary screech king, Maynard Ferguson. Which means plenty of brass-plated pyrotechnics. It also means a wealth of young players who are eager to capture the excitement of the big band era, with the added adrenaline rush of today’s fusion reality.



The most obvious “fused” benefit can be heard in the electric bass lines of Rick White that weave serpentine ideas through all dozen tracks. Also underpinning the Tacoma-based band is the indefatigable work of drummer Tim Malland. He not only provides a kinetic infrastructure to keep the instrumentalists on track, but even gooses the gaps. In other words, there is no silence for over 65 minutes.



Wetzel has wisely chosen some outstanding soloists, including two vocalists, to vary the well-balanced program. Among the highlights is “Coconut Champagne” from Ferguson’s book. Introduced by very precise unison saxes, it leads to a happy, up-tempo bossa. It also leads to a sensational entry by baritone saxophonist Keith Klawitter in the rarefied tenor range, which leads to an extended solo by drummer Malland, who at one point seems to provide his own obligato with the bass drum. No easy feat (or should that be feet?) Leader Wetzel shows his incredible embouchure with some stratospheric, yet accurate leaps.



“A Country Boy” provides a slow respite, plus a chance for trombonist Tim Schartz to capture the title most effectively. It also gives tenor player John Beach and the whole band a chance to prove that it’s possible to swing with a nice loose feel. Even looser is vocalist Steve Stefanowicz, who puts his personal, heartfelt claim on “Georgia on My Mind,” serving notice that the song is not necessarily “owned” by Ray Charles.

Stefanowicz’s second offering, “How Sweet It Is,” reveals his strong boogaloo chops.

Trombonist Jenny Kellog proves to be a breath of fresh air with her solo ideas on “Groove Blues” and “Superbone Meets the Badman.” Too bad she had to leave the band, but she recently switched from the University of Washington to the University of Idaho. “Groove” is also a romp for tenorist Beach, trumpeter Tracey Hooker and altoist Dan Wager; “Superbone” features an interesting duologue between baritonist Klawitter and Kellogg. The latter sounds like she listened carefully to Frank Rosolino and Carl Fontana. One downside in “Groove”: the chordal playing of the guitar tends to clutter the rhythm section. But all is forgiven in the final chorus when Wetzel punctuates the concerted excitement. It’s his best playing of the session.



The other singer, Rebecca Gonzales, is fearless enough to venture into ranges usually reserved for the high-flying Wetzel. She displays good jazz chops in “My Romance,” but her falsetto is less equal to the task, a point she proves again, with the ballad “What Kind of Fool Am I?” She hears so many good ideas, but her forays above high B-flat tend to let her down. If she can reinforce that range, her future is unlimited.



Also unlimited is the future of Wetzel’s latest Groovin’ Higher edition. May it stay together until the future arrives. And may Rich more often explore the beauty of pure melody as he does in “Tenderly.”



[Jazzbones, Saturday, Sept. 15, 5-7 p.m., all ages, $5, 2803 Sixth Ave., Tacoma, 253.396.9169]