| Jazz |
Summary: Trombonist and composer Ben Patterson delivers a vibrant and sophisticated jazz fusion album on Stretch, combining big band precision, soulful improvisation and contemporary energy into one of the year’s most engaging modern jazz recordings.
Ben Patterson’s Stretch Blends Big Band Mastery With Modern Jazz Fusion Energy
The studio monitors glow as the first notes of Stretch begin to unfold, and almost immediately the room feels transformed. There is sunlight in this music, but also discipline, architecture and memory. The new album from Ben Patterson arrives with the confidence of a musician who has spent decades mastering both the language of jazz tradition and the restless energy of modern fusion. Patterson is not simply a trombonist and composer. He is also a seasoned producer who helped shape ten recordings in the celebrated “Jazz Heritage Series,” collaborating with major figures including Branford Marsalis, Randy Brecker and Christian McBride. He also produced three independent albums for “The Note,” and throughout Stretch, that accumulated experience can be heard in every arrangement and every carefully sculpted dynamic.
What makes this record compelling is its refusal to settle into easy categories. On the surface, Stretch carries the muscular pulse and sophistication of jazz fusion, yet underneath there is a profound respect for the foundations of jazz history. Patterson understands the tradition deeply enough to reshape it without ever sounding trapped by nostalgia. The album constantly invites the listener to reconsider familiar musical territory while avoiding the sterile feeling of something overly academic or recycled. Instead, the music feels alive, conversational and daring.
Track after track unfolds with the elegance of a carefully designed narrative. Rhythms lock into place with precision, melodies emerge unexpectedly, and the sequencing of the album creates genuine momentum. By the time the listener reaches “David and Francis,” subtle soul influences begin to drift through the arrangements like warm evening air, softening the edges of the brass and giving the music an emotional tenderness that lingers long after the song fades. Patterson clearly understands that virtuosity alone is never enough. What matters is emotional movement, and Stretch achieves that repeatedly.
Several tracks deserve particular attention for the richness of their instrumental interplay. On “David and Francis,” the trombone lines unfold with remarkable fluidity, weaving through warm piano voicings and understated rhythmic textures that allow the melody to breathe naturally. Elsewhere, Patterson embraces a more expansive fusion vocabulary, letting the brass section surge forward before pulling the arrangement back into quieter, more reflective territory. The solos never feel indulgent. Instead, they function like chapters within a larger story, each one adding tension, color and emotional weight. The supporting musicians also play a critical role in shaping the album’s identity. The rhythm section maintains a deep sense of groove without overpowering the arrangements, while the ensemble work consistently reveals Patterson’s skill as both composer and orchestrator.
Part of the album’s strength comes from its acoustic sensibility. Even in its most energetic passages, the music resists sounding overly polished or artificially modern. There is space in these performances, space for instruments to breathe and for solos to emerge naturally from the ensemble rather than overpower it. Patterson has long been recognized as one of the most respected arrangers working in the big band tradition, and that same orchestral intelligence drives this project forward. The music speaks constantly, sometimes almost like a debate between instruments, while still preserving clarity and detail. Every solo contributes to a broader sonic landscape, creating layers and textures that reward close listening.
That approach is inseparable from Patterson’s extraordinary career. For more than twenty-two years, he was a member of “The Airmen of Note,” eventually rising to the roles of lead trombonist and musical director. During that time, he performed hundreds of concerts and masterclasses across the United States and internationally, recorded sixteen albums featuring many of his own compositions and arrangements, collaborated with countless guest artists and even performed for American presidents. Listening to Stretch, one hears the weight of that experience not as technical excess, but as confidence, patience and command.
As a European listener, I have always been fascinated by the culture surrounding American military jazz ensembles. There is something remarkable about hearing a big band sustain such extraordinary groove, rhythmic precision and stylistic versatility while simultaneously carrying the broader story of American music. That level of artistry requires far more than technical discipline. It demands curiosity, openness and a deep cultural understanding. In Patterson’s case, classical music clearly forms part of his musical DNA. One can hear it in the structural sophistication of the arrangements, in the balance between tension and release and in the careful pacing of the compositions themselves.
There are also moments throughout Stretch that place Patterson within a broader contemporary jazz fusion landscape. At times, the album recalls the polished sophistication of artists such as Snarky Puppy, while elsewhere its brass-driven intensity evokes the adventurous spirit of modern European jazz ensembles. Yet Patterson never imitates these influences directly. His music retains a distinctly personal voice rooted in the big band tradition, elevated by the looseness and rhythmic elasticity of modern fusion. That balance between structure and spontaneity gives the record much of its appeal.
Patterson’s commitment to music extends far beyond performance. He has dedicated a significant part of his career to education, working with musicians of all ages and skill levels while helping strengthen the bonds within the jazz community. Through workshops, masterclasses, festival appearances and his involvement with the Jazz Education Network, he has become an important mentor for younger generations of musicians. He previously served as adjunct professor of jazz trombone at the University of Maryland and directed the jazz band at W.T. Woodson High School. Today, he teaches graduate-level jazz trombone at the University of Arkansas at Monticello. That dedication to transmission and mentorship gives additional depth to the album. Stretch does not feel like the work of a musician trying to prove himself. It feels like the work of someone determined to share everything he has learned.
And perhaps that is why the album feels so cinematic and festival-ready. These compositions are built for large stages, for outdoor summer crowds and for the electric exchange between musicians and audiences. Patterson commands attention throughout the record, delivering performances that are technically sharp yet irresistibly joyful. There are moments when his trombone playing recalls the warmth and explosive energy of Nils Landgren. The thought of hearing both musicians sharing the same stage is enough to make any jazz fan curious. One suspects the result would be exhilarating, unpredictable and probably unforgettable.
In an era when jazz often finds itself divided between reverence for tradition and the pressure to innovate, Stretch manages to inhabit both worlds with remarkable ease. The album reminds listeners that modern jazz can still be ambitious, emotionally direct and deeply accessible without sacrificing complexity. More importantly, it confirms Ben Patterson as an artist whose influence extends far beyond performance alone. Through his compositions, his arrangements and his dedication to education, he continues to shape the evolving language of contemporary jazz, ensuring that the music’s future remains every bit as vibrant as its past.
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, May 25th, 2026
Follow PARIS-MOVE on X
::::::::::::::::::::::::
Musiicians :
Ben Patterson – trombone
Shawn Purcell – guitar
Harry Appelman – keyboards
Miles Brown – bass
Todd Harrison – drums
Track Listing :
Unbridled 6:06
Oops, Wrong Timeline 4:50
Ship of Fools 5:00
David and Francis 7:38
This is What I’m Doing 6:36
Or Maybe You Would 5:38
Confidence and Doubt 6:09
Stretch 6:36
Missing Michael 8:04
Phrenetic 5:47
All compositions by Ben Patterson
Pro Jazz Charts (ASCAP)
Production Info:
Produced by Ben Patterson, Rich Sigler, & Bob Dawson
Recorded & mixed by Bob Dawson
BIAS Studios, Springfield, VA
Assistant engineer: Tom Tyra
December 17 & 18, 2025
Mastered by Mike Monseur at Axis Audio, Nashville, TN
Cover design & layout by John Bishop