| World Jazz |
Summary : On Laid Back, Vol.1, trumpeter and composer Rich Willey combines jazz, reggae and world music influences with sophisticated big-band arrangements, creating a melodic, uplifting album that balances accessibility with musical depth.
Rich Willey’s Laid Back, Vol.1: A Sunlit Blend of Jazz, Reggae and Big-Band Craftsmanship
Outside, the air is already thick with heat, heavy enough that only a handful of birds seem willing to skim low across the sky. As I settle into the studio, Rich Willey’s Laid Back, Vol.1 is waiting for me. At that moment, everything I know about the musician can be summed up in a few lines.
A military musician who served in the United States armed forces, Willey trained at the U.S. Navy School of Music before continuing his studies at North Texas State University, where he immersed himself in jazz improvisation under the guidance of Rich Matteson, Jack Petersen and Dan Haerle. North Texas has long been a breeding ground for exceptional talent, and it is no surprise to learn that Willey later toured with Maynard Ferguson’s Big Bop Nouveau and the Tommy Dorsey Orchestra. He also performed extensively with the Jimmy Dorsey Orchestra, the Cab Calloway Orchestra, the Sammy Kaye Orchestra and the Nelson Riddle Orchestra.
Armed with that résumé, one naturally expects a fairly traditional big-band recording. Instead, the moment I press play, I find myself greeted by an engaging blend of jazz, reggae and world music influences. It catches me completely off guard, and I cannot help but smile. Few things in music are more enjoyable than a genuine surprise.
The opening track is often the key to understanding an album’s intentions, and in this case, the title track, “Laid Back,” immediately sets the tone. The orchestration is expertly crafted. The brass section embraces bold colors and playful gestures without ever losing its sense of purpose. The music feels sunlit, buoyant and effortlessly inviting. This is the kind of record that seems tailor-made for summer afternoons, yet possesses enough warmth and charm to return with every season that follows.
Over the course of a career that has placed him alongside some of the most respected figures in jazz, Willey has earned the admiration of musicians spanning several generations and stylistic traditions. From swing-era veterans and big-band legends to modern improvisers and contemporary jazz innovators, the breadth of those collaborations speaks to both his versatility and his reputation among fellow artists. That experience is reflected throughout Laid Back, Vol.1, an album that feels informed by decades of musical encounters without ever sounding burdened by them.
The singable quality that runs through Willey’s compositions is no accident. He has described himself as “a craftsman of melody,” explaining that he writes pieces built on relatively traditional forms and structures while seeking harmonic progressions that remain stimulating for improvisers. He writes what he enjoys hearing, without chasing trends or trying to imitate anyone else. Beautiful melodies and compelling chord movements remain at the center of his musical vision, and that commitment is evident throughout the album.
What makes Laid Back, Vol.1 particularly rewarding is that its easygoing surface conceals a remarkable degree of sophistication. The music feels immediately accessible, yet beneath that accessibility lies a carefully constructed architecture and a series of finely detailed arrangements. These are not radio-friendly miniatures designed to make a quick impression before fading away. Willey allows his compositions the space they need to breathe, evolve and tell their stories.
Tracks such as “Triple Play” unfold patiently, revealing multiple chapters rather than rushing toward a conclusion. The influences are diverse, sometimes subtle, sometimes unmistakable, but they are woven together with enough confidence to form a coherent whole. Throughout the album, Willey’s trumpet serves as both narrator and vocalist, guiding listeners through melodies that remain consistently optimistic and engaging.
There are moments that evoke the atmosphere of the 1970s and 1980s, and that may be one of the album’s greatest strengths. Rather than indulging in nostalgia for its own sake, Willey draws inspiration from those decades while keeping his gaze firmly fixed on the present. The result feels less like a retro exercise and more like a conversation between past and present, one that gives the music a timeless quality.
Viewed within the broader arc of Willey’s career, Laid Back, Vol.1 feels less like a departure than a distillation. The album brings together many of the qualities that have defined his work over the years: a deep respect for melody, a command of large-ensemble writing, an openness to stylistic cross-pollination and, perhaps most importantly, a refusal to confuse complexity with depth. It is the work of a musician who no longer feels compelled to prove anything and who instead trusts the strength of his ideas and the skill of the players around him.
Ultimately, Laid Back, Vol.1 is an album built around pleasure in the best possible sense of the word. It asks very little of the listener while offering a great deal in return. Beyond its immediate appeal, it also serves as a masterclass in composition and large-ensemble arranging, demonstrating how a big band can sustain momentum, groove and melodic interest without sacrificing subtlety. There is a constant sense of movement throughout the record, a feeling that the music is always gently carrying the listener forward.
For that reason alone, I have no intention of resisting its charms. Laid Back, Vol.1 is the kind of album that reminds us that sophistication and enjoyment need not exist at opposite ends of the spectrum. Sometimes, the most accomplished music is also the most welcoming.
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, June 11th, 2026
Follow PARIS-MOVE on X
::::::::::::::::::::::::
Musicians :
Rich Willey — Trumpet, Tuba
John Swana — EVI
Carey Deadman — Trumpet
Jim Gailloreto — Flute, Soprano Sax, Alto Sax
Geof Bradfield — Tenor Sax
Steve Duncan — Trombone, Bass Trombone
Paul Mutzabaugh — Piano, Keyboard, Hammond B3 Organ
Chuck Webb — Electric Bass, Upright Bass
Felton Offard — Electric Guitar, Acoustic Guitar
Charles Heath — Drums
Rich Trelease — Percussion
Track Listing :
Laid Back (Night Life) 8:50
Triple Play 7:44
Relax & Take It Easy 8:12
Long Lost Brothers 6:17
Ladies First 7:01
That’s My Little Girl 7:02
Hip Slick & Cool 9:22
All selections written by Rich Willey
All arrangements by Wally Minko
All selections © ℗ 2026 Boptism Music BMI
Recorded January 12-15 at Palisade Studio, Chicago IL
Carey Deadman — Producer
Jim Massoth — Engineer
Bryan Clavey — Assistant Engineer
Olivia Brash — Studio Tech
Brian Schwaab — Mastering
Chris Kemp — Cover art