In Sea Henry Wolking
Release Date: March 11, 2016
Catalog #: BR8944
Format: Digital & Physical
21st Century
Big Band

In Sea

Salt Lake City Jazz Orchestra | Henry Wolking conductor

Its evident from hearing the jazz big band works of composer, arranger, conductor and trombonist Henry Wolking’s debut album on Big Round Records, IN SEA, that he effectively mixes complexity with simplicity in his jazz harmonies and colorful orchestrations that make for an exciting and memorable listening experience. The inspired solo work of band members and guest artists add to the sincere and fresh cosmopolitan character of the recording.

Performed by the Salt Lake City Jazz Orchestra (SLCJO) and conducted by Wolking, the works on this album represent Wolking’s clear direction of fusing together a number of different styles, from classical and rock to Latin and swing. Pieces such as the title track In Sea, and Sumo Mix, honor and pay tribute to iconic jazz composers and musicians of the past, including Bob Brookmeyer and Thad Jones, influential to Wolking’s compositional style. Claude Debussy’s impressionistic approach becomes a foundational element in some of these works, which Wolking interprets deftly with jazz harmonies and syncopated rhythms in pieces such as Jimbo’s Lullaby, A Piece of Cake, and Claire De Lune.

Along with his original compositions, Wolking includes arrangements of works by David Halliday, Lew Pollack, and others, illustrating how he orchestrates with the ensemble in mind, using the textures and variety of voices of the big band to create engaging grooves and captivating sections of improvisation. Many of these works go beyond the straight-ahead jazz form, incorporating shifts in mood and tempo, and introducing new ideas and conversations among the instruments seamlessly.


Hear the full album on YouTube

Track Listing & Credits

# Title Composer Performer
01 In Sea Henry Wolking Salt Lake City Jazz Orchestra | Kris Johnson, trumpet; Greg Floor, alto sax; Jay Lawrence, drums 5:55
02 Children's Corner: II. Jimbo's Lullaby (arr. H. Wolking for trombone and jazz orchestra) Claude Debussy, arr. Henry Wolking Salt Lake City Jazz Orchestra | Kevin Stout, trombone 4:33
03 A Piece of Cake Henry Wolking Salt Lake City Jazz Orchestra | Greg Floor, soprano sax; Kris Johnson, trumpet 5:36
04 Cantaloupes, Aisle 1 Henry Wolking Salt Lake City Jazz Orchestra | Brian Keegan, trombone; Brian Booth, tenor sax 5:48
05 Sumo Mix Henry Wolking Salt Lake City Jazz Orchestra | David Halliday, tenor sax; Greg Floor, soprano sax; Jay Lawrence, drums 8:00
06 Suite bergamasque: III. Claire de lune (arr. H. Wolking for clarinet and jazz orchestra) Claude Debussy, arr. Henry Wolking Salt Lake City Jazz Orchestra | Jerry Floor, clarinet 5:09
07 Home (arr. H. Wolking for jazz orchestra) David Halliday, arr. Henry Wolking Salt Lake City Jazz Orchestra | David Halliday, tenor sax; Kurt Reeder, piano 10:53
08 That's a Plenty Lew Pollack, arr. Henry Wolking Salt Lake City Jazz Orchestra | Kris Johnson, trumpet; Brian Booth, tenor sax 5:41
09 God Rest You Merry, Gentlemen Anonymous, arr. Henry Wolking Salt Lake City Jazz Orchestra | Kevin Stout, trombone 4:35
10 High Society Porter Steele, arr. Henry Wolking Salt Lake City Jazz Orchestra | Brian Booth, tenor sax; Reed LeCheminant, trumpet 4:35
11 Reverie (arr. H. Wolking for jazz orchestra) Claude Debussy, arr. Henry Wolking Salt Lake City Jazz Orchestra | Jerry Floor, clarinet; Keven Johansen, guitar 5:43
12 Rush Hour Shuffle Henry Wolking Salt Lake City Jazz Orchestra | Brian Booth, tenor sax; Reed LeCheminant, trumpet; Kevin Stout, trombone; Keven Johansen, guitar; Kurt Reeder, organ; Jay Lawrence, vibes 7:07

All tracks performed by the Salt Lake City Jazz Orchestra and arranged by Henry Wolking

All works published by Ejazzlines

All tracks recorded August  21 – 22, 2015, at Metcom Studios in Salt Lake City UT

Recording engineer Michael Greene
Session Producer Andy Happel
Additional Engineering on In SeaA Piece Of Cake, & Sumo Mix Steve Drown

All works available from

Cover art by Sam Paolini


Jerry Floor, leader

Jerry Floor alto & soprano saxes, clarinet
David Hall alto sax
Brian Booth tenor sax, flute
Scott Harris tenor sax
Keith Parietti baritone sax

Reed LeCheminant lead
Keith Davis
Evan Bateman
Scott Acton
Steve Mansfield

Bill Tole lead
Brian Keegan
Neil Hendriksen
Donn Schaefer bass trombone

Keven Johansen guitar
Kurt Reeder piano, keyboards
Denson Angulo electric and acoustic bass
Jay Lawrence drums, vibraphone

Kris Johnson trumpet
Greg Floor soprano sax
Kevin Stout trombone
David Halliday tenor sax

Executive Producer Bob Lord

Audio Director Jeff LeRoy
Production Engineer Nate Hunter

Art & Production Director Brett Picknell
Graphic Designer Ryan Harrison

A&R Chris Robinson
Marketing Specialist Morgan MacLeod

Artist Information

Henry Wolking

Henry Wolking

Composer, Trombonist

A trombonist and prolific, highly diverse composer who recently retired from The University of Utah's School of Music after nearly 40 years as Director Of Jazz Studies, Henry Wolking has found creative inspiration in writing for almost every imaginable type of large and small ensemble in classical and jazz music. His prodigious orchestral output includes symphonies, fantasies, and an overture as well as eight concertos featuring various soloists such as jazz quartet, trombone, flute, heckelphone, bassoon, contrabassoon, two pianos and horn.

Salt Lake City Jazz Orchesta (SLCJO)


The Salt Lake City Jazz Orchestra was founded in 1973 by saxophonist/clarinetist Jerry Floor and trumpeter Bill Crismon. Then known as the Floor/Crismon Big Band, the ensemble performed for conventions, parties and backed performers that came through Salt Lake City. Henry Wolking was a charter member of the band, playing lead and jazz trombone. The Floor/Crismon big band would later become known as The JAM Band and, in 2004, as an important component of the Salt Lake City International Jazz Festival, Mayor Rocky Anderson and TV host, Larry King, renamed the band, The Salt Lake City Jazz Orchestra. (SLCJO)

The SLCJO has backed many entertainers such as Seth Macfarlane, Doc Severinsen and Johnny Mathis. It has also hosted guest performers like Phil Woods, Eddie Daniels, Nancy Wilson, Clark Terry, and dozens more.

The SLCJO is Salt Lake City’s “Lab Band” as well. The band invites music students and composer/arrangers to bring their skills to the rehearsals for educational purposes. The 18 piece SLCJO is a major music force in Salt Lake City and Utah.

Greg Floor


Greg is a 3rd generation musician from Salt Lake City, UT. He is a graduate of the University of Utah where he earned his BA in Music in 1996 during Henry Wolking’s tenure as Director of the Jazz Department. Since then, Greg has been a featured soloist with the Salt Lake City Jazz Orchestra, recorded two solo CD’s as leader and many others as a sideman, taught jazz theory and improvisation at the University of Utah, Snow College, and Westminster College, backed countless artists, soloed with the Utah Symphony, and received his Master in Music from the New England Conservatory of Music. Greg and his family currently reside in Boston, MA where he performs regularly with the Boston Pops, Boston Symphony Orchestra, and the Boston Saxophone Quartet and works full-time as the Director of Admissions at Hellenic College Holy Cross Greek Orthodox School of Theology from which he graduated with his Master of Divinity in 2005.

David Halliday Saxophonist

David Halliday


California native David Halliday studied with Grammy-winning jazz sax legend, Joe Henderson as a teen. His musical travels include 46 states, 8 European countries, Puerto Rico and Cuba. He has appeared on BET, the WB show Everwood, KBYUTV, Josh Groban’s Awake Live DVD, and numerous Utah television shows, and his saxophone playing has aired on Touched By An Angel (ABC), ABC’s NBA theme, CBS, ESPN, HBO, Showtime, NFL Network, Speed TV, and many more. Halliday’s original compositions have aired on television in twenty countries worldwide. He attended Loyola in New Orleans, where he played in the legendary funk band, Galactic. His live performance credits include Josh Groban, Ben Folds, Maxwell, The Temptations, the Four Tops, Dizzy Gillespie, the Utah Symphony, and many more. Halliday serves as Associate Adjunct Professor of Saxophone at the University of Utah, and private saxophone instructor, Survey of Jazz professor, and director of the Jazz Ensemble at Westminster College. He holds a BM in Saxophone Performance with an Emphasis in Jazz Studies from BYU and an MM in Jazz Performance and Composition from the University of Utah.

Kris Johnson Trumpet

Kris Johnson


Kris Johnson is an award-winning jazz trumpeter, composer, and educator. He has appeared on an impressive list of albums including two Grammy-nominated releases: Tony Bennett’s “A Swingin’ Christmas” and Karen Clark Sheard’s “All In One”. Kris is a trumpeter and arranger with the Count Basie Orchestra. In 2013 he was featured in the standup-comedy film “Make Me Wanna Holla” starring Sinbad. Currently, Kris is the Director of Jazz Studies at the University of Utah. He received his master’s (2007) and bachelor’s (2005) degrees in Jazz Studies from Michigan State University. In 2012, Kris received an ASCAP Herb Alpert Young Jazz Composers award and was selected as one of 25 Detroit performing and literary artists to receive a Kresge Artist Fellowship. Mr. Johnson is aslo the former director of Detroit Symphony’s Civic Jazz Orchestra.

Kris Johnson Trumpet

Kevin Stout


Multi-instrumentalist Kevin Stout born in Salt Lake City, Utah,is the youngest of six siblings. He began playing and singing at an early age, and by the time he was 8, he was studying the accordion. By age 14, he was already playing multiple instruments as well as composing and arranging. At 16, he was leading his own band and arranging all of the music, studying trombone with Carson Sharp, and working as a studio bassist.

In 1978, Kevin joined BTB, a disco band based in Cincinnati, Ohio. After this group disbanded, he moved to Las Vegas to join Sidros’ Armada, and has worked with numerous acts such as Barbara Streisand, Josh Groban, and Aretha Franklin. Kevin was a member of the Four Freshmen jazz vocal group for eight years where he sang the baritone part and played trombone, guitar and bass.

Kevin and his partner, saxophonist Brian Booth have released four cd’s on the Jazzed5 label. The latest is a tribute to his home state of Utah, entitled “Color Country”. They may be found at Kevin married Linda Strohmenger in 1991 and they have four children, Abigail, Bryce, Clarissa and Dylan, all teen-agers, and a tortoise named Jay.


Many thanks to the Salt Lake City Jazz Orchestra (SLCJO) and Jerry Floor for making this recording possible. For my guest artists, words simply can’t express my deep appreciation for your involvement and sharing of your prodigiuos musical talents. During my 39 years as Director Of Jazz Studies at the University of Utah, I made many wonderful recordings of my and my students’ music. Throughout the years I’ve also had various jazz and classical works recorded by college and professional jazz ensembles and orchestras, but this is the first professional recording of an album exclusively featuring my big band compositions and arrangements. It is sort of ironic that in the four decades of teaching jazz studies, the majority of my recorded works have been for orchestra and chamber music ensembles in the classical and classical/jazz domains. Now in retirement from university teaching, I have had the time and energy to devote to making this album a reality. This is truly the album I’ve waited 40 years to record.

Most of the works were written quite recently (in the last couple years). But some, such as Rush Hour Shuffle, which was originally commissioned by the Cal State Northridge jazz band, were written as far back as 1982. I included this work because many of the performers in SLCJO are former students and they requested this particular chart. All the soloists on this tune, Kevin Stout, Brian Booth and Reed LeCheminant are former students who, like many others, became and remain close friends and colleagues. That is another reason this recording is dear to my heart. Almost everyone in the band is a former student or University colleague. I’m also very proud to have Kris Johnson, , the new University of Utah Director of Jazz Studies playing on 3 tracks. Finally I could not have done this album without the love and support of my wife, thanks Lois!

– Henry Wolking

In Sea is an up beat, joyous “through composed” piece written as a tribute to that master of jazz composition, Bob Brookmeyer. Brookmeyer’s works have highly influenced my concept of jazz composition technique and the possibilities for individualistic expression within the confines of the traditional jazz orchestra. This tribute was composed before the sad passing of this jazz titan. Bob Brookmeyer was a musician’s musician who left an indelible stamp on at least two generations of jazz composers and performers; I’m certain there will be many more.

In Sea uses “add 4” voicings, a tricky harmonic device used judiciously by Brookmeyer over many years. An add 4 voicing includes the normal avoid note 4th degree with the third in major chord configurations. Another device employed often by Brookmeyer is a sort of bubbling ostinato on unison notes with different rhythms. In Sea opens with this effect, and is followed by simple motivic snippets strung together to form miniature call and response phrases.

The title is a wordplay as the piece is essentially in the key of C, but the ending coda paraphrases a few parts of the well known tune “By The Sea”. Many thanks to guests Kris Johnson on trumpet, and Greg Floor, alto sax, for your brilliant and tasty solos.

– Henry Wolking

This quirky 4/4 lullaby by Debussy is one of six movements from “Children’s Corner” for solo piano. “Jimbo” was a misspelling of Jumbo which was a toy elephant owned by Debussy’s daughter. The lullaby is for Jumbo the elephant doll. Unlike many of his piano works, this one lays well in its original tessitura and key of Bb for jazz band instrumentation. It is a medium tempo bossa rock ballad with written and improvised solos for trombone. Many thanks to guest Kevin Stout for his remarkable impressionistic trombone solo. The harmonization follows Debussy’s own very forward thinking, as it’s based on fourths, fifths and seconds, a technique now known as ambichord harmonization. Lots of rich ensemble work interspersed with long melodic lines make for a lovely adaptation of this early gem.

– Henry Wolking

This Piece Of Cake was inspired by two of Debussy’s better known melodies from “The Children’s Corner” (the clue is in the title). The major part of this chart is in a samba groove with solos for soprano sax and trumpet. The themes are presented with turn of the century (19th -20th) idiomatic rhythms modified for 21st century tastes. An imaginative and energetic strut through the past features guests Kris Johnson on trumpet and Greg Floor on soprano sax.

– Henry Wolking

On his maiden voyage in search of cantaloupes on an enchanted isle, Captain Herb visited a floating Costco where he discovered he needen’t find an island, he could instead find cantaloupes, aisle 1. This tune is clearly a tribute to the captain and the jazz rock style he developed in the mid 20th century. Trombone solo by 1st Mate Brian Keegan definitely rocks the boat, while the tenor solo by Seaman Brian Booth is first class.

– Henry Wolking

A hard bop romp beginning with guest soloist David Halliday on an open ended unaccompanied tenor sax solo and continuing on with a joyous mix of open-ended motivic melodies accompanied by energetic rhythmic/melodic ostinati. The second solo features guest Greg Floor on soprano sax after which the chart slides into a half-time burlesque phantasmagoria. Jay Lawrence brings the chart back to reality with an energetic drum solo which sets up the last section and recap of the chart.

– Henry Wolking

This arrangement takes its orchestration directly from Debussy’s 1890 solo piano masterpiece, Suite Bergamasque, third movement. Debussy’s impressionistic harmonies are well suited for jazz harmonizations and his waltz lends itself well to a jazz waltz interpretation. The chart starts as a stately waltz that proceeds to an medium tempo jazz waltz for the solo section featuring amazing clarinet work by Jerry Floor, then returns to the original tempo for conclusion. The developmental material following the solo, closely follows Debussy’s own, and features gorgeous and lush harmonies with non contrapuntal melodies.

– Henry Wolking

This is a composition David Halliday originally recorded in New Orleans with Crescent City’s drummer Stanton Moore, San Francisco organist Wil Blades, and Utah guitarist Corey Christiansen for Halliday’s upcoming release The New Orleans Project. This very hip “hurts so good” tenor sax feature is an exquisite ballad in a non-standard form. I first heard David perform it at a University of Utah jazz concert where he was backed by a graduate jazz quartet. Like other listeners, this composition grabbed my attention, and my mind immediately started scoring it for big band. David graciously gave me permission to do it and after a few revisions this is the definitive version we both worked out. I have known and worked with David for several years, but this recording was the first time I’d worked with our extraordinary pianist Kurt Reeder. I had no idea what an incredible talent I had on keyboard until hearing his solo (a first and only take) on this cut.

I asked David to give some background information on Home. These are his words.

“The song represents the journey of life: leaving home for the first time, adventures, trials and tribulations, the resulting discipline and resolve, and finally a triumphant return ‘Home.’ I wrote the three sections of the song at different times: the ‘A’ section while an undergraduate student at Brigham Young University, the ‘B’ section a few years later while a graduate student at the University of Utah, and the triumphant, unifying ‘C’ section just before recording The New Orleans Project. Fans have responded to the song with praise, making “Home” a fan favorite at my live shows, and much to my delight, the ultimate compliment culminating in Professor Wolking’s beautiful big band adaptation.”

– Henry Wolking

This 1914 ragtime standard undergoes a 21st century transformation with an Afro/Cuban 12/8 pattern competing and alternating with tailgate two beat, and straight ahead swing four, in other words, it offers A’ Plenty of contrasting styles. Guest Kris Johnson lays down a gutsy trumpet solo in the Afro/Cuban section, and Brian Booth, a cool tenor sax solo in the swing section. This fresh, new arrangement takes a familiar tune to less familiar, but surprising places. You may never hear this song quite the same again.

– Henry Wolking

Annon Beginning with a moderate waltz chorale, this wonderful old tune finds its groove as a bossa nova alternating with a jazz waltz. Guest artist Kevin Stout sets the mood with a beautifully conceived trombone solo in the bossa style. The arrangement puts a relaxed and richly melodic spin on this favored tune of the ages.

– Henry Wolking

This arrangement of the traditional 1901 march by Porter Steele has four sections, the third section trio is what was recorded by the early jazzers and contains the melody most people are familiar with. This arrangement presents all four sections of the original march without the repeats and travels through the styles of march, swing, and finally samba, which is the feel for the main body (trio) of the arrangement. Solos are by my dear friends, colleagues, and former students, Brian Booth, tenor sax and Reed LeCheminant, trumpet.

This arrangement takes its orchestration directly from Debussy’s solo piano masterpiece, not the popular fake book lead sheet. Debussy’s impossibly difficult to forget melodies, transitions and interludes, forged in the 19th century, work exceedingly well with 20th and 21st century jazz sensibilities. Reverie, with its symmetrical phrases and 8th note ostinati make a natural fit for a laid-back bossa nova interpretation. Jerry Floor on soprano sax introduces the melody which quickly transitions to a full ensemble presentation, and then Jerry takes a beautiful and fluid clarinet solo. The chart unfolds following Debussy’s own harmonic and melodic journey. And a beautiful journey it is.

– Henry Wolking

Rush Hour Shuffle was commissioned by the Cal State Northridge band for a premiere performance at the Pacific Coast Collegiate Jazz Festival at Berkeley California. Director Joel Leach requested a sort of LA hip, laid-back, post Steely Dan chart that would also be strong enough for a centerpiece performance at a major festival. He got it. This 2013 revision is slightly different from the original in that the opening flute choral has been deleted, and the shout chorus has been somewhat simplified. It is gratifying that all the horn and guitar solos are performed by former students who played in my university bands about the same time this chart was written. My thanks to Brian Booth-tenor sax, Reed LeCheminant-trumpet, guest Kevin Stout-trombone, Keven Johansen-guitar, Kurt Reeder-keyboards, and Jay Lawrence for laying down the vibraphone track.

– Henry Wolking


In Sea (excerpt)

Henry Wolking

Jimbo’s Lullaby

Claude Debussy

A Piece of Cake (excerpt)

Henry Wolking

Cantaloupes, Aisle 1 (excerpt)

Henry Wolking

Sumo Mix (excerpt)

Henry Wolking

Claire De Lune (excerpt)

Claude Debussy

Home (excerpt)

David Halliday

That’s A’Plenty (excerpt)

Lew Pollack

God Rest Ye Merry Gentleman (excerpt)


High Society (excerpt)

Porter Steele

Reverie (excerpt)

Claude Debussy

Rush Hour Shuffle (excerpt)

Henry Wolking


“In Sea” Henry Wolking, Salt Lake City Jazz Orchestra

“Reverie” Henry Wolking, Salt Lake City Jazz Orchestra