Angela O’Neill: Achieving the Big Bumpin’ Bad Big Band Sound

By Susan Frances

The big band format is one of the founding fathers of jazz. Its origins can be traced to the turn of the century, during the early 1900s, reaching its peak through the 1940s. The impetus for creating the big band sound spawned from filling the dance halls and ballrooms that emerged in the first half of the 20th century. The music invited people onto the dance floor. Growing up in California, singer-songwriter and bandleader Angela O’Neill was weaned on the big band sound rising out of the nightlife of San Francisco and the Hollywood studios in Los Angeles.

 

 She speaks about her connection to jazz through her childhood, examining, “I think I’m attracted to jazz because I was very impacted by my parents’ taste in music. In the afternoons, after school at our house, my Dad, Emmett, who was a history teacher, would be correcting papers, and every afternoon he was the family DJ!! He played Buddy Rich and Stan Kenton, and Errol Garner and Judy Garland.” 

 

 “My Mom,” she describes, “tended to like the musical theater music more, and my Dad seemed to gravitate to the more edgy jazz sounds. They both came out of the San Francisco jazz clubs in the 1950s, where they heard Buddy Rich and my Mom’s fav, Carmen Macrae, in jazz clubs in the City. Later on, when I had the chance to sing jazz, all of those artists felt very familiar to me, like long-lost friends.”

 

 “I have always loved singing,” she admits. “My family calls me LALA to this day. I never stop humming. I played guitar when I was a kid and sang. I would sing with neighbor’s bands in my teens.”

 

 “I ended up in Music,” she explains, “because in 3rd grade, I started playing the oboe, and I played classical music well into my 20’s, and music is an easy mix with acting. Ironically, those singing opportunities were more available than oboe playing at that time, and I found that my storytelling/acting skills could be applied as a singer. That was so satisfying.”

 

 Her jump into the jazz milieu was solidified during her time at the University of California in Los Angeles (UCLA) when she entered the college’s theater program. She documents how she made the transition. “UCLA’s theater program is soooo amazing,” she remarks. “I still cannot believe that coming from a small town in Northern California, I got into that program. I think studying theater and performance would enhance what anyone does for a living. Being relaxed, speaking in front of people, especially if you Zoom a lot these days, is a really helpful skill.”

 Discovering what made her soul thrive set her on the path to forming her own big band, an octet dubbed the Octrageous8, ascending in 2014. They released their debut recording Live at the Mixx in 2019. Their debut was followed by three more offerings, Quarantunes in 2020, Home for the Holidays also in 2020, and Light at the End of the Tunnel in 2022.

 

 She looks back at what motivated her to become a lead singer supported by an octet. “A couple of years ago,” she begins, “while living in Los Angeles, I was approached by a company to sing at convalescent homes for free for those places that didn’t have a budget for entertainment. I loved the idea of entertaining older folks, and that is actually what started me on my Jazz Journey and also where I met Al Timss.”

 

 “After that,” she earmarks, “through the players that I volunteered with, I discovered 17-piece big bands and started listening to them. Finally, sitting in with them a terrifying experience at first, but I really liked the feel of that kind of music. To me, Big Band is the Rock and Roll of Jazz. It is just SOOO BUMPIN’. I love that sound!”

 

 The pursuit to create a big bumpin’ bad big band sound was born. With this goal in mind, O’Neill took steps to achieve her objective, recalling, “During the course of sitting in with the Big Bands, I had been talking to a few of the guys, and I was fascinated by the history of those players. People who played with Ella, with Ray Charles, and toured with Stan Kenton…unbelievable. I was in AWE, and I was shocked to know how few gigs the big bands actually got today and how few paid.” 

 

 “That was the same moment that I actually ran into Harry Smallenburg,” she cites, “trombone player/arranger/producer for the Outrageous8! I adored a couple of arrangements that he had created for the Big Bands, and we got to talking. I asked him if we should put together a smaller group to fit into the venues and hopefully pay the musicians!! And, really, it just kept rolling from there.”

 

 She recollects, “Sam Morgan, on tenor, was the next player I approached. He loved the idea and became our Musical Director. The name of the band was inspired by those cool bands of the 50s and 60s that had very Vegassy names like that. It just had a nice alliterative feel for me, and frankly, I wanted to be a bit OUTRAGEOUS!”

 

 “As far as why we didn’t choose the oboe in the octet,” the classical instrument she learned to play in grade school, she responds, “the oboe is a really specialized sound. I can’t say that I’ve ever seen one in a Big Band, and I chose the instrumentation in the 8 octet, by that desire for that Big Bumpin Bad Big Band sound.”

 

 O’Neill stayed true to a specific image she had for her octet, illustrating, “Instead of having a 2nd trumpet as many octets do, we have a baritone sax, which gives it that Big Bottom played so wonderfully by Richard Walker [who is] also, a founding member of the band, along with Ron Cyger on alto and Paul Litteral on trumpet. All those folks were at the very first rehearsal in 2014, along with Al Timss, who is our male vocalist and live sound engineer.”

 

 With her accompaniment in place, Angela O’Neill had to decide the songs she would sing, which demanded she had arrangers who could bring out her vocal strengths. Trombonist Harry Smallenburg and keyboardist Rocky Davis stepped forward to co-arrange tracks with her while tenor saxophonist Sam Morgan accepted the role of Music Director. Rounding out the octet is “Hollywood Paul” Paul Litteral on trumpet, Ron Cyger on soprano saxophone, clarinet, and flute as well being the band’s librarian, Rich Walker on baritone saxophone and flute, Phil Romo on electric and upright bass, and Tony “Boom Boom” Pia and Michael Rosen alternately on drums.

 

 “It is beyond a euphoric experience,” she stipulates, “being a part of a new arrangement with Harry Smallenburg and with Rocky Davis. The workflow we have is, if they feel inspired by a tune, they approach me, and we talk a little bit about key. If I’m inspired, I approach them and ask if they would be interested in trying an arrangement.” 

 

 She adds, “They also arrange for Al Timss, Jackie Gibson, and Kathryn Hopkins.” 

 

 “When we began,” she recounts, “we truly ONLY had like two Harry arrangements and the rest were take-downs of other artists’ arrangements. Over the course of the years, we have eliminated almost ALL of the non-Harry/Rocky arrangements.” 

 

 “Harry and Rocky are soooo talented and so prolific,” she praises, “they are truly sublime. Arrangements you’ll only hear played at the A08!”

 

 “The job assignments in the A08 are pretty loose,” she proclaims. “Everyone in the band is soooo eager to help. And so inspired, and so talented, and SOOO hardworking, it feels easy.”

 

 She addresses, “Sam Morgan is the Music Director, and I work very closely on the set lists. He advises on tempo. He has the loudest snap in the biz. He works on our dynamics. He rehearses the band through difficult passages, gives input on potential adjustments to arrangements, and runs the live shows while I’m upfront talking and shaking down the club owners for payment,” she chortles.

 

 “Part of the fun of the Outrageous8,” she admires, “is that it truly is a team. Al Timss and I sing a lot of duets, and our other guest singers, Jackie Gibson, who is also our booker, and Kathryn Hopkins, who is also our marketing manager, make it a really fun ensemble experience.” 

 

 “Anna Armstrong, Rich’s wife,” she notes, “sells our merchandise at our live shows. It is our musical family, and I’m so lucky to have such a fun family who gets along, and loves, and supports each other.”

 

 On December 11, 2022, O’Neill and the Outrageous8 performed in a local Los Angeles restaurant, Vitellos. The circuit of supper clubs and nightclubs around Los Angeles have proven to be fertile ground for the band, as she characterizes, “The musical culture in Los Angeles is very inspiring. When you think about the acts through the ages who have played in this City and the bench of talent is soooo deep in LA, I’m blown away.”

 

 “So many great bands, so much great music of ALL kinds,” she propounds about the LA music scene. “I have had some not-so-good experiences, but I’ve also had some miraculous experiences.”

 

 Combing through her memory bank of lives shows that stood out for her; she regards one that, against the odds, fate worked in her favor, as she provides some background information about the experience, “When I was first sitting in with Big Bands, I used to sing with Dr. Woody James Wednesday Big Band, which played at a convalescent home in Van Nuys. I adored Woody for that opportunity, but he liked to turn his phone off, and I did not have the correct address of the gig. I had escaped from work for just an hour to sing with the band.” 

 

 “I was sobbing and horribly lost and now LATE for the band,” she remembers. “I had NO phone numbers for anyone. And no way to find the spot. I really don’t like getting lost,” she confesses. 

 

 “In desperation,” she thinks back, “I Facebook messaged the trumpet player in that band, Bill Bodine, whom I had only met ONCE. Bill calmly and clearly explained where they were and chuckled at Woody’s penchant for turning his phone off. I’ve never forgotten that simple act of kindness and compassion. Bill didn’t know me and had no reason to help me, but he did. I was and am so grateful.” 

 

 “In a fantastic turn of events,” she raves, “Bill Bodine is now my producing partner at Outrageou8 records and produced Light at the End of the Tunnel, which took FOREVER. Thus, the name with #daboyz and I, with his son Bchill Bodine doing the vocal production. Harry Smallenburg and Bill Jackson are producing along with us. Al Timss was also one of our producers on Home for the Holidays.”

 

 Prior to releasing Home for the Holidays and Light at the End of the Tunnel, Angela O’Neill and the Outrageous8 recorded Quarantunes, a recording spurred by the lockdowns due to the COVID-19 restrictions worldwide. She prefixes, “March 13 is my birthday. But, March 13, 2020, is the very day that Covid shut everything in Los Angeles down. I’ll forever remember that on my birthday.” 

 

 “I mean, nobody has practice in dealing with a global pandemic,” she observes, “and it was very scary. I remember calling the band members to talk about how to go forward. Finally, one of us might have been Ron or Kathryn, who recommended Zoom. So every Wednesday night at 7 pm, during the entire shutdown, the whole band jumped on Zoom, and we talked about our projects and how to push through with no contact!”

 

 “Firstly,” she details, “we would email out the arrangement to the 8. Then, we’d discuss with Michael Rosen how to record on our phones from home. Then, how to technically accomplish that. Then Michael took those cell phone tracks. He’s a SUPER genius,” she complimented, “and separated the audio and mixed it. And then, he took the video and cut that into a video.”

 

 “PHEW,” she exclaimed, “it was exhausting but kept us happily busy during the shutdown. Then, Michael and I mixed those couple tunes with a couple of remixes into a record that we entitled Quarantunes.” 

 

 She imparts, “What we learned as a band about ourselves is that there is not a weak link. Everyone in team Outrageous8 is dedicated, cares about their fellow bandmates, and through all of it, there was no in-fighting. We spoke honestly with each other and made sure everyone was taken care of and safe.”

 

 Also in 2020, the band released their holiday effort Home for the Holidays. She classifies, “The Home for the Holidays record was truly a democratic process. I mean, we started working on our Christmas book in 2014, building originals to play live. Everything that we record, we workshop repeatedly at rehearsal, then perform in live and rehearse it ten more times, and then as a group. If we decide it resonates and there’s magic there, it gets chosen for the record that truly was the workflow on this one.”

 “When we think about Christmas music,” she discerns, “I think the classic piece are ALL big band and jazz. It’s kind of a natural for Jazzy Big Band to do Holiday music, and Harry’s and Rocky’s original arrangement makes it one of a kind Xmas experience.”

 Turning to the band’s latest release in 2022, O’Neill provides, “Light at the End of the Tunnel was recorded live in Al Timss backyard, prior to any of us safely doing music inside. It was a hot two weeks of rehearsal prior and a very hot three days of recording, where we struggled against the elements to record and not expire from the heat.”

 “Every tune on the record somehow has a theme about surviving Covid,” she shares. “I figured people became a little TOO ‘accustomed’ to each other’s faces during Covid.” 

 “‘Come Rain, Come Shine,'” she singles out from the recording, “well, can you love each other under the worst of circumstances, etc.?” 

 “The theme is surviving difficult circumstances,” she embraces, highlighting the track “In A New York Minute,’ in particular, [is] a tribute to a friend that died from Covid, Mary Ianichhierri, who was an incredible friend to the band. Always brought the band food, loved to sit in on our rehearsals, LOVED LOVED music! Brought her grandkids to our shows and danced around in the back. The whole band adored her. I had heard she was sick on a Sunday. I texted her. She said she was feeling better, and she passed that Wednesday morning…in a New York minute. She was there, and then she was gone.”

 “The lyrics of that song,” she expresses mindfully, “are scarily relevant with a heartwrenching arrangement by Rocky Davis and trumpet feature by Paul Litteral, and tenor played by Sam Morgan. I’m so thankful to have known Mary, and to remember her in music is something she would have liked.”

 “I adored my friend Mary Ianichierri,” she professes. “We were close friends, and she was such a generous and joyous spirit, and that cut is dedicated to her and her deep love of music. 

  She explores how she discovered the song “In A New York Minute,” specifying, “I heard Don Henley cover his song, and was soooo struck by the beauty of those lyrics. An absolutely brilliant treatment to me of so much we find in modern times. People feeling so unsupported and alienated. This arrangement by Rocky Davis and the lyrics just resonated so deeply with me. It feels like all the compassion in the world in one song. We have to watch out for each other, really look in other’s eyes, really care, because they could be…gone.”

 “It was a hard and jarring experience for me,” she reveals. “When we went into the studio to re-do that vocal, I didn’t do a great take on the live track. I was entirely dependent on Bill Bodine producing and his son Bchill Bodine engineering and mixing that track. The three of us met, and I explained the emotional meaning of this cut. When they looked at me, I knew they got it. Bill pushed me, as a vocalist, to really capture the emotional moment…thank you, Bill.”

 She illuminates, “Bill is married to lauded angelic vocalist Beth Andersen, so he has a deep understanding of how to produce vocals.”

 Another track from Light at the End of the Tunnel that continues the theme of surviving difficult circumstances is “Gonna Live Til I Die,” featuring singer Al Timss. She purports, “Al Timss has a great feel for swingy Big Band tunes, and ‘Gonna Live Til I Die’ is NO exception. Jackie Gibson dubbed him THE DUKE OF SMOOTH, and he truly is. As I noted above, Al and I met volunteering to sing for rest homes, and we’ve been singing together ever since.” 

 “Also, please note,” she adds, “a GREAT track of ‘On A Clear Day,’ an amazing arrangement by Harry and sung by Bill A Jones! We are so lucky to have Bill and Jackie singing ‘It Might As Well Be Spring’ on this record.” Each tune follows the theme of surviving difficult circumstances by holding onto hope and optimism.

 “I couldn’t have done any growing,” she concludes ardently, “without the participation of the Outrageous8. It is a team sport. Music is, and I’m so inspired by all the musicians that I work with, their talent and hard work.”

 “I’ve grown to realize,” she determines from working with her bandmates and being exposed to their talent and hard work, “I really just enhance that. As a frontwoman, I’m so grateful to those folks who truly support music. I’ve grown in my awareness of our incredible fans and audience. That is what I’m thinking when I look out into the audience. How much effort and money it takes to go out to a live show, to get yourself together and show up.”

 “I don’t think I used to have such a deep understanding of that from the clubs that struggle to stay afloat in these difficult times,” she considers. “To each person who shows up, I hope to create an entertaining and REAL, and sometimes deep experience, for all of those involved.” 

 “Also, as a front woman,” she asserts, “I feel very protective of the singers and players. I’m not sure that people realize how expensive it is to be a musician, and I really try to create a culture of respect for musicianship. It is hard work to be at the great level of playing that #daboyz are. As we say, no magic, just practice, EVERY WEDNESDAY.”

  When Angela O’Neill is not working on her music, her leisure time is spent “Makin movies!” She declares, “I started Propmastering 27 years ago, after I segued out of acting because of my fascination for how movies are made. I’m still fascinated to this day!”

 She affirms, “I adore my family, my sister Macella O’Neill, my brother-in-law Charlie and my Mom Cara. Cara is still listening and enjoying the music. I love tennis and the ocean, which brings me great peace, serenity, and cleansing.”

 The big bumpin’ bad big band sound called to Angela O’Neill in her childhood and remains a visceral part of her soul. Her roots in California fostered an affinity for jazz, and her solo efforts solidified her place as a striking jazz vocalist. Her pursuit of the big bumpin’ bad big band sound strengthened her resolve to overcome struggles and has carved a place for herself and the Outrageous8 on the big band landscape in perpetuity. Surviving difficult circumstances is a theme of O’Neill and the Outrageous8’s music, and their ability to lift themselves out of the storm continues to be a relevant theme in their big bumpin’ bad big band sound.

Angela O’Neill Website

About Susan Frances:

Born in Brooklyn, New York and raised in eastern Long Island, I always enjoyed writing and made several contributions to my high school literary magazine, The Lion’s Pen. Influenced by writers of epic novels including Colleen McCullough and James Clavell, I gravitated to creative writing. After graduating from New York University with a BA in Liberal Arts, I tried my hand at conventional jobs but always returned to creative writing. Since 1998, I have been a freelance writer and have over three thousand articles to various e-zines including: Jazz Times, Blogcritics, Yahoo Voices, Goodreads.com, Authors and Books (books.wiseto.com), TheReadingRoom.com, Amazon.com, Epinions.com, Fictiondb.com, LibraryThing.com, BTS emag, BarnesandNoble.com, RomanticHistoricalReviews.com, AReCafe.com, Hybrid Magazine, and BookDepository.com. In 2013 and 2014, I was a judge in the Orange Rose Writing Competition sponsored by the Orange County chapter of the Romance Writers of America located in Brea, California.

Paul Litteral’s debut album, Legacy, released under Outrageous8 Records, is an introduction and documentation to his expansive career, showcasing his remarkable skills as a trumpeter and his ability to blend various musical genres into a jazz atmosphere that is musical and elegant.

Having performed on over 150 albums and shared the stage with music icons such as the Rolling Stones, Ray Charles, and James Brown, Litteral, also known as “Hollywood Paul,” brings his ear melody and his vast performance experiences to craft a set of eleven songs with a rotating roster of outstanding musicians.

The album opens with a captivating arrangement of David “Fathead” Newman’s “Hard Times,” a nod to Litteral’s past with the Uptown Horns. His solo in this piece illustrates his warm sound and melodic concept, rich in the jazz tradition and all shaped by his elegant and nuanced articulations. Bill Bodine’s arrangement brings new life into this pleasing composition and gives Litteral plenty of space to show his trumpet craft.

One of the album’s many standouts, a rendition of Bonnie Raitt’s “I Can’t Make You Love Me,” features the hauntingly beautiful vocals of Angela Mae O’Neill, paired with Litteral’s evocative trumpet playing. The arrangement is imaginative and stirring; both O’Neill and Litteral find musical gems to bring out in the melody that makes this an exemplary jazz arrangement and also shows the songwriting skills of Raitt’s music in its universal appeal and construction.

A striking feature of Legacy is its inventive fusion of jazz and rock. With his lyrical playing and ability to sculpt strong jazz melodies, Litteral infuses fresh energy into various tunes, stretching the boundaries of traditional jazz. His interpretation of songs is not confined to the jazz genre; he confidently strides into the realm of rock, drawing from its energy and rhythm.

Legacy is a rich tapestry woven with threads of both old and new songs. The joyous rendition of “Accentuate The Positive” is a testament to Litteral’s penchant for the classics. Yet, he is not one to shy away from exploring beyond the familiar. His vibrant reinterpretation of Steely Dan’s “Do It Again” and the Eagles’ “Desperado” illustrates his ability to serve and transform the music.

Rather than using these rock staples to flaunt his formidable trumpet skills, Litteral brilliantly intertwines them with the jazz idiom. His playing on these tracks is successful because of his musical adaptation, demonstrating how rock anthems can be reimagined within a jazz framework without losing their original spirit. In doing so, he establishes a creative dialogue between genres, confirming his reputation as a versatile musician capable of pushing the boundaries of jazz.

This fresh approach underscores the essence of Litteral’s artistry: his capability to transcend the traditional genre limitations and shape an immersive musical experience that resonates with a broad audience. This fusion of rock and jazz in Legacy is not merely a stylistic choice but a reflection of Litteral’s musical journey and his ability to innovate within the jazz landscape.

Legacy is a solid introduction to the rich anthology of Litteral’s illustrious career, weaving together standout tracks and extraordinary performances that encapsulate his enduring gift for music. With his debut as a leader, Litteral brings us a jubilant ride through a jazz landscape that’s been amplified and enlivened, offering an experience that’s as danceable as it is joyful. His talent shines through in every beat, every note, and every arrangement, illuminating the unique musical voice that sets him apart in the jazz scene.

Moreover, Legacy shows an artist stepping into the spotlight with the ability to shape and define his musical path. He’s not just a trumpeter, but uses his abilities to craft unique and evocative soundscapes that promise a continuing successful journey within the realm of collaborative musical exploration. This album shows Litteral’s musical vision, beginning an exciting new chapter in his already impressive musical journey. So, if you’re a fan of genre-bending jazz or just curious about what a fusion of jazz and rock sounds like, give Legacy a spin. It’s sure to be a rewarding listen.

Album Review: Light at the End of the Tunnel from Angela O'Neill and the Outrageous8

- July 17, 2022

Read the original post here.

Light at the End of the Tunnel, the third release from Angela O’Neill and the Outrageous8 is so pristinely polished that its sonic shine is palpable.  Containing arrangements from Harry Smallenburg and Rocky Davis and produced by O'Neill and her bass player Bill Bodine, the recording is performed by an all-star team of Los Angeles session musicians and engineers.  From the swinging play of "I'm Gonna Live Till I Die," sung by Al Timss, to the torchlight glisten of "Come Rain, Come Shine," helmed by Angela O'Neill on lead vocals, the jazz-soaked palette has a traditional glint that fuels this endeavor.

The Latin tint in the rhythmic beats of "Now and Again" resonates a big band flurry as the frolicking jaunts of the saxophones and Smallenburg's trombone entwine, supplemented by the ruffling chatter of Rocky Davis's keys.  O'Neill's reimagination of "New York Minute" enhances this iconic tune written by Don Henley, Danny Kortchmar, and Jai Winding, drawing the listener's attention to the full impact of the lyrics as she narrates, "Harry got up / all dressed in black / went down to the station / but he never came back / they found his clothing scattered somewhere down the track / and he won't be down on Wall Street in the morning / he had a home / love of a girl / but men get lost sometimes / as years unfurl... what the head makes cloudy / the heart makes very clear / the days were so much brighter / in the times that she was here / I know that somebody somewhere is gonna make these dark clouds disappear / and until that day / I believe / in the New York minute / everything can change."  Her cover induces deep contemplation with the interlude of the flute and saxophone swirls keeping the listener pinned to the melody.

The mood turns bright again with "On A Clear Day," featuring the clarion tone of Bill A. Jones's vocals then traversing into "Hallelujah I Love Him," hinged to a jumping boogie woogie groove that moves the track briskly.  The Latin swing shimmy of "It Might As Well Be Spring" travels with a sensual gait as Jackie Gibson's vocals saunter sprightly across the melodic progressions.  The recording closes with "When The Sun Comes Out" showcasing a showtunes-like theatric in O'Neill's vocal swagger.

Light at the End of the Tunnel offers a jazz experience in its traditional mode with all of the musicians in the Outrageous8 veterans of the Los Angeles jazz and big-band scene.  From Latin and American swing to big band sizzles and torchlight simmers, the recording celebrates the jazz palette's traditions, giving them a refreshing sound.

Musicians:
Angela O’Neill - bandleader and vocals
Sam Morgan - tenor sax and music director
Ron Cyger - alto sax, soprano sax, flute, and clarinet
Rich Walker - baritone sax and flute
Paul Litteral - trumpet
Harry Smallenburg - trombone and arranger
Rocky Davis - piano and arranger
Bill Bodine - electric bass and producing partner
Tony Pia - drums
Michael Rosen - harmonica on "Hallelujah I Love Him"
Al Timss - vocals on "I'm Gonna Live 'Till I Die"
Bill A. Jones - vocals on "On A Clear Day"
Jackie Gibson - vocals on "It Might As Well Be Spring," backing vox on "Hallelujah I Love Him"
William BChill Bodine - backing vox on "Hallelujah I Love Him"
Beth Anderson - backing vox on "Hallelujah I Love Him"
Kathryn Hopkins - Marketing Manager

Light at the end of the tunnel review by michael doherty

Angela O’Neill And The Outrageous 8: “Light At The End Of The Tunnel” – The title of this one is of course appealing for all of us who keep hoping for a glimpse of that light. After two years of a pandemic, and the ongoing troubles caused by the previous administration, we are eager for such a light, which at times seems to be just around the bend. Well, this band is doing its part to will that light into existence with this wonderful album. The disc opens with “I’ve Grown Accustomed To His Face,” and in the liner notes they joke how during the lockdown people became very accustomed to each other’s faces. That’s followed by a fantastic rendition of “Cry Me A River,” featuring a strong vocal performance and a lot of great stuff from the brass section. It is certainly one of the disc’s highlights.

The band, by the way, is made up of Angela O’Neill on vocals; Sam Morgan on tenor saxophone; Ron Cyger on alto saxophone, soprano saxophone, flute and clarinet; Rich Walker on baritone saxophone and flute; Paul Litteral on trumpet and flugelhorn; Harry Smallenburg on trombone; Rocky Davis on piano; Bill Bodine on electric bass; and Tony Pia on drums. There are also some guests on various tracks.

This group delivers a really good version of “Come Rain, Come Shine,” a perfect choice of songs for a time when, figuratively speaking, it’s been mostly rain. The energy is then pumped up for “I’m Gonna Live Till I Die,” featuring guest vocalist Al Timss. Another great choice for these troubled times. That’s followed by “Now And Again,” the album’s only instrumental track. Death has been on my mind lately, and “New York Minute” hits me kind of hard. Check out these lines: “And in these days when darkness falls early/And people rush home to the ones they love/You’d better take a fool’s advice, and take care of your own/Because one day they’re here, the next day they’re gone.” Then Bill A. Jones joins the group on vocals for a spirited rendition of “On A Clear Day You Can See Forever.” Another of this release’s highlights is “Hallelujah I Love Him So,” which features Beth Anderson and Jackie Gibson joining Angela O’Neill on vocals, and includes some good work on harmonica by guest musician Michael Rosen. Jackie Gibson then takes lead vocal duties on “It Might As Well Be Spring.” The group wraps things up with “When The Sun Comes Out.” This album was released on May 21, 2022.

album review - scott yanow

light at the end of the tunnel by outrageous8 records

Angela O’Neill, a spirited singer who always swings, formed the Outrageous8 in 2015. Their debut recording was Live At The VFW and, during the same period when they recorded their Home For The Holidays CD, they documented the music for Light At The End Of The Tunnel.

The Outrageous8 is comprised of top studio musicians who have a real feeling for swinging jazz and have quite a range of experience. Angela O’Neill was originally an oboe player before falling in love with big band jazz, switching her focus to singing and founding the Outrageous8. Tenor-saxophonist Sam Morgan (the band’s musical director) is joined in the saxophone section by the versatile altoist Ron Cyger and baritonist Richard Walker (a veteran of many big bands). Trumpeter Paul Litteral worked with quite a few major names including the Rolling Stones, John Mayall, Keb’Mo’ and Debbie Harry. Trombonist-arranger Harry Smallenberg has performed with many top big bands (including those led by Kim Richmond and Roger Neumann) and doubles on the vibraphone. Pianist-arranger Rocky Davis has composed quite a few scores for television and films and worked as musical director for Dionne Warwick. The band’s regular bassist Phil Romo is a greatly in-demand teacher. Bill Bodine, who produced the project, subbed for Romo and has played with such notables as Van Morrison, Joan Armatrading, Cher, Hampton Hawes and Sergio Mendez just to name a few. Drummer Tony Pia has worked with Pepper Adams, Mose Allison, Frank Sinatra Jr, Maynard Ferguson and the Doobie Brothers.

The title of this release has a definite meaning for the music was recorded in singer Al Timss’ backyard (with social distancing) on two hot summer days in 2021 during the height of the COVID pandemic. The music and the vaccine were the lights that allowed the performers to feel optimistic about the future.

The results are surprisingly well recorded and consistently joyful. While the band is an octet, the arrangements of trombonist Harry Smallenburg (with two by pianist Rocky Davis and one from Dan West) make the ensembles sound like a big band. Guest singers Al Timss (on an uptempo “I’m Gonna Live Till I Die”), Bill A. Jones (taking a friendly vocal during a cooking version of “On A Clear Day”) and Jackie Gibson (showcased on a bossa nova flavored rendition of “It Might As Well Be Spring”) have one feature apiece and the band gets Smallenburg’s complex but catchy jazz waltz “Now And Again” as an instrumental.

The other six songs feature Angela O’Neill interacting with and soaring above the band’s powerful ensembles. She sounds quite strong on a danceable version of “I’ve Grown Accustomed To His Face,” an assertive “Cry Me A River,” and an expressive “Come Rain Or Come Shine” which ends quite triumphantly. Her enthusiasm is particularly infectious during ‘Hallelujah I Love Him So.”

The most touching performance is on “New York Minute,” a tribute to the many who did not make through the pandemic, particularly two friends of the band (Mary Iannicchieri and Leslie Carol Warren). The lyrics are about how life can zip by so fast. Angela O’Neill’s heartfelt singing makes this number the highpoint of the CD.

The set concludes with a bluesy “When The Sun Comes Out.” It is a fitting finish to this very satisfying and enjoyable release since the light at the end of the COVID tunnel is shining much brighter these days.

Scott Yanow, jazz journalist/historian

JAZZ AROUND TOWN
by Scott Yanow

ANGELA O’NEILL’S OUTRAGEOUS 8 AT FEINSTEIN’S AT VITELLO’S

16 months ago, Angela O’Neill and the Outrageous 8 were scheduled to perform at Feinstein’s at Vitello’s but then the pandemic shut everything down. Recently they made their triumphant comeback, playing a Saturday brunch at Vitello’s that was full of joyful spirits. I saw the LiveStream performance.

Singer Angela O’Neill led a group consisting of trumpeter-flugelhornist Paul Litteral, trombonist Harry Smallenburg (who contributed many of the arrangements), altoist Ron Cyger, tenor-saxophonist Sam Morgan, baritonist Richard Walker (doubling on flute), pianist-arranger Rocky Davis, bassist Phil Romo, and drummer Tony Pia. The Outrageous 8 opened by performing a Latin-flavored instrumental (“Samba For Sammy”) by the trombonist that effectively introduced the band. Then they welcomed their first of three guests as Kathryn Hopkins and Angela O’Neill harmonized together quite well on a version of “Sentimental Journey.”

The leader displayed her strong voice on “Summertime,” swung hard with the band on the Nat King Cole hit “L-O-V-E,” and put plenty of passion into “Come Rain Or Come Shine.” This trio of standards had some of the most enjoyable singing of the afternoon and served as a fine mini-set.

Next it was time for more of the guests. Kathryn Hopkins returned for a nice version of “Skylark,” Al Timss put plenty of personality into “I’m Going To Live Until I Die” and “Come Fly With Me,” and Jackie Gibson joined Timms as background singers behind the leader on “Hallelujah, I Love Him So.” Jackie Gibson also had a feature, taking “It Might As Well Be Spring” as a fast bossa.

Angela O’Neill closed the show with a heartfelt “I’ve Grown Accustomed To Your Face,” a soulful “When The Sun Goes Down,” more swinging on “Almost Like Being In Love,” and finally a folk/rock piece (“New York Minute”) that had a particularly inventive arrangement.

All in all it was a highly enjoyable and fun afternoon. Angela O’Neill and the Outrageous 8 will be back at Feinstein’s at Vitello’s with an entirely different show on Aug. 29.

Angela O’Neill and the Outrageous 8

Home For The Holidays

Angela O’Neill and her Outrageous 8 perform 14 beloved Christmas songs on their latest outing. Ms. O’Neill grew up in a musical family and originally studied classical music, playing oboe, flute and saxophone. In high school she became very attracted to swinging jazz and developed a love for singing with big bands. In recent times she has sung with the Angel City Big Band and the Woody James Orchestra. In 2017 she formed the Outrageous 8 and they soon made their debut recording Live at the VW.

Many of the best Christmas albums have been recorded during the heat of summer and Home For The Holidays is no exception. In August in the midst of the Covid pandemic, somehow bandleader Angela O’Neill was able to gather together the members of the Outrageous 8 in the backyard of Al Timss (with social distancing of course) and record this entire album during two warm days, without any editing or overdubbing.

With the inventive arrangements of trombonist Harry Smallenburg (other than “The Christmas Song” which was arranged by Rocky Davis), the eight instrumentalists sound very much like a big band, clearly inspiring the leader and her two guest vocalists Al Timss and Jackie Gibson. “I’ve Got My Love To Keep Me Warm” serves as a happy beginning, introducing Angela O’Neill’s strong and attractive voice (which has a wide range) and the complementary horns. “Feliz Navidad,” which is always a joyful song, is heard in a charming version that features the two guest singers. “Silent Night” is given a respectful and lightly swinging treatment while “Winter Weather,” a lesser-known but infectious song that was performed in the 1950s by Bing Crosby and Peggy Lee, receives a welcome revival.

Jackie Gibson is featured on “Jingle Bells,” Angela O’Neill is showcased on a heartfelt version of “The Christmas Song,” and “Baby It’s Cold Outside” is heard in an energetic and playful rendition by Angela and Al Timss. The Outrageous 8 gets to cut loose a bit during instrumental versions of “Funky Drummer Boy” and “We Three Kings” (renamed “We Be Kings”) with several of the horn players (most notably baritonist Richard Walker) taking concise solos. Al Timss’ warm voice is heard at its best on “Blue Christmas,” “Let It Snow” is given a brief and witty version, and “Silver Bells” has all three singers joining in; the waltz shifts to 4/4 time for its instrumental section. Angela and Al Timss create another memorable duet on “Winter Wonderland” before the set concludes with “Rudolph’s Mindfulness,” an inventive reworking of “Rudolph the Red-Nosed Reindeer.”

Home For The Holidays is a delightful and creative set of Yuletide favorites that is sure to be a hit during every Christmas season.

Scott Yanow,

Jazz Journalist/Historian

Overall Impression:
Angela O'Neill and the Outrageous8 deliver their own rendition of a classic and well-loved hit - pouring their creative efforts and carefully crafted dissonances into the often-covered "For All We Know"! Marked by intentionally warped harmonic movements, "For All We Know" experiences a Jazzy modernization at the hands of the Outrageous8, taking unusual turns and measured microtonal steps while Angela O'Neill's sonorous voice maintains the familiar melody with ease!


Strongest Point(s):
The use of dissonance and resolution throughout the development of the song really helps keep an ebb and flow of tension and release. Well-selected tones in the bass and keys work well with O'Neill's voice to anchor the experience in the familiar while the winds explore a more tonally rich and unusual approach to the harmony - disorienting listeners before sliding into stability in a satisfying way. Angela O'Neill has a marvelous voice, and carries the central most appealing element of this sound. Really lovely work!


Target Audience Appeal:
The adventurous and seasoned listener will be able to hear the intentionality in what the Outrageous8 have assigned to this classic tune, while Angela O'Neill's performance promises to find warm reception among any who enjoy Jazz and Jazz-adjacent genres of female vocalization - making the unit's take on "For All We Know" a track with specific, but memorable appeal! Perhaps not for everyone, but for those with a penchant for the creatively strange, Angela O'Neill and the Outrageous8's "For All We Know" stands out as a cleverly crafted message of coexistence - "Let's be kind to each other." - Jon W.


Artist target suggestions:
Nina Simone, Al Martino, The Andrews Sisters, Aretha Franklin, Billie Holiday, Crystal Gayle, Dinah Washington, Doris Day, Joanie Sommers, Fran Jeffries, Bette Midler, Nat King Cole, June Christy, Donny Hathaway, Gretchen Parlato, Jane Monheit


About the Reviewer:

Jon Wright is a trained multi-instrumentalist, vocalist, and music educator with nearly twenty years of experience in the field. Working with musicians and their individual sounds is his passion and profession, and he strives to interact with and understand every aspect of the production process - from theory and songwriting to recording and mastering. He continues to teach students of all ages and is currently collaborating with artists in a wide variety of genres.

Vocals: Strength
Lyrics: Strength
Instrumental Performance/Execution: Strength
Melody/Rhythm: Strength
Arrangement/Flow: Strength
Recording Quality/Overall Mix: Strength

When I hear a new album of holiday music has been released, an unspoken thought is often what will this add to a well-populated genre. But that is definitely not the case with Home for the Holidays. Each number is lively and fun with a touch of the unexpected. It's hard not to keep from tapping one's foot, let alone start dancing to "Feliz Navidad" and "Let It Snow". Even the more "traditional" rendition of "The Christmas Song" has a park to it's wistfulness. And who could have a "Blue Christmas" listening to this version? "Little Drummer Boy" is not a favorite song of mine, but "Funky Drummer Boy" changed that and is probably the one I have listed to the most. "Rudolph's Mindfulness" provides a number of great solo moments that provide the different band members an opportunity to shine. "Home for the Holidays" will be on my holiday playlist for many years to come.

Herb Gore

Last evening at the Gardenia supper club, I was assailed by that same familiar frustration. There, as always, was “nothing to criticize”.. everything was great about ANGELA O’NEILL’S tribute show to the late Nat Cole. Our dear friends Helen Wade and Judy Friedman met us there and we all swayed to those mellow sounds all night.

Angela is more than just a singer performing a song, when she is up there at the Gardenia bathed in the soft glow of purple lights.. but rather she becomes that song.. “SHE IS MUSIC.” She never disappoints me but always makes the old songs sound fresh again, partially due to her great new arrangements and truly outstanding band. Paul Litteral and Harry Smallenberg’s playing and perceptive innovations..bravo! And the rest of her super-talented crew as well.. Jay Stolmack, Reggie Waddel, Rich Walker, Michael Rosen, Rocky Davis, Phil Romo..

..and let’s not forget the opening fun performance last night by Terry Cole!!

As for the guest singer, Jackie Gibson, what can I possibly say about her that I haven’t said before? She’s a lovely and lilting vocalist and a true professional.. so talented and gracious. Her charming way with a song, whether in Spanish or not, never gets old. She performed two crowd-pleasing renditions for us of “Sway” and with Al Timms in duet, “Besame Mucho.”

And Al Timms who I love to see perform and listen to.. “Mr. Suave” in his black velvet jacket, red tie and matching handkerchief.. Al, I really do want your jacket! (your hair too.)

One unexpected highlight was a surprise appearance of Mr. Antonio Savior, a relative of Nat Cole’s. He sang in a multitude of languages and at that moment caught in time, in the royal purple lights, he became “king.”

As I sipped my Belvedere martini and enjoyed some purloined M and M’s, all was really right with the world.”

Joel Rothberg

Angela O’Neill and the Outrageous 8 Live at the Mixx brings old-school style to the modern big bandstand stage. Mo

Singer and big band leader Angela O’Neill and the Outrageous 8 show their love for big band era with this sassy homage recorded live at the Mixx in Pasadena, Ca.

She combines the vocal elegance of Rosemary Clooney with the smoldering sophistication of Peggy Lee and the hipness of Cleo Laine. O’Neill loves to sing and she knows how to do it. She doesn’t try reinvent the musical wheel, she simply let’s it roll.

The O8 is solid in swing and swagger and O’Neill’s vocals is like a good aged bourbon served on the rocks, sipped slowly, taking its time to put you in the perfect mood. The song selection and arrangements by Harry Smallenburg, Dave Wolfie, Paul McDonald work extremely well to highlight her musicality and allows O’Neill to shine and shine bright. And boy does she ever.

If you’re looking for a toe-tapping, good time treat yourself to this little musical gem. I dare you not to enjoy yourself. I’m sure you will.

-Sandra Booker “ @sandrabookermusic

Were you one of the lucky people who were in the sold out performance by Angela O’Neill and her truly Outrageous8 this past Saturday?  If so, great, and if not – do not miss the next performance by this amazing band.  The Myrtle Tree Cafe is a perfect venue for the band, intimate but large enough to accommodate the audiences they are attracting.  The acoustics were excellent (shout out to Terry Cole) and Angela was able to roam the crowd with her wireless microphone.  Another feature of concerts at the Myrtle Tree is that they are longer – two one hour sets.  One set is never enough!

The set list was a quintessential love fest in honor of Valentine’s Day.  All of Angela’s songs are wonderful, but L.O.V.E. is always a special favorite.  Al Timms dressed the part in his burgundy velvet jacket with pink shirt and tie. His smooth tenor had the ladies swooning with his rendition of My Funny Valentine. 

During the set break, the band mingled with their fans and the audience refreshed their drinks. Angela opened the second set with Skylark and a few tunes later, teamed up with guest singer, Jackie Gibson, for Sentimental Journey, their voices mingling beautifully.  Richard Walker was featured with riveting solo work on the baritone sax for My One and Only Love. SwAy, arranged by the talented Harry Smallenburg, put a Flamenco spin on a big band classic.

Throughout the evening, Michael Rosen’s drumming and Phil Romo’s double bass kept feet tapping and heads bobbing.  I’ve never heard the band sound better and can’t wait for the next show!

Catherine O’Brien
Journalist

Angela O’Neill and the Outrageous8 - Birthday Boogie Woogie show at the Gardenia

--Review by Joel Rothberg of Life Magazine

“I cannot tell everyone enough how much fun last night was at the Gardenia Supper Club where Angela O'Neill's wonderful voice filled up that tiny room. There was a plentitude of music there, gems from my favorite-"The Great American Songbook",and in addition to Angela, our birthday girl, a bevy of guest singers to perform them including vocals by the pianist and the drummer whose singing I really liked. Al Timms as always gave us virtuous renditions and got us "Feeling Good." Judy Barrat performed as well, an original poem which was much appreciated..

“It was a treat to see Gary Brumburgh there..the icing on the cake. And Mayita Dinos looking like "the bomb" in her "outrageous" outfit. Also Kathryn Hopkins soloing and also together with Karen Celeste Cruz, "A Blonde and Brunette" got us alla-swayin' to a swinging beat. Angela is quite a hard working masterful vocalist at home on a stage, taking the utmost care with her performances.. she makes it look so easy. But believe me, it's not. We came out smiling, those great tunes in our heads.”Thanks to all. (Angela, now I guess I owe ya two drinks!) — with Judy Barrat, Sandra Booker, Gary Brumburgh, Kathryn Hopkins, Mayita Dinos, Tiffany Bailey and Diana Kujawsky Rothberg and Karen Celeste Kruz.”

Angela O’Neill and The Outrageous 8 – Live at the Gardenia of Hollywood, August 18, 2018

--Review by Matt Bosson

This powerhouse singer and her band, The Outrageous 8, are a first-class Jazz group specializing in American standards from the 1930’s, 40’s and 50’s. Although they play their music with a big-band swing feel, they have a unique small-band sound, reminiscent of the “Great Ellington Units.” Featuring a rock-solid rhythm section – piano, bass drums – the band includes trumpet, trombone, alto, tenor and baritone saxophones. The unusual emphasis in the lower registers with the bari sax and horns adds colorful depth to trombonist, Harry Smallenburg’s original arrangements. Their dense chord structures made me think of both Duke Ellington and Stan Kenton’s bands. I was thinking this during the first two numbers of their set and then Angela O’Neill took the stage. Gifted with a beautiful alto, Angela can really swing and belt out the blues with the best of them, but she also lightens up nicely for softer ballads with a clean and lovely tone. Dynamics, rhythm and soul are the name of the game in Jazz, and Angela and her band have complete control of their craft. If you’re a fan of live Jazz music, you don’t want to miss them!”

Classic Songs For Angela O’Neill Fans

Review by Greg Simay, MyBurbank.com

Angela O’Neill’s sultry mezzo-soprano captures the enduring charm of The Great American Songbook.  She and her merry band of veteran musicians have been entertaining fans locally and inspiring more than a few couples to rediscover the pleasures of dancing cheek-to-cheek.

But O’Neill’s CD, “For Your Listening Pleasure,” allows fans old and new to savor her singing in the cozy warmth of their room, as I did on a recent gray May day. O’Neill is by turns sassy in “The Lady’s A Tramp” (first person), bluesy in “Stormy Weather”, euphoric in “It’s Almost Like Being In Love”, come-hither in “Dance With Me”, optimistic in “Route 66” and coy in “Teach Me To Love.”  And kudos to the Thursday Night Band and Chris Galuman for their great orchestral back up.  To Purchase the CD follow this link…supplies are limited..I think she said there are only 30 left…so get one while you can!

https://www.angelamaeoneill.com/about/foryourlisteningpleasure  It’s almost like being at a nightclub—but without having to drive in this unseasonable rain.  And you can still dance with your sweetie. J

The next gig for Angela O’Neill is with the Outrageous8, a little big band!  Saturday May 25th at the Wine Bar The Myrtle Tree Café, 405 S. Myrtle Ave, Monrovia. 91016. Res: 626-386-5024