Building a Big Band

When Strathmore invited Daniel Jamieson to build the Strathmore Jazz Orchestra, a big band debuting with Grammy-winning vocalist Kurt Elling, the project demanded musicians with highly specialized skills.  

A local conductor and composer with an international résumé that includes work with top European big bands and orchestras and artists like Joe Lovano and Cécile McLorin Salvant, Jamieson knew exactly what he was looking for.  

“Most of the people in the band are also writers, which means they understand the large ensemble format,” Jamieson explains. “They’re going to come at it with a much more collaborative perspective.”  

The seed for the Strathmore Jazz Orchestra was planted in late spring of 2025, when Elling was booked at the Music Center to perform In the Brass Palace, his new album featuring Bob Mintzer and the WDR Big Band, on its release day.  

Strathmore’s VP of Programming and Artistic Director Joi Brown, who had been interested in partnering with Jamieson on a project, approached him about creating a brand-new jazz orchestra from the ground up to share the stage with Elling.  

Jamieson’s connection with Elling goes back years. He first met the singer at 18 and later wrote for him with the Metropole Orkest when he was just 25. Now, reuniting with Elling for the Strathmore Jazz Orchestra debut feels significant.  

“This time with me at the podium—it’s a true full circle moment,” Jamieson says. “I can’t think of a better guest artist to launch this new venture.”  

It’s also why his vision for the project was so clear from the start. “My goal was not to create a backup band,” Jamieson explains. “Kurt is going to be wonderful, but the band is a full partner in bringing the music to life.”  

That’s something Elling understands deeply. “The last time I worked with Kurt, he walked in before rehearsal and personally introduced himself to every single musician in the big band—shook every hand before we even started,” Jamieson recalls. “He didn’t have to do that. But it shows how much he values the artists on stage with him.”  

In that spirit, Jamieson began shaping the new orchestra. His first step was consulting with Elling on the repertoire and key players—with the understanding that if certain musicians weren’t available, he could find alternatives.  

“What was interesting is that the names Kurt selected were all people I would want to call anyway,” Jamieson says. “And the people that Kurt wanted all wanted to do it.”  

Together they identified anchor players for key positions in the 17-piece ensemble, including trombonist John Fedchock and bass trombonist Jennifer Wharton, both seasoned New York musicians who would anchor the brass section.  

One critical consideration was doubling. Elling’s program required players who could move fluidly between instruments—the saxophone section alone needed to cover piccolo, alto flute, flute, clarinet, and bass clarinet. That made Charles Pillow the clear choice to lead the section. “We’d be hard-pressed to find anyone better at doubling than him,” Jamieson says.  

To fill out the roster, Jamieson turned to regional musicians, including players from the premier military bands, some of whom had recently worked with Elling and Jamieson on a recording project in March 2025.  

The entire process, from concept to confirmed lineup, took around six months. Once the ensemble was in place, Jamieson scheduled three rehearsals—two with the band alone, then a final run-through with Elling on the day of the performance. Musicians received digital parts and reference recordings in advance.  

Jamieson’s rehearsals balance efficiency and artistry. He splits the program across the first two sessions, starting with accessible material to warm up the group before tackling the more demanding charts. His approach as a conductor is hands-on but never heavy-handed. Knowing when to offer direction—and when to trust the musicians to self-adjust—helps maintain both morale and momentum.  

“My mantra is to do as little as possible to help the band sound as good as they can to their full potential,” he says. “Not out of laziness, but because the music comes first.”  

With musicians coming from beyond the region and right here at home—many of whom he hasn’t worked with before—Jamieson knows there’s some uncertainty in bringing everyone together for this debut. But he welcomes it.  

“All the key pieces are in place. We have good people who are fantastic, world-class musicians,” he says. Brown sees potential for the orchestra to evolve.  

“Future iterations may explore different projects and partners,” she says. “The jazz community is big, and as we grow, we’re excited to collaborate with the incredible depth of talent in the DMV.” 

Under the director of Daniel Jamieson, the starting lineup of the Strathmore Jazz Orchestra blends New York’s top talent with standout players from around the DMV to bring Kurt Elling’s big-band sound to life. See who's in the band.

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