DRJO chief conductor, pianist Jim McNeely, was born in 1949 in Chicago, USA.
After studying composition at the University of Illinois he performed and recorded with trumpet players Ted Curson and Chet Baker (1976-78). From 1978 to 1984, in New York, he was associated with the Mel Lewis Orchestra (initially the Thad Jones/Mel Lewis Jazz Orchestra) as pianist and composer. During that same period he worked with legendary tenor saxophonist Stan Getz (1981-85) and led his own trio with drummer Adam Nussbaum and bassist Marc Johnson. He also worked and recorded with Art Farmer, Bobby Watson, David Liebman and Joe Henderson. In the early 90’s McNeely worked in altoist Phil Woods’group but mainly, for the last 10-15 years, he has been intensifing his composing, conducting and teaching.
As a composer and conductor he has worked steady with the Vanguard Jazz Orchestra (the band’s name after drummer Mel Lewis died) and the Carnegie Hall Jazz Band. For both ensembles he has created some of his most fascinating pieces - originals and arrangements - which, as a writer, put him in class with one of his initial mentors, Bob Brookmeyer.
Therefore, when in 1997 Brookmeyer left the chief conductor chair at the DRJO to work with the band as a guest conductor, it was obvious to pass the leadership of the DRJO on to McNeely.
When named chief conductor Jim McNeely had already worked several times with the DRJO on a free lance basis. His first project for the DRJO as a boss was a series of arrangements of classic George Gershwin themes pemiered on a tour in the spring of 1998 - to honor Gershwin’s 100th anniversary.
In his writing - as well as in his piano music - McNeely combines tradition and intrepidity. He draws from inspiration of former masters but, mainly, his writing is personal and easily recognizable - including drama, rhythmical tension and poetry. McNeely encompasses the masculine swing of Thad Jones and the ’European’ and expressionistic touch that Bob Brookmeyer added to jazz writing. Thus he ensures that the big jazz orchestras will survive in a time when the expression of improvised music is ever changing and searching.