McDougall leads the pack with his creative lines and smooth melody, putting his own flare on such classics as IN A SENTIMENTAL MOOD and the creative intro of IT DON’T MEAN A THING. There are many fun moments such as the Latin riff and glissando opening of TAKE THE “A” TRAIN (it works!) and McDougall’s spur of the moment choice to sing on DON’T GET AROUND MUCH. Some the tempos are unexpected but succeed. The medley of BLACK AND TAN FANTASY and THINGS AIN’T WHAT THEY USED TO BE features nice plunger work recalling the voice of “Tricky” Sam Nanton. His playing is first-rate throughout and is only enhanced by the great feel and sensitive interplay of the rhythm section – which is really extraordinary. Swainson was definitely worth the wait; his bass sound is great and his playing is incredible.

Everything about this CD is skillfully done. It is well-recorded and is produced by McDougall and his wife, Barb. The double volume of eighty minutes of music is handsomely displayed with nice graphics. Unsurprisingly, it has recently been nominated for one of Canada’s Juno awards in the “Traditional Jazz Album of the Year” category.

Trombonists should certainly own this CD, but it will be of interest to others as well. With its fresh twists and beloved standards, this is a stealth album that non-trombonists will enjoy as much as trombonists."

Deb Scott, Stephen F. Austin State University

" Ian McDougall is well known to trombonists, not only for his work with Rob McConnell, but also for the Brass Connection recordings. “Nights in Vancouver” is his fifth recording as a leader. It doesn’t take much listening to know that one is hearing seasoned jazz musicians, musicians who have been making their livelihoods as performing artists for many moons. “Nights in Vancouver” is a thoroughly enjoyable recording, mixing jazz and show standards along with originals by McDougall, Taggart and fellow Canadian Don Thompson. McDougall’s writing ability is visible not only in his two original blues tunes but also in the exquisitely crafted arrangements. Young players would do well to study these arrangements to learn the effective use of all available musical tools (Oliver Gannons’s melodic guitar lines are exceedingly effective). Powerful sounding unisons, harmonized melodies and intricate solis are all used beautifully. Especially interesting is the unexpected internal key change in “Polka Dots”; as in many great arrangements, it makes the tune even better. Every member of this dynamic sextet not only adeptly fills their role within the ensemble but adds well-crafted and truly interesting solos. “Nights in Vancouver” is a stellar recording, featuring a great trombonist leading a combo of sage and exceedingly talented sidemen in a set of wonderful and finely arranged tunes, and with superb fidelity and balance throughout. Highly recommended." ~Tom Walker, Oklahoma State University

"In times as perplexing as ours, when the barely tolerable is routinely confused for greatness, should there not be a comprehensive assessment of the contributions of one Ian McDougall? For some unexplained reason, this Herculean trombonist/composer/educator is too often afforded the short end of qualitative evaluation. After all, could Rob McDonnell’s Boss Brass have been half the band it was had McDougall not held down its trombone section, while contributing many of its more substantive compositions?

As strange as it is to say, Burnin’ the House Down is McDougall’s very first live recording as a leader in a small group club setting, and it can be said without reservation that he takes full advantage of the opportunity. The band he assembled at Hermann’s Jazz Club in Victoria, British Columbia, experiences chemistry heard only from musicians who regularly perform together. If anyone seriously doubts this assessment, just listen to how nonchalantly guitarist Oliver Gannon emphasizes McDougall’s accents during improvised forays on "O.S.Blues" and "Strivin’ for a Riff," or how easily bassist Lachance locks into drummer Fuller’s hi-hat, leaving the space necessary for pianist Johnston and saxophonist Taggart to perform at their creative best. This is a totemic degree of nuance that only occurs after years of collective performance. Moreover, these undeniable strengths will easily make you forget the occasional missed note, or even the first night’s minor recording deficiencies. The bottom line is that when all is concisely evaluated, Burnin’… still comes off as a first rate effort worthy of any jazz aficionado’s collection."
~ from ITA Journal (Quarterly magazine of the International Trombone Association) April 2002 by Tom Smith, Pfeiffer University

"Most trombonists on these shores will probably associate the name Ian McDougall with holding the lead trombone chair with Rob McConnell’s Boss Brass for several years. Maybe slightly lesser known is that as wel as being a great lead player with sound, time and swing to die for, Ian is also an inventive, melodic jazz soloist.

Anyone who’s heard his great small group playing on his last CD, the Warmth of the Horn, will already have enjoyed his great taste and beautiful sound. This CD features Ian with his sextet, recorded live in Hermann’s Jazz Club, Victoria, Canada last May (2000) in what was probably the last ever gig at the venue. It was destroyed in a fire two days after the CD was recorded, hence Burnin’ the House Down.

His sextet features Ross Taggart, a very swinging big-sound tenor player who provides the perfect foil to Ian’s trombone, and contributes really great solos, especially on the little known ballad by Henry Mancini, Royal Blue. The CD is worth buying for this solo alone, and that’s even before you consider that it features one of the world’s great jazz trombonists. His rhythm section (Ron Johnston, Andre Lachance, Jerry Fuller and Ollie Gannon) swing with great energy all the way, and play sensitively and musically behind the horns. Reperoire-wise, a great choice of tunes from Monk’s I Mean You to Undecided and original rhythm changes and blues heads. All the charts are well-arranged, and because of the live element, the solos are full of energy and excitement, and are bound to make you smile just because the band is having so much fun. Ian plays with passion and drive and gets a chance to stretch out more than we’re used to hearing on the Boss Brass records. Definitely not to be missed."
~ from The Trombonist (Magazine of the British Trombone Society) Autumn 2001 by Andy Wood

"A live session by leading mainstream west coasters features a blustery front line of former Toronto stalwart Ian McDougall on trombone and tenor saxist Ross Taggart, with delicate punctuation from guitarist Oliver Gannon and hearty rhythm from pianist Ron Johnston, bassist Andre Lachance and Toronto-based drummer Jerry Fuller. It was recorded last year at Hermann’s Jazz Club in Victoria, which burned to the ground two days later (hence the title).

The outing certainly crackles. The leader has lost nothing of his trademark swing and grace, while fellow soloists are relaxed but always ready to pump hard, as on the opening Strivin' for a Riff. The group digs hard into Monk's I Mean You. The sextet's ballad work is exemplary on Royal Blue and especially on When Joanna Loved Me. This feel-good date, a satisfying blend of brawn and refinement, ends with the raucous O.S. Blues, drawn from a suite McDougall wrote for trumpeter Kenny Wheeler."
~ from the Toronto Star Sept. 1 2001 by Geoff Chapman

"Onetime Boss Brass stalwart Ian McDougall now plies his trombone trade out of Victoria, B.C., and recruits top westerners for a perky outing marrying tradition to an open-minded approach. Among his recruits are pianist Ron Johnston, guitarist Oliver Gannon and tenor Ross Taggart, plus Toronto's Jerry Fuller on drums.

Opener Ian Leaps Out swings like mad, with the boss showing off an enviable tone and dexterity to spare. He then generates fuzzy inner feelings on I'll Be Around.

His charts for I'm Getting Sentimental Over You and Broadway are crafty, and still allow colleagues solo space, exploited best by Johnston. The band has fun, especially on Filomena , part of 73 minutes of tasteful, tangy, mainstream jazz."
~ from the Toronto Star June 5 1999 "Jazz Recordings" by Geoff Chapman

"Some of the creme de Canada is assembled here for a jam session with both a silvery ensemble sound AND plenty of blowin' room as well. McDougall is in complete command on trombone and his sextet swings with seasoned skill on So Nice, I'm Getting Sentimental Over You, Night and Day, and Broadway. Ian Leaps Out bears a resemblance to, you guessed it, Lester Leaps In, and Filomena is a cooker whose changes I could not connect to a standard. Blue Cabaret , a moody movie-like theme, and a beautiful I'll Be Around were the ballad standouts. McDougall's colleagues account well for themselves, especially Ross Taggart, a tenor sax man with a deep bow to the proud lineage of straight-ahead tenors from which he descends. This is the kind of swinging, middle-of-the-aisle, rich music that's all too rare these days."
~ from Jazz Scene (Portland, Oregon) May 1999 by George Fendel

"I was prepared to be blasé about yet another release by a horn-based jazz ensemble, but Ian McDougall dissolved my cynicism. Starting with McDougall's deft, agile trombone lines on Ian Leaps Out (presumably, he's passing Lester Young, who's on his way in), McDougall and his bandmates deliver a modern jazz style featuring great humor and sophisticated wit. McDougall's clever settings provide lots of forward movement without being overarranged, and lots of space for his outstanding soloists. A case in point is the venerable Cole Porter tune Night and Day, which is nicely re-conceived around the sax of Ross Taggart, the guitar of Oliver Gannon, the piano of Ron Johnston, and the sympathetic ensemble playing by all. The originals are clever and, well, original, and leave you wanting more: check out Gannon's brassy and bold So Nice , Johnston's unabashedly sentimental Gift of Love , and McDougall's colorful improvisation platform, Zimbabwe . For Generation Y, which is now discovering Swing and faux Lounge Music, here's real jazz in all its challenging and satisfying glory."
~ from Victory Review July 1999 (Tacoma, Washington) by Tod De Groff

Ian McDougall Sextet

excerpts of reviews from other recordings and performances......

"...a crystalline example of the Carl Jefferson legacy.This chamber quartet brings piano, guitar, and bass into interplay between the fine viscous quality in which the album found its title. The intimate sense of the ensemble brings the deft counterpoint of these players to the fore."
~ Bill Bennett, JazzTimes, (November '96)

"The only trombone solo star on view (at the Cork Jazz Festival) was the impeccable Ian McDougall...the quartet took us through their own arrangements with consummate professionalism. Ian's playing was of the highest order, especially his seamless legato."
~ John C. Gourlay, The Trombonist (Magazine of the British Trombone Society, Spring '97)

"...excellent warm fluid trombone...McDougall's elegant lyric improvisations are enhanced by Oliver Gannon's mellow toned guitar, the crisp clean piano of Ron Johnston, and the impressive bass...four of Canada's finest..."
~ Doug Campbell, News Post Leader, U.K. (Aug.31 '95)

"The quartet's emphasis on tone, texture, and improvisation comes across as strikingly modern. The bonhomie of the group and the tonal richness of the acoustic instruments made for a group that was as pleasurable for its sheer texture as for its skills with melody, harmony and ryhthm."
~ David Lee, Coast Independent (March 17, '97)

"...(Ian) likes the instrument's creamy sound, its regal authority and its romantic associations...thoughtful and unhurried...the playing is exemplary all around..."
~ Mark Miller, The Globe and Mail (Aug.5 '95)

"The group's sound, tight but relaxed, does remarkably well sans a drum kit...contrapuntal, four-part interplay, reminiscent of '50's West Coast cool jazz..."
~ Eliot Tiegal, JAZZIZ Magazine (Oct. '95)

"That's a good CD title; the word for everything, not just the first track, is 'warm'. The four provide expert musicianship...the fairly unusual instrumentation adds to the listening pleasure. McDougall plays a cracking solo on Mc not Mac and good stuff on every other track including a remarkable, jagged solo on Blue Skies, a complex but bluesy one on Centerpiece (good blues man, McDougall) and tough trombone on Frank Rosolino's Blue Daniel. His playing of the How Long theme is beautifully toned and virtual singing."
~ Ron Salmon, Jazz Journal International (Jan. '96)

"...smooth, warm, and deft."
~ The Toronto Star, (July 22, '95)

"...a thorough delight...a superb collection of tunes crafted by a masterful team...you can hear warmth and love for the music and each other on every note..."
~ Joseph Blake, Times Colonist (Aug.31'95)

"...bel canto beauty and simplicity..."
~ Jeff Bradly, The Denver Post (June 14 '96)

"More than warm."
~ Midwest Record Recap (Nov. '95)

"...mostly (McDougall) plays in a subtly eloquent style that should please both lyricists and singers who care about lyrics. "
~ Owen Cordle, The News and Observer (July 16,'95)

"Ian McDougall is surely one of the true masters of his horn and its role in the jazz idiom. His definitive solos never wear out their welcome, always leaving the listener wishing for more."
~ David Robbins, Malaspina University Newspaper (March 8,'97)