Christian McBride has an ebullient character – it bursts from his double-bass and it expands naturally to his writing and arranging for these substantial forces. He's also a master at moving the jazz mainstream forward while still staying loyal to its traditions. The result is a bold, buoyant and breezy near 70-minute set. McBride's compositions set riffy brass against a funk beat (‘Gettin’ To It’) or dress a New Orleans jazz waltz in Ellingtonian saxophone sweeps (‘Used ’ Ta Could’). In among them are Freddie Hubbard's hard-swinging ‘Thermo’, McCoy Tyner's impressionistic ‘Sahara’, Wes Montgomery's bouncy ‘Full House’ and, incongruously, ‘Mr Bojangles’. The solos are generously spread but kept tight in length, so it's the ensemble work that leaves the more lasting impression.

Jazzwise spoke to Christian McBride about the album

Clearly The Good Feeling didn't go away! Do you see Bringin' It as a development of that first album?

Yes, it's fair to say that Bringin' It is an extension of sorts. Stylistically, it's not that much different than The Good Feeling, but I hope that's OK!

What for you are the crucial ingredients of the ‘21st century big band’?

Individuality. That should transcend eras. Any band that was considered great in the 20th century would be no less great in this century. It's all about the individual vision of the bandleader.

Do you write/arrange with these specific players in mind?

It depends. I often write with an overall band sound in mind first and foremost, as opposed to writing for individual voices. It's easier for me to think of individual voices in a smaller group, more so than for a big band. I believe great big-band arrangers and bandleaders pick their band members by hiring individuals who can help them achieve their overall sound, therefore not having to consciously think of writing for the individual. It's already built in.

Does playing in such a big group affect how you play – compared to the Trio, for example?

As a bassist, it's a stricter job supporting 15 musicians versus supporting two!

The sudden breakouts into more impressionistic, classical-sounding music (as at the start of ‘Sahara’) – where does that come from?

It's hard to say where ideas come from. When writing an arrangement for a song like ‘Sahara’, sounds conjuring the feel of the desert seem appropriate.

Jerry Jeff Walker's ‘Mr Bojangles’ is a surprise choice! What drew you to that?

My wife Melissa recorded that song on her 2009 CD In The Middle Of It All. It seemed such an odd choice for a big-band tune, it made me even more excited to write an arrangement. I enjoy songs that are seemingly odd choices. In the right hands, anything can work in any genre.

The challenges of touring with this band are immense. Any chance of hearing it in Europe?

Being able to financially sustain a big band without sponsorship is extremely difficult. However, we've pooled enough money to bring my big band to Europe for the first time next May. I'm very excited.

For readers who want to go back into the tradition that this band springs from, which big bands would you recommend?

Goodness, I have so many favourite big-band recordings, from Duke Ellington to Maria Schneider and everything between. I have literally tried to borrow something from every great big-band composer/arranger I've ever heard, so I'm not sure I could name any specific recordings. But just listen to any Ellington, Basie, Dizzy Gillespie, Gil Evans, Quincy Jones, Thad Jones, Oliver Nelson, Buddy Rich, Claude Thornhill, Clayton/Hamilton Orchestra, Stan Kenton, Lincoln Center Jazz Orchestra or Maria Schneider recording you can think of and it's all gotten in my blood!