‘Grand Slam’ is a clean sweep of percussive artistry heard in straightforward, ungimmicked selections of great power and melodic feeling – performed exultantly by Richard Maltby and His Orchestra. Under Maltby’s high-powered direction, the orchestra swings with spirit, conviction and a sheer joy of playing that clearly comes through on every track. Handling the percussion solos is the popular Terry Snyder, a musician of great versatility, an innate propulsion and a flair for originality. On vibes, marimba or xylophone, Terry’s mallets dance with a strong rhythmic pulsation that never wavers. Behind the drums, his stick work always makes meaningful use of dynamics, shading and contrast in a constantly striving attack. Starting in full force, the Maltby crew sounds off with a battery of brass and percussion in an exciting Spanish quick-step called Dream Of Love. Terry’s marimbas carry the main theme with some infectious melodic variations that lead into soaring orchestral crescendos. Drumbalero, up next, is a Maltby original of the “sensuous jungle drums” variety – a provocative rumba beat contributed by rolling tympani, tom-toms, eerie reeds and raucous brass. Two other Maltby compositions follow. Jangle Waltz is a rink full of tinkling bells and chimes combined with orchestral flourish in a syncopated skating motif. Everyone scores in the title tune, Grand Slam, a bevy of building solos that includes some concise, punching phrases by Terry on vibes. Another Latin entry, the paso doble, El Torero, closes the side, ablaze with tambourines, xylophone, castanets and brass heralding the corrida festivities. Richard Maltby’s own Repercussion opens the second side in romping-stomping style that sets off a chain reaction of hard-driving improvisation, the mainstay of which is the rampant vibes. Terry’s clean attack and lightning speed take the spotlight again in Vibraphobia, a scintillating interpretation that compares to those show-stopping dance numbers in technicolor musicals. Then, for his impression of a Sharp Harp, Richard Maltby has fashioned a sophisticated soft shoe novelty in which harp and celeste are engaged in a lively conversation amidst a fascinating orchestral backdrop. In Blue Bells Of Hotland, that bonnie laddie, Terry Snyder, hard sticks his vibes over high road and low road in an updated fling of the breezy old Scotch ballad. And as a finale, the Maltby crew flies south-of-the-border for a sizzling samba version of a Mexican Holiday, seasoned with spicy brass and peppery percussion.