RVANews

Jason Ajemian and High Life

Aaron Williams — Fri, 13 Jan 2012 20:57:58 +0000

In September, Scott Burton explained how Jason Ajemian uses architecture software called AUTOCAD to build "groove mansions" for his group High Life. Wednesday night, Jason Ajemian and The High Life took the stage at Balliceaux.

Jason Ajemian's music is not quite like anything you might have ever heard. Trumpet player Jaimie Branch and alto saxophonist Peter Hanson are a potent front line combination that has total command over the "avant-garde" sound. Throughout the entire first song, Hanson didn't put his mouthpiece on his saxophone. Instead using the saxophone neck like a mouthpiece he coalesced every sound imaginable out his horn. Behind the sound of this more typical Brooklyn front line, Jason Ajemian (bass/ vocals), Owen Stewart-Robertson (guitar) and Nick Jenkins (drummer) played an entirely different tradition focused on song writing. It was the combination of these two different sounds that created something entirely new and gave Jason Ajemian his signature sound.

Listen to Spectacle:
[audio:http://media.rvanews.com/03 Spectacle.mp3|titles=Spectacle|artists=Jason Ajemian and HighLife]

After a rousing set by Glows in the Dark, Ajemian took the stage and commented on all of the cities people say he hails from. While no verdict was reached, it immediately became obvious that between his youth in western Virginia, five years in Chicago, and now Brooklyn, Ajemian's life is just as much a fusion of different cities as his music is a fusion of styles.

Over the course of roughly 40 minutes, The High Life performed a series of songs without pausing. Without using any of the complex AUTOCAD charts, which are about 3' by 2', the band seamlessly transitioned between memorized songs. The biggest surprise was the funkiness that dominated the second half. Nick Jenkins was not afraid to play backbeats, and the horn players gradually progressed from the sounds of saxophonist Tony Malaby to the sounds of long time James Brown sideman saxophonist Maceo Parker.

For some groups, backbeats sound like a gimmick, but the natural progression of the night from avant-garde-singer-song-writer, to rock band, to funk group was genuine, entertaining and impressive. Not many groups can play forty minutes of songs blended together and keep it interesting, but Jason Ajemian and The High Life always left me wondering, "what's next?"

After traveling here several times over the past few months, Jason Ajemian clearly has a relationship with Richmond, and it will be good to hear him again the next time he returns.

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Gretchen Parlato didn’t swing (and that’s OK)

Aaron Williams — Fri, 02 Dec 2011 15:11:57 +0000

The average season ticket holder at the University of Richmond's Modlin Center seemed totally unprepared for the music of Gretchen Parlato on Thursday night. Full of back-beats, bass grooves and "pop" song forms, her performance had more in common with Stevie Wonder than Ella Fitzgerald. Aside from the early departure of a few members of the audience, Parlato and her band did an incredible job of entertaining old and new fans alike.

Joined by Taylor Eigsti on piano, Alan Hampton on bass/guitar/vocals, and Kendrick Scott on drums/vocals, Parlato started the set in a serious mood. After performing a Robert Glasper arrangement of Society Red's "Holding Back the Years", she completely changed the mood as she introduced her band and talked about "being silly," and YouTube videos.

The third and fourth selections of the night paid homage to the masters. Her versions of Herbie Hancock's "Butterfly" with Jean Hancock's lyrics and Wayne Shorter's "Juju" with her own lyrics beautifully re-imagined some of the most landmark jazz tunes this side of 1959. While "Butterfly" was part of Hancock's more commercial period, her version of Shorter's "Juju" presented the complex harmonic and melodic material in a more easily digestible format.

"Still", penned by bassist Alan Hampton, offered him the opportunity to set down the bass, pick up the guitar and sing lead vocals alongside Parlato. In addition to being a jazz bassist, Hampton is an avid singer-songwriter and his song offered the greatest departure from the otherwise homogenous set.

The band finally hit their full stride on the last tune of the night. After remaining sonically reserved in the the echoey Camp Concert hall, drummer Kendrick Scott turned it up to ten on "How We Love." After Parlato exited the stage mid-tune, the trio took over and dished out some of the heaviest improvised music of the night.

After an ovation, Kendrick Scott returned to the stage for a drum solo and he turned it up to eleven. Parlato, Eigsti, and Hampton then joined him on a cover of SWV's "Weak."

As the #1 Rising Star Female Vocalist in the Downbeat Critics Poll, Parlato's music is worth purchasing, and if presented the opportunity, her shows are entertaining enough to warrant the $30+ ticket prices.

The Modlin Center also hosted Grammy award winning bassist/vocalist Esperanza Spalding in October. On February 8th, The Modlin Center will host another incredible jazz vocalist in René Marie (tickets).

— ∮∮∮ —

Gretchen Parlato has three albums:

Photo by David Bartolom

Crossroads – Brian Jones “Redhead”

Aaron Williams — Fri, 18 Nov 2011 11:00:04 +0000

A few weeks ago, Selba was the center of attention for their ever expanding lineup of jazz. This week, Crossroads is the focus. Crossroads has been hosting live music for a long time, but recently their lineup has had some of the best jazz in Richmond.

Crossroads Coffee and Ice Cream
3600 Forest Hill Avenue, Richmond, Va. 23225

Located South of the James River on Forest Hill Ave., the coffee shop offers a unique family experience for listeners and musicians alike. Instead of being a dark club with late start times, it is easy to stop by Crossroads with the family for music at 7pm. While they still have an extensive selection of beer, their menu extends beyond standard bar fare and they even have a large selection of ice cream and desserts.

Wednesday night, drummer Brian Jones teamed up with saxophonist J.C. Kuhl, trumpeter John D'earth and bassist Randall Pharr to perform music from Jones' album "Redhead" and some jazz standards.

The chemistry between these four musicians was remarkable. Kuhl and Jones spent five years on tour with Agents of Good Roots and Kuhl and D'earth play weekly at Miller's in Charlottesville. Pharr and Jones have recorded countless records and have shared the stage with a frightening variety musicians. As a combo, they had a remarkable ability to read each other's minds while at the same time constantly surprising each other.

Richmond's healthy music scene can be enjoyed in a variety of ways, at different times and in different environments. More options enable more people to enjoy the music which is better for the scene and it will be interesting to see where the next spot is.

Next Wednesday night, JC Kuhl returns with Beerded Ladeez. 3/4ths of the band Modern Groove Syndicate, Beerded Ladeez explores new territory as a trio. Kuhl shreds tenor and baritone saxophone as Todd Herrington plays bass creating countless layers of sound and Joel Denunzio lays down funky beats. They will be joined by Trey Pollard on guitar and pedal steel guitar.

part one: Bryan Hooten – Richmond Love Call

Aaron Williams — Fri, 28 Oct 2011 10:00:03 +0000

Bryan Hooten is a trombonist, composer and educator who performs with a variety of ensembles from across the musical spectrum including Fight the Big Bull, No BS! Brass and Ombak.

Bryan Hooten's solo trombone record "Richmond Love Call" is available now on itunes or find him for a hard copy.

Question: Solo trombone albums are very rare. Can you talk about the history of solo trombone and what inspired you to record Richmond love call?

BH: You can list the trombonists that have put out solo jazz trombone albums on one hand: Albert Manglesdorff, George Lewis, Gen Baker and Samuel Blaser.

What really inspired me was listening to Albert Manglesdorff’s solo albums, particularly his use of multi-phonics and making an album sound like a duo or a trio. Another part of it was taking a look at some of the ways I was practicing and realizing that some of those techniques could becomes vehicles for musical expression.

Listen to Richmond Love Call:
[audio:http://media.rvanews.com/01 Richmond Love Call.mp3|titles=Richmond Love Call|artists=Bryan Hooten]

Question: Looking back through your discography, there are very few standards or covers. This record has a few. What resonates with you about “In a Sentimental Mood” and “Nostalgia in Time Square?”

BH: First of all they are great compositions with great melodies and great harmonic content. They both provide me the opportunity to explore playing counter point with myself by singing the melody and playing the bass line. Those tunes also offered me the opportunity to practice something new.

With something as obscure as a solo trombone record, I thought it was a good idea to create a bridge between popular jazz music and the sometimes far out nature of any unaccompanied record.

Question: One of the most interesting things about solo records is hearing a musician push the limits of his or her instrument. It is immediately obvious that you are exploring "extended technique" for the trombone. Can you explain some of the ways you explored the instrument?

BH: Obviously, the combination of singing and playing is a focal point of this album. I wanted to see how far I could take that, but obviously it can go further. Part of what I am doing is playing one note, singing another note and using multi-phonic singing to create a melody on top of that.

I wanted to explore some different timbral possibilities with the plunger mute. I also wanted to push my own musical focus. So much of the album is improvised and I wanted to create interest while adhering to some central improvised idea.

I also wanted to challenge the listener’s expectations. Both in terms of what is possible on the trombone and also in terms of what we listen for. One of the bigger transformational experiences for me was hearing Ligeti’s static music. It allowed me to appreciate the subtleties of a single tone. On some of the multi-phonics driven tunes that I do, there is a sustained sound and I want to challenge the listener to experience those same subtleties.

Question: Richmond Love Call contains a suite of tunes dedicated to other trombonists. How were these tunes written and recorded and how have some of those trombonists influenced you?

BH: All of the tributes were improvised in the studio. I didn’t realize until after I had recorded the tracks that each one of them personified the trombonists.

Part of the reason it occurred to me was because of the great trombone exodus of 2011.

The tune “For Chapman,” while it doesn’t contain a lot of “bass trombone” effects, it does pay homage to the angular nature of his melodic conception. He actually commissioned me to write a piece for him a few months ago and I think this piece contains some of that material. He always has a way of playing that sounds like 2 or 3 people.

Listen to For Chapman:
[audio:http://media.rvanews.com/02 For Chapman.mp3|titles=Richmond Love Call|artists=Bryan Hooten]

Reggie Pace is such a master of that visceral/ vocal style, especially with the plunger mute. I always love hearing him do that, especially one of the solos that he played on the Sounds of the South performances. After that piece was done, I realized that it was an homage to that style of his playing.

I love Toby’s kind of beboppish chromatic style. That style showed up in “For Toby.” It is funny that I didn’t allude to any salsa techniques because that is what he is best known for.

“For Albert” of course is a multi-phonic excursion which is what Albert Manglesdorff is best known for. I don’t know him personally but it definitely reminded me of his music.

Check back next week for the final part of the interview.

Selba – more jazz than anywhere else in Richmond

Aaron Williams — Fri, 21 Oct 2011 10:00:34 +0000

Bogart's moved, Cous Cous no longer has music and The Camel is hosting fewer jazz events than in the past. Opened in July, Selba is quickly turning into the most consistent jazz venue in Richmond. With jazz five nights a week and a sunday piano brunch, it's tough to miss out on the music.

The live music schedule as of now is as follows and usually the musicians/groups playing are listed on selba's facebook page:
Tuesday-Thursday 6-9 p.m.
Friday-Saturday 7-10 p.m.
Sunday Piano Brunch 11 a.m. - 2 p.m.
Wednesday Night Jazz Jam 9p.m. - 12 a.m.

The man behind the bookings and even sometimes the piano is Brian Mahne. A student in the VCU jazz program, Mahne's professional career as a pianist started years before he began classes. In his short time at Selba, he has created an impressive schedule of music that includes pianists Larri Branch, David Tenenholtz, Bryce McCormick and countless other musicians.

Wednesday nights, Mahne teams up with bassist Andrew Randazzo and drummer CJ Wolfe to host a jazz jam session. Vocalists, saxophonists, trumpeters, trombonists and guitarists get an opportunity to sit in and perform jazz standards. Crucial for the development of jazz musicians, this is the jam session Richmond has lacked and needed for the past few years.

Just a few steps inside the front door is a baby grand piano. In Richmond, very few venues that aren't the Jefferson hotel have pianos. To make things better, the band is amplified through ceiling speakers in every corner of the restaurant. Jazz can be heard everywhere from the smoking room to the garden room and even in the bathrooms. Yes, Selba has a plush smoking room and even a large climate controlled indoor garden room. I'm fairly certain there is no other place in the world with jazz, a smoking room and a garden room all under one roof.

With really great parking for a restaurant in the fan, high quality food, classiness and live music, hopefully Selba will become a popular downtown spot for suburbanites and the jazz schedule will continue to grow.

Selba is good for Richmond and it is definitely good for jazz. When asked about the future, Mahne enthusiastically replied, "We are planning to start having late night trio's/quartets on Fridays and Saturdays as soon as business picks up enough to support it. I'm excited to start booking groups in such a new amazing venue for the Richmond jazz scene."

Click here for Nathan Cushing's preview of Selba.

Booking Contact:
Brian Mahne
selbabooking@gmail.com

Esperanza Spalding – showmanship without the fluff

Aaron Williams — Thu, 13 Oct 2011 15:57:28 +0000

Wednesday night, Grammy Award winning bassist Esperanza Spalding and her "Chamber Music Society" performed in the Camp Concert Hall at The University of Richmond. For all of the talents Spalding possesses as a musician, her showmanship stood out in front of a sold out audience.

The event began in total darkness. Spalding stealthily snuck on stage, turned on a lamp, poured a glass of wine, took off her coat and sat down in a red leather reading chair. Immediately, every member of the audience must have known they were in for something different.

While Spalding sat, violinist Sara Caswell, violist Lois Martin, and cellist Jody Redhage began lightly playing a gentle melody. Slowly the lights faded, the music stopped, pianist Leo Genovese, drummer Richie Barshay, and singer Leala Cyr entered, and Spalding again stealthily moved across the stage. This time instead of sitting, she picked up her bass and began playing.

With classical, jazz, pop, and "world" influences, the music had a truly unique sound. She played upright bass while singing, an extremely uncommon combination that provided her many unique musical opportunities. Her bass lines almost always created a beautiful counterpoint with the melody she was singing, and there was a constant rhythmic conversation between her bass and her voice.

On the third song, she leaned her bass against a chair and began hitting it with her hands like a percussion instrument. The pianist and drummer joined the groove, and before long Spalding was lightly dancing with a microphone in hand. In an impressive show of skill she began singing an intricate melody doubled perfectly by the pianist. The song gradually deconstructed just as quickly as it was built until members of the band were only clapping out a rhythm.

Spalding picked up her bass and for the first time all night began playing with a bow. With every song, she brought something unique to the texture, whether it was whistling, clapping, beat boxing or talking in an undefinable manner--somewhere between rap and a lullaby.

The highlight of the night came on the sixth tune as vocalist Leala Cyr reappeared at the front of the stage and began singing unaccompanied towards Esperanza Spalding. The two gently delivered a back and forth as Cyr began clapping and Spalding entered on bass. The relaxed sounds of a bossa nova eased the mood, and the rest of band tastefully entered.

Throughout the night, Spalding's approach to orchestration was breath taking. By combining sounds as different as her smooth voice and a rough melodica, or a fender rhodes and a viola, every tune truly explored the imagination of the listener.

After the most groove oriented and up beat song of the night, the lights went out, Spalding snuck across stage, sat down in the same chair, and the string trio began playing the melody from the beginning of the evening.

The lights faded out, the set was over but the crowd wanted more. After much applause, only Esperanza Spalding and Leo Genovese returned to the stage. Without her bass, the two began a song dedicated to "everyone who needs the message."

It is inspiring to see a performance of original music with such conviction. Spalding only spoke once and it was to introduce her band. Jokes, anecdotes, long stories, and all of the things associated with a good front man/woman were ignored as the larger story and music took preference.

Esperanza Spalding is the real deal and her "Chamber Music Society" is a must see.

Click here to purchase "Chamber Music Society" by Esperanza Spalding"

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Looking back at a crazy week

Aaron Williams — Fri, 07 Oct 2011 10:00:52 +0000

Over the past week, Richmond has experienced: the through composed masterpieces of The Claudia Quintet, original compositions performed by the talented front line of Rex Richardson and Steve Wilson, the unique sound of violinist Zach Brock and a whole host of local musicians killing it across town.

The Claudia Quintet

Drummer Scott Clark's quartet opened the night at The Camel. Heavily influenced by Ornette Coleman and twelve tone serialism, the quartet is finally coming into their own. The heads were tighter, the solos went further and the group put together a stronger set than ever before. Without a record and still in their first year of performances, it will be exciting to see where this Richmond based group goes.

Next the Claudia Quintet +1 squeezed onto the stage at The Camel. With a new record due out on October 11th, the group played new tunes with a new sound and even a few world premiers.

No other group in the world sounds like the Claudia Quintet +1, or "Claudia Classic" as Hollenbeck refers to it. The instrumentation is one of a kind featuring Chris Speed (clarinet/ saxophone), Matt Moran (vibraphone), Ted Reichman (accordion), Drew Gress (bass), John Hollenbeck (drums), Theo Bleckman (voice) and Matt Mitchell (rhodes).

Unlike their previous records and performances, lush orchestration took precedence over grooves. The edgier sounds of saxophone and accordion were supported by the round glassy sounding rhodes, vibraphone and Theo Bleckmann's voice drenched in effects.

Stuck somewhere between jazz and a classical chamber ensemble their sound defies label. Intricate through-composed charts and group improvisations only add to their uniqueness.

Despite all of the mystery, one thing is for sure, you need to check this group out as soon as possible.

Click here to listen to "job" and preorder "What is Beautiful"

Rex Richardon w/ Steve Wilson

The most anticipated event of the week, the star studded collaboration of Rex Richardson (trumpet) , Steve Wilson (alto saxophone), Trey Pollard (guitar), Randall Pharr (bass) and Brian Jones (drums) performed an impressive eight tune set. Wasting no time, the group started with Billy Strayhorn's Lotus Blossom.

The group then proceeded to perform six original compositions with everyone contributing one tune and Richardson two.

Brian Jones' "Big Sur" was a highlight. Effortlessly switching between a three-four shuffle and a three-four break beat, Jones commanded the ensemble as it travelled its way through unique polyrhythms over a unique form.

The following day, the quintet entered In Your Ear studio to record. There is no estimated date for release but there is already anticipation in the air.

Before the final tune, Richardson took the microphone and commented, "It has been an amazing week for music in Richmond" before encouraging everyone to go to Cafe Diem and The Camel.

Zach Brock and The Magic Number

Few instruments have as much unexplored potential as jazz violin. Zach Brock is one of the pioneers trying to change that. Performing as a trio, Zach Brock and The Magic Number sounded like nothing I have ever heard before.

Good violin starts with a good sound and Brock is not afraid to alter his sound. Whether he is using his bow, pizzicatos (plucking) or a whole host of electronic effects, his sound is never shrill or dull. In addition to sound, phrasing and vocabulary are unique on violin and Brock is a master.

Stuck somewhere in between the classic trios of Sonny Rollins and modern post bop groups, his trio killed intricate tunes without using any charts. Without stands the group had a stage presence that only added to the unique music.

In my limited experience with jazz violin, Zach Brock is by the most interesting and enjoyable violinist I have ever heard perform.

Buy Zach Brock's music here

It seems as if any time a big name jazz musician comes to town, Richmond welcomes them into the community. Maybe it's geography, maybe it's population or maybe it's culture, but few jazz musicians from New York make it south of Washington D.C. When they do, it's well worth their time. Whether it is the total immersion and adoption of Steven Bernstein or something as simple as masterclasses at VCU by John Hollenbeck, Steve Wilson and Zach Brock, these musician's engagement goes way beyond the stage.

It isn't every week that this much amazing music happens in RVA, but keep your eyes peeled and yours ears open because groups are always in town and

Snarky Puppy

Aaron Williams — Sat, 24 Sep 2011 06:56:33 +0000

Being a fan of Snarky Puppy is like being in a club. When you mention the name Snarky Puppy to someone for the first time, they will respond with a quizzical expression but when you mention Snarky Puppy to a fan, the response will almost certainly be enthusiastic.

Thursday night, old fans and new fans enjoyed the funky fusion of Snarky Puppy as a seven member version of the band played non stop for two hours. The band played an impressive mixture of old originals, tunes from their newest record, new tunes and even a world premier.

Fighting through a car accident and a huge detour to New York City, the band finally took the stage at 11:20. Solo shakers quickly led the way to a J Dilla style groove. Grammy award winning drummer Robert Searight was a highlight. His feel was impeccable and he is a great soloist behind the kit. Never short on ideas, Searight seamlessly blended embellishments and fills with the tight grooves and syncopated hits of the rest of the band.

On the next to last tune, the band invited up trombonist Bryan Hooten to perform on a New Orleans inspired original.

Snarky Puppy and Bryan Hooten at Balliceaux:
[audio:http://media.rvanews.com/file0022.mp3|titles=|artists=Snarky Puppy]

Touted as an extremely innovative band, Snarky Puppy is heavily influenced by funk and fusion from forty years ago. Their groove greatly outweighs their originality. That being said, 120 minutes of non stop music is tedious regardless of the band, but the talented soloists were excellent at taking similar canvases and painting them into original pictures.

Snarky Puppy has made a habit out of stopping in Richmond. They will be back soon and they are definitely worth checking out.

Snarky Puppy at Balliceaux:

You can buy their newest album here.

9.24 – Atlanta, GA @ The Five Spot feat. Little John Roberts with Samadha & Floyd
9.26 – Athens, GA @ The Melting Point with Jazz Chronic
9.27 – Birmingham, AL @ Zydeco with TBA
9.28 – Hattiesburg, MS @ Benny’s Boom Boom Room
9.29 – New Orleans, LA @ Howlin’ Wolf with TBA
9.30 – Pascagoula, MS @ Frets Live Music
10.1 – Lake Charles, LA @ Luna
10.2 – Lafayette, LA @ Artmosphere
10.3 – Denton, TX @ Hailey’s with Boxcar Bandits
10.4 – Dallas, TX @ Prophet Bar with TBA
10.5 – Wichita, KS @ North High (afternoon clinic)
10.5 – Witchita, KS @ Rock Island Live
10.6 – Chicago, IL @ Reggie’s for Chicago Guitar Festival
10.9 – Toronto, ON @ The Rex
10.10 – Toronto, ON @ The Rex
10.12 – Montreal, QC @ Club Lambi
10.13 – Burlington, VT @ Nectar’s
10.14 – Boston, MA @ Copperfield’s with Philthy
10.15 – New York, NY @ Rockwood Music Hall

Brian Jones’ Musicircus

Aaron Williams — Fri, 16 Sep 2011 05:27:59 +0000

Last Thursday, the Brian Jones Musicircus took over The Visual Arts Center on Main Street. After several years of electric amplification and instruments, the Musicircus went all acoustic. The result was quieter and even more enjoyable. The annual event curated by Brian Jones and inspired by John Cage offers an opportunity to seamlessly listen to multiple groups while walking around a building. Imagine hearing Marcus Tenney in one room, SCUO upstairs and a solo guitarist under the stairs while the sounds of a street percussionist echo everywhere.
Brian Cruse and Roland Karnatz from quux collective
The event featured many diverse musical acts including Jason Scott & Kevin Johnson, a street percussionist, Brian Jones with Winn, Ralston, Pharr and Pollard, a Gamelan music ensemble and many more.
Rex Richardson and Bryan Hooten
Walkthrough #1:
[audio:http://media.rvanews.com/Walkthrough.mp3|titles=Walkthrough #1|artists=Brian Jones' Musicircus]
Devonne Harris, Andrew Randazzo, Marcus Tenney and David Hood
Walkthrough #2:
[audio:http://media.rvanews.com/walkthrough2.mp3|titles=Walkthrough #2|artists=Brian Jones' Musicircus]
Scott Burton and Scott Clark from Scuo
Gamelan Music:
[audio:http://media.rvanews.com/gamalon.mp3|titles=Gamelan Music|artists=]
Matt Coyle

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Toby Whitaker Big Band at Balliceaux

Aaron Williams — Fri, 05 Aug 2011 10:00:18 +0000

Last week, we interviewed Toby Whitaker about his big band, his departure from Richmond and we dubbed him the newest judge for our DROP THE NEEDLE series. Wednesday night, his big band debuted to a packed house at Balliceaux.
After an incredible and rare set by Jason Scott's Small Town, 15 musicians crowded onto the undersized stage tucked in the back corner of the dark cement clad restaurant. Every seat was taken and an awkward mass of people clustered around the bar trying to distance themselves from the onslaught of twelve loud horns while still being engaged in the action.
Toby Whitaker stands next to the band as he directs and plays trombone.
While this was the live debut of TWBB, the first tune "#2" was featured on DROP THE NEEDLE in 2010. The tune began with large chords created by pyramids of horns grouped across sections. The composition utilized a nice balance between these pyramids and a simple melody interupted by loud horn hits.
The powerful horns eventually made way to Marlysse Simmons pounding away at her Nord keyboard. Drummer Pinson Chanselle Jr. and Cameron Ralston rounded out the rhythm section that pleasantly sounded like nothing I have ever heard before. Chanselle's style of big band drumming is unprecedented. His enthusiasm and willingness to distort the meter and form showed an amazing confidence in the other fourteen performers and their abilities to keep grooving.
Whitaker's writing for large ensemble is mature and it will be exciting to hear him grow during his graduate studies at Rutgers. His compositions feature modern harmony, interesting rhythm and a broad palette of textures.
"#1", another tune featured on DROP THE NEEDLE, started with a horn intro, but the music didn't truly take flight until the seductive bass melody entered. After the saxophones joined, the tempo picked up and Bob Miller delivered a solid trumpet solo. Whitaker took the final solo and his knowledge of the complex backgrounds paid off as the band's intensity built to the end.
Listen to #1:
[audio:http://media.rvanews.com/%231.mp3|titles=#1|artists=Toby Whitaker Big Band]
The fourth tune of the night, "Future Caveman" contained some of the best solo work of the concert. Toby Whitaker, JC Kuhl and Scott Frock all traded phrases over a rim click drum groove, each of them outdoing the next until they all played at once. Finally, drummer Pinson Chanselle Jr. and bassist Cameron Ralston improvised together. Comfortably the two of them, both members of Fight the Big Bull, engaged in a satisfying rhythmic discussion.
Listen to Future Caveman:
[audio:http://media.rvanews.com/FutureCaveman.mp3|titles=Future Caveman|artists=Toby Whitaker Big Band]
Saxophonist J.C. Kuhl trades bars with Scott Frock (Scott Frock) and Toby Whitaker (Trombone.)
The final tune of the night came too soon for many. "#3" started with a constant stream of quarter notes performed enthusiastically by the bobbing saxophones and clarinet of the front row. The bass added on before the brass entered full force and three different ideas combined to create a unique big band sound. Sticking in his upper register, Jason Scott fought to be heard during his clarinet solo. Simmons then took one last tranquil solo that set the stage for the intense last two minutes of the night.
Listen to Intro and #3:
[audio:http://media.rvanews.com/Introand3.mp3|titles=Intro and #3|artists=Toby Whitaker Big Band]
Stefan Demetriadis came prepared for the dark back room at Balliceaux.
Six tunes after the down beat, the house music came back on as the fans were left desiring more. The immediate buzz: "when will this happen again?" I heard countless people state the need for a permanent original big band in Richmond, something that has been lacking since the days of Devil's Workshop Big Band. There is no doubt Richmond contains the talented musicians and composers needed to have a big band. More importantly, Wednesday showed us there is a crowd willing to listen.
Jason Scott (alto saxophone/ clarinet)
Toby Whitaker Big Band:
Reeds: Jason Scott, JC Kuhl, John Lilley, David Hood
Bones: Toby Whitaker, Stefan Demetriadis, Pete Anderson, Reggie Chapman
Trumpets: Rob Quallich, Bob Miller, Scott Frock, Marcus Tenney
Rhythm: Marlysse Simmons, Cameron Ralston, Pinson Chanselle Jr.
All photos by the talented Lauren Serpa

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Lou Hoff Quartet at VMFA Jazz Cafe

Aaron Williams — Fri, 22 Jul 2011 10:00:45 +0000

Lou Hoff's appearances have been limited since he moved to Richmond 18 months ago, but that is going to change when he retires from his job in December. Last night he made a rare appearance at the VMFA Jazz Cafe. Steve Kessler (piano), Andrew Randazzo (bass) and Russ Helm (drums) joined him as the quartet entertained a packed house of more than a hundred listeners.
Left to right: Steve Kessler, Andrew Randazzo, Lou Hoff, Russ Helm
Focusing on jazz standards, the group explored such tunes as "Stella by Starlight," "Someday My Prince Will Come," "Well You Needn't" and a burning fast version of "Oleo." I can't even begin to describe how fast "Oleo" was. Hoff took the occasional break from alto saxophone and played flute on a pair of latin tunes. His flute solo on "No More Blues" was extremely convincing, especially with the drum and bass interaction between Randazzo and Helm.
While Lou Hoff captivated the audience, the true star of the night was pianist Steve Kessler. His endless ideas and unique phrasing offered a new perspective on every tune they performed. Kessler's solos told a complete story, something that was sometimes lost in the double time passages of Hoff.
It is always good to get out and hear a new group. Lee Hoff Quartet is definitely worth checking out.
All the Things You Are:
[audio:http://media.rvanews.com/file0040.mp3|titles=All the Things You Are|artists=Lou Hoff Quartet]
Blue Monk:
[audio:http://media.rvanews.com/file0041.mp3|titles=Blue Monk|artists=Lou Hoff Quartet]

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Listening back: Glows in the Dark

Aaron Williams — Wed, 20 Jul 2011 10:00:37 +0000

On May 24th Glows in the Dark released its second album: Beach of the War Gods. In convincing fashion they performed a 75 minute set of all original compositions.
Listen to Glows in the Dark:
[audio:http://media.rvanews.com/GlowsintheDark.mp3|titles=Beach of the War Gods Release|artists=Glows in the Dark]
Last May Dean Christesen sat down with guitarist Scott Burton and talked over the entire album.
Click here to hear Deep Dish: Scott Burton
Lauren Serpa took some spectacular photos:
Cameron Ralston on bass
Left to right: Scott Burton, Reggie Pace, Cameron Ralston, Scott Clark
Reggie Pace on trombone
John Lilley on saxophone
Scott Burton on guitar

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Looking Back at the RVAJazzfest

Aaron Williams — Fri, 15 Apr 2011 10:00:25 +0000

Saturday night, RVAJazz hosted the third annual RVA Jazzfest. Harris Eisenstadt and Canada Day, Old New Things and The Scott Clark 4tet entertained an enthusiastic and focused crowd of jazz fans at The Camel. Whether you attended or not, here are some photos for your enjoyment. A special thanks goes to NPR’s Patrick Jarenwattananon for contributing some amazing photos and being the editor of A Blog Supreme.
Bob Miller of The Scott Clark 4tet (photo:Patrick Jarenwattananon)
Jason Scott of the Scott Clark 4tet (photo:Patrick Jarenwattananon)
The Scott Clark 4tet (photo:Patrick Jarenwattananon)
Bandleader Scott Clark (photo:Patrick Jarenwattananon)
J.C. Kuhl, Taylor Barnett and Adam Larrabee of Old New Things (photo:Aaron Williams)
J.C. Kuhl of Old New Things (photo:Aaron Williams)
Taylor Barnett of Old New Things (photo:Aaron Williams)
Brian Caputo of Old New Things (photo:Aaron Williams)
Adam Larrabee of Old New Things (photo:Patrick Jarenwattananon)
Taylor Barnett of Old New Things (photo:Patrick Jarenwattananon)
Adam Larrabee of Old New Things playing the banjo (photo:Patrick Jarenwattananon)
Trey Pollard of Old New Things playing acoustic guitar (photo:Patrick Jarenwattananon)
Nate Wooley of Harris Eisenstadt and Canada Day (photo:Aaron Williams)
Harris Eisenstadt and Canada Day (photo:Patrick Jarenwattananon)
Matt Bauder of Harris Eisenstadt and Canada Day (photo:Patrick Jarenwattananon)
Harris Eisenstadt of Harris Eisenstadt and Canada Day (photo:Patrick Jarenwattananon)
Chris Dingman of Harris Eisenstadt and Canada Day (photo:Patrick Jarenwattananon)
Garth Stevenson of Harris Eisenstadt and Canada Day (photo:Patrick Jarenwattananon)

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Listening Back: Brian Jones

Dean Christesen — Sat, 26 Feb 2011 11:00:52 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. But if you can’t, stop by here every Saturday for a recap in sights and sounds. This week, Brian Jones continued the series with two of his groups.
Listen to Brian Jones + JC Kuhl:
[audio:http://media.rvanews.com/Brian%20Jones%20and%20JC%20Kuhl%20022211.mp3|titles=Live at The Camel February 22 2011|artists=Brian Jones JC Kuhl]
Listen to Brian Jones Quintet:
[audio:http://media.rvanews.com/Brian%20Jones%20Quintet%20022211.mp3|titles=Live at The Camel February 22 2011|artists=Brian Jones Quintet]

Listen to Marty McCavitt:
[audio:http://media.rvanews.com/Marty%20McCavit%20022211.mp3|titles=Live at The Camel February 22 2011|artists=Marty McCavitt]
On Tuesday, Compass Rose Orchestra and UTV continue the free series. The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.
Listen back to other gigs in Richmond
Photos by Lucas Fritz

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Listening Back: Larri Branch Agenda and Steve Kessler

Dean Christesen — Sat, 19 Feb 2011 14:56:52 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. But if you can’t, stop by here every Saturday for a recap in sights and sounds. This week, Larri Branch Agenda and Steve Kessler's Fight the BS continued the series.
Listen to Larri Branch Agenda:
[audio:http://media.rvanews.com/Larri%20Branch%20Agenda%20021511.mp3|titles=Live at The Camel February 15 2011|artists=Larri Branch Agenda]
Listen to Steve Kessler's Fight the BS:
[audio:http://media.rvanews.com/Steve%20Kessler%20021511.mp3|titles=Live at The Camel February 15 2011|artists=Steve Kessler's Fight the BS]
On Tuesday, Brian Jones continues the free series. The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.
Listen back to other gigs in Richmond
Photos by Lauren Serpa

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Listening Back: Jazz By Numbers

Dean Christesen — Sat, 12 Feb 2011 11:00:55 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. But if you can’t, stop by here every Saturday for a recap in sights and sounds. This week, Jazz By Numbers featuring Bryan Hooten, SCUO, Trio of Justice, and Scott Clark 4tet continued the series.
photos by Amber Smith
From soloist to quartet and everywhere (duo and trio in case you needed it spelled out for you) in between, Jazz By Numbers on Tuesday was a night of instrumentations of various size.
Exploring extended techniques and playing as a soloist is not new for trombonist Bryan Hooten, but recently he has begun performing more by himself, with an album likely to be released in the future. Listen for his multiphonics -- multiple notes played at once by creating overtones -- which Hooten uses tastefully a la one of his trombone heroes, Albert Mangelsdorff. The duo called SCUO (guitarist Scott Burton and drummer Scott Clark) drive home heavily hypnotic rhythms in a minimalistic way, making the process in which they vary the music evident. Trio of Justice continued to champion their unusual instrumentation of Reggie Pace on trombone, Reggie Chapman on tuba, and Devonne Harris on drums. Lastly, Scott Clark 4tet gave a teaser to their featured performance at RVAJazzfest 2011 in April.
Listen to Bryan Hooten:
[audio:http://media.rvanews.com/Bryan%20Hooten%20020811.mp3|titles=Live at The Camel February 8 2011|artists=Bryan Hooten]
Listen to SCUO:
[audio:http://media.rvanews.com/SCUO%20013111.mp3|titles=Live at The Camel January 31 2011|artists=SCUO]
Note: Due to technical difficulties during this set, we were unable to capture audio. This is their performance from the week before.
Listen to Trio of Justice:
[audio:http://media.rvanews.com/Trio%20of%20Justice%20020811.mp3|titles=Live at The Camel February 8 2011|artists=Trio of Justice]
Listen to Scott Clark 4tet:
[audio:http://media.rvanews.com/Scott%20Clark%204tet%20020811.mp3|titles=Live at The Camel February 8 2011|artists=Scott Clark 4tet]
On Tuesday, Larri Branch Agenda and Steve Kessler continue the free series. The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.
Listen back to other gigs in Richmond

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Listening Back: Devonne Harris’s Reeverb + 2 bonus sets

Dean Christesen — Sat, 05 Feb 2011 11:00:21 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. But if you can’t, stop by here every Saturday for a recap in sights and sounds. This week, Devonne Harris's Reeverb continued the series, and we give you two bonus sets from Brooklyn's Suite Unraveling and Richmond's Ombak, captured at The Camel the night before.
photos by Amber Smith
It's about time that drummer and multi-instrumentalist Devonne Harris had a night to himself. He's one of Richmond's most in demand drummers as a side man, but the guy has plenty going on for himself. An active composer, jazz hip hop melder, beat maker, and now record label producer of his own Reeverb Music (Food For The World Productions), his many talents really shined on Tuesday.
First up, his Reeverb Trio was classic Devonne Harris: always in the pocket, yet always going somewhere new. With bassist Andrew Randazzo, keyboardist Brian Mahne, and saxophonist Tim Turner, the group warranted yelps and "oh shits" from the crowd around just about every corner.
Listen to the Devonne Harris's Reeverb Trio featuring Tim Turner:
[audio:http://media.rvanews.com/Devonne%20Harris%20and%20the%20Reeverb%20Jazz%20Group%20020111.mp3|titles=Live at The Camel February 1 2011|artists=Devonne Harris's Reeverb Trio featuring Tim Turner]

With drummer Corey Fonville at his side, Devonne manned his laptop, cueing his own original beats minus the drums. It was a playground for Fonville, who grooved incredibly hard with the pre-constructed tracks.
Listen to Devonne Harris "DJ Harrison" and Corey Fonville:
[audio:http://media.rvanews.com/DJ%20Harrison%20and%20Corey%20Fonville%20020111.mp3|titles=Live at The Camel February 1 2011|artists=Devonne Harris "DJ Harrison" and Corey Fonville]

One night earlier on Monday, Brooklyn's Suite Unraveling, Ombak, and SCUO played The Camel. As a bonus this week, take a listen to two of the sets. (SCUO performs at The Camel on Tuesday and so will be featured on next Saturday's Listening Back)
Listen to Suite Unraveling:
[audio:http://media.rvanews.com/Suite%20Unraveling%20013111.mp3|titles=Live at The Camel January 31 2011|artists=Suite Unraveling]
Listen to Ombak:
[audio:http://media.rvanews.com/Ombak%20013111.mp3|titles=Live at The Camel January 31 2011|artists=Ombak]
On Tuesday, Jazz By Numbers (Bryan Hooten, SCUO, Trio of Justice, Scott Clark 4tet) continues the free series. The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.
Listen back to other gigs in Richmond

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Listening Back: Lucas Fritz Quintet and Old Soul

Dean Christesen — Sat, 29 Jan 2011 11:00:45 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. But if you can’t, stop by here every Saturday for a recap in sights and sounds. This week, Lucas Fritz Quintet and Old Soul continued the series.
photos by Lauren Serpa
Presenting the next generation. They find a balance between blues shuffles and back beats, jazz standards and indie rock ballads, respecting where jazz came from and experimenting with where it can go. Trumpeter and band leader Lucas Fritz is that kind of student. With a slightly more straight-ahead angle than his larger Compass Rose Orchestra, his quintet still mixes in the funk- and hip-hop-influenced tunes, like Chris Potter's "Ultrahang" and Tigran Hamasyan's "Falling." Otherwise, it's originals from the almost-VCU-grad whose springtime senior recital approaches.
Listen to the Lucas Fritz Quintet:
[audio:http://media.rvanews.com/Lucas%20Fritz%20Quintet%20at%20The%20Camel%20012511.mp3|titles=Live at The Camel January 25 2011|artists=Lucas Fritz Quintet]
Tenor saxophonist Jonathan Gibson, drummer Abbinet Berhanu, bassist Andrew Randazzo, guitarist Paul Willson, and Fritz
Gibson and Fritz
Randazzo
Guitarist Paul Willson's Old Soul is the next step in his musical progression after his previous group, the ECM-like Yellow Grass. With Marcus Tenney and David Hood on tenor and alto saxes, Devonne Harris on Rhodes, drummer Matt Coyle, bassist Evan Sarver, and singer Lydia Ooghe, the energy is more pumped up with Old Soul, but still in a meditative way (one piece abstractly deals with the concept of dreaming and the abrupt transition to consciousness). The singer-songwriter Ooghe lends her beautiful voice, Tenney shreds, and Hood sounds more Hodges-meets-Braxton than ever. There's gold in the details, but the best part is the big picture.
Listen to Old Soul:
[audio:http://media.rvanews.com/Old%20Soul%20at%20The%20Camel%20012511.mp3|titles=Live at The Camel January 25 2011|artists=Old Soul]
Old Soul
Marcus Tenney and David Hood
Devonne Harris
On Tuesday, Devonne Harris's Reeverb Trio continue the free series. The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.
Listen back to other gigs in Richmond

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Listening Back: Brian Jones Quintet and The Music of Art Blakey and the Jazz Messengers

Dean Christesen — Sat, 22 Jan 2011 17:00:16 +0000

In Listening Back, we chronicle the happenings at The Camel's free weekly jazz series on Tuesday nights. Be there if you can. But if you can't, stop by here every Saturday morning for a recap in sights and sounds. This week, Brian Jones detoured the music to Monday night, leading two of his groups in two thrilling sets.
Photos and audio by Lucas Fritz
There's not much to say to preface a set like this; a line-up as stacked as drummer Brian Jones, keyboardist Daniel Clarke, saxophonist J.C. Kuhl, trumpeter John D'earth, and bassist Randall Pharr almost speaks for itself. It's the quality of musicianship you come to expect from a Brian Jones set, but when you get there, you're still blown away by how well they play together in the moment and how different the tunes are from the last time you heard them.
While he's a prolific composer (he's getting ready to release four CDs at the same time in February of new material), there's a canon of Jones's music that serves as his soundtrack. Take the second song of the set (or the first if you consider it having an extended intro), "Pinchback," first recorded in 2003 with Monday night's rhythm section (Clarke on Wurlitzer) and reverently rearranged and covered by the Richmond Marching Band in 2009. Signature Jones, but it's different every single time.
Listen to Brian Jones Quintet's set:
[audio:http://media.rvanews.com/Brian%20Jones_set1_011711.mp3|titles=Brian Jones Quintet January 17 2011 at The Camel|artists=Brian Jones Quintet]
Randall Pharr, Brian Jones, John D'earth, and J.C. Kuhl
The audience looks on as Jones solos
Two things come to mind when I think of Art Blakey's Jazz Messengers: Blakey's powerful shuffle and the heavy horn section with their dramatic dynamic shifts. The ensemble -- add trumpeter Rex Richardson and trombonist Pete Anderson to the first set's line-up -- channeled the jazz supergroup well.
Listen to Brian Jones's The Music of Art Blakey and the Jazz Messengers set:
[audio:http://media.rvanews.com/Brian%20Jones_set2_011711.mp3|titles=Brian Jones plays the music of Art Blakey and the Jazz Messengers January 17 2011 at The Camel|artists=Brian Jones]
Rex Richardson, D'earth, Kuhl, and Pete Anderson form the horn section
J.C. Kuhl
On Tuesday, Lucas Fritz Quintet and Old Soul continue the free series. [facebook] The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.
Listen back to other gigs in Richmond

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Listening Back: UTV.Chamber and Scott Clark 4-tet

Dean Christesen — Sat, 15 Jan 2011 11:00:23 +0000

As part of our new weekly series, we chronicle the happenings at The Camel's free weekly jazz series on Tuesday nights. Be there if you can. But if you can't, stop by here every Saturday morning for a recap in sights and sounds.
Maybe it was the HopSlam, or maybe it was The Camel's free weekly jazz series catching on. Either way, both UTV.Chamber and Scott Clark 4-tet had great audiences to play for on Tuesday night. Perhaps even more than last week, jazz's genre boundaries were stretched and the two sets varied greatly.
UTV considers itself to be "avant pop," made up of seven post-modern minds. Trombonist Reggie Chapman is the anchor, the conductor, and most often the instigator, although everyone from drummer Devonne Harris to vocalist Chelsea Temple play that role. In the middle, tenor saxophonist Marcus Tenney, alto saxophonist David Hood, and flugelhornist Mary Lawrence Hicks weave in and out of the limelight, and the band's most recent addition in guitarist Paul Willson is capable of changing textures instantly.
Listen to UTV.Chamber's set:
[audio:http://media.rvanews.com/UTV%20@%20The%20Camel%20(01.11.10).mp3|titles=UTVChamber Live at the Camel Tuesday January 11 2011|artists=UTVChamber]

Scott Clark's quartet is a new favorite. Enlisting Fight the Big Bull players Jason Scott (saxophone), Bob Miller (trumpet), and Cameron Ralston (on bass, with whom Clark also plays in Glows in the Dark and Ilad), the drummer leads his band around adventurous compositions without limits. Ralston's playing anchors the band when it needs to and totally frees itself of strict rhythmic responsibility at other times, providing great counterpoint or conversing with drums in various tempos and meters. Bob Miller and Jason Scott are quite capable of starting a fire while it all churns alongside them.
Listen to Scott Clark 4-tet's set:
[audio:http://media.rvanews.com/Scott%20Clark%204tet%20@%20The%20Camel%20(01.11.10).mp3|titles=Scott Clark 4-tet Live at the Camel Tuesday January 11 2011|artists=Scott Clark 4-tet]
Listen back to other gigs in Richmond
Thanks to Lucas Fritz for the audio, Shaun Lilley for photos

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District rendezvous

Aaron Williams — Tue, 11 Jan 2011 19:09:53 +0000

From the Millennium Stage at the Kennedy Center to Subterranean A (a basement apartment on R street in Washington D.C.), last Wednesday night was a night of opposites. In an event advertised as "North meets South", Darcy James Argue’s Secret Society from Brooklyn and Richmond’s Fight the Big Bull did just that.
The evening began at the Kennedy Center’s Millennium Stage where free concerts happen 365 days a year. The place was standing room only when the 18-person big band took the stage. Armed with a fleet of instruments, the band embarked on a journey through four complex tunes that lasted a little more than an hour total. The highlight of the set was the tune "Phobos" that featured electric cajon with a heavy delay playing break beats that morphed into more of a heavy alternative rock groove with electric bass.
Argue's greatest talent is his ability to create so many textures with a big band. Many compositions they performed used baritone saxophone, bass clarinet and bass trombone to create a heavy bottom groove while trumpets, clarinets and flutes created a complex and often mutli-metered interplay on top. Seconds later, 13 horns were holding a unison note for two minutes as a flugelhorn solo used every chromatic note to build tension. Immediately after the set, the migration began as the second event at Subterranean A was in only 90 minutes.
Holding a concert in a basement apartment could seem underwhelming, especially after the grand Kennedy Center, but jazz needs more places like Subterranean A. The future generation of jazz listeners certainly feels more comfortable in this environment and it even seemed to put the bands in a state of comfort. Search and Restore founder Adam Schatz embodies this belief and booking shows in venues where younger listeners feel comfortable is one of the missions of his project.
This was night one of two. The second night on Thursday took place in Brooklyn with Fight the Big Bull, Darcy James Argue’s Secret Society and Steven Bernstein's Millennial Territory Orchestra. Wednesday signified the first Search and Restore event in Washington D.C. while Thursday celebrated Search and Restore's successful $75,000 fundraiser for an online film project.
At Subterranean A, Fight the Big Bull performed first. Without notice, saxophonist John Lilley began playing solo as an intro to his regular feature “The Sacred Harp." Cameron Ralston joined in on bass. The horn section played cued horn lines as the saxophone built intensity. With a silent focus, the audience didn't miss a note. At the end the room erupted as Lilley took his seat and a large number of first time Fight the Big Bull listeners smiled, looked at their neighbors, and awaited eagerly for the rest of the set.
Bassist Cameron Ralston and trumpeter Bob Miller
The highlight of the entire night came on the tune “All is Gladness in the Kingdom." Ralston started the tune with a soulful solo that really proved that the Big Bull cares about one thing: playing with personality. Then Jason Scott brought the blues on tenor saxophone as the two played as a duo. The silent focused demeanor of the crowd broke as people began hooting and hollering. They masterfully built intensity until the entire band came in with the funky theme of the tune. As Fight the Big Bull busted into one of their signature dance beats, the audience began to dance.
An hour that seemed way too short ended and as the listeners relished in the experience they just had, no one had any doubt that Fight the Big Bull brought their “A game” on Wednesday and people were left wanting more.
Darcy James Argue and his 18-person band squeezed onto the stage and began playing their second set of the night. Whether they were inspired by the sounds of the South or the venue, the band had a more appealing rugged sound. This time they played tunes that featured more back-beats, fewer odd meters and even some people got the opportunity to dance. After almost 90 minutes of playing the band only repeated one tune from the earlier set.
Search and Restore founder and event producer Adam Schatz quiets the crowd before Secret Society begins
Fight the Big Bull and Darcy James Argue’s Secret Society are undoubtedly two of the best big/bigger bands playing music right now. The Secret Society from the North is industrial and strives for perfection and innovation through complex meters, chords and they double on so many instruments whereas Fight the Big Bull is earthy and takes influences from past styles of music and adds personality. Argue conducts as the musicians aim for perfection in performance while Fight the Big Bull’s sound is built around nuance in performance and never playing things exactly the same way. Argue’s band pulls from a set of musicians so the lineups are almost never the same and you hear different voices whereas Fight the Big Bull rarely if ever subs. Leader and guitarist Matt White almost lets entire sets go by without saying anything to the crowd whereas Darcy James Argue spends three to five minute explaining the story behind each tune, which includes everything from inventor Bucky Fuller to the French secret society: Jacobin Club. To really add to all of this, The Secret Society finished with the tune “Transit”, a full embodiment of the urban north while Fight the Big Bull finished with a cover of “The Night They Drove Old Dixie Down”.
The golden age of big band ended 60 years ago and in a time where budgets and busy schedules limit how much bands can tour, both Fight the Big Bull and Darcy James Argue’s Secret Society are proving that it can still be done.

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Two trios tear it up at The Camel

Dean Christesen — Wed, 05 Jan 2011 17:00:53 +0000

Last night at The Camel, Trio of Justice and Marcus Tenney Trio continued the venue's weekly jazz series to an enthusiastic crowd. Even trombonist Sam Savage was there to share in the magic, and we got audio from the whole night.
I've missed Trio of Justice. The sounds they get with their unorthodox instrumentation -- trombone, tuba, drums, give or take a few odd others -- are like no other. It's as if they broke out of a brass band and then took elements of what they heard in hip hop and math rock. Trombonist Reggie Pace and tubaist/trombonist Reggie Chapman, at least, help form No BS! Brass Band but here bring an entirely new harmonic palette to the table. Devonne Harris has a crisp sensibility on drums, and he's able to play powerfully while intuitively.
Listen to Trio of Justice's set:
[audio:http://media.rvanews.com/Trio%20of%20Justice%20@%20The%20Camel%20(01.04.10).mp3|titles=Live at The Camel January 4 2011|artists=Trio of Justice]

Marcus Tenney used to play trumpet exclusively (think along the lines of Freddie Hubbard's style), but seems to only pick up his tenor saxophone these days (think Coltrane or Joe Henderson). It's no surprise, then, that he chooses to only play his newer instrument with his trio that features drummer Harris and bassist Andrew Randazzo. Tenney takes extended solos over Henderson's "Shade of Jade" and "Inner Urge," Coltrane's "A Moment's Notice," and Sam Rivers's "Beatrice," while his rhythm section urges him along.
Listen to Marcus Tenney Trio's set:
[audio:http://media.rvanews.com/Marcus%20Tenney%20Trio%20@%20The%20Camel%20(01.04.10).mp3|titles=Live at The Camel January 4 2011|artists=Marcus Tenney Trio]
Tuesday night Jazz @ The Camel continues next week with Scott Clark 4tet and UTV. Visit thecamel.org for more info.
Thanks to Lucas Fritz for the audio, Shaun Lilley for photos

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A tale of two scenes

Lucas Fritz — Thu, 23 Sep 2010 10:00:18 +0000

Music is alive. It is a way for an artist to release emotions in an aural way in hopes of reaching an audience. Hearing live performances offer many advantages to the listener that a CD or mp3 just cannot come close to.
If you don’t find yourself at The Camel for No BS! Brass’s monthly stint, you clearly don’t know what’s what in RVA Music. Last weekend I found myself among the masses filing into The Camel’s music room to dance, scream, drink, party, and hear some great music. Regularly No BS! invites other bands share the stage with this month being particularly special: The Jeb Bishop Trio performed.
On tour from Chicago, Jeb Bishop is not only a trombonist/composer/arranger but also a well educated man with a graduate degree in Philosophy. His creative and intellectual influences are apparent in his compositions.
As people kept stealthily pouring in, Jeb and the rest of his trio (bassist Jason Roebke and drummer Frank Rosaly) took the stage to begin the set with a free improvisation over top of feedback and other raucous noises. Once Frank dropped in with the beat, Jeb dropped the dials, picked up his bone, and began blowing. Bone propelling the drums. Drums propelling the bass. Bass propelling the Bone. The three musicians seemed to never miss a thing the others said as the set progressed.
The audience -- including many No BS! members -- enjoyed from booths, tables, or sitting Indian-style in front of the stage with looks of amazement and exclamations of encouragement giving the group energy.
Anticipation built as Jeb and company vacated the stage and guys in the all too familiar No BS! tees unpacked and headed for the stage. Without warning or room to walk in the Camel, the band started with one of its heaviest tunes, “Iron Palm.” Screaming. Jumping. Dancing. Fist pumping, the crowd went nuts. I find myself without words to describe the electricity of the room.
Two sets, one sweaty shirt, two tired legs, and a few beers later, Reggie Pace (co-leader and founder of No BS!) thanked everyone for coming and the night came to a close. A quick bike ride home, change of clothes, and I was headed to the good old Greyhound station on Boulevard to catch my 3:15 am redeye bus to New York City, continuing my musical excursion.
* * *
The bus arrived a little after 9:30 am at the Port Authority Bus Terminal on 42 Street in midtown Manhattan, giving me a good chunk of the morning and afternoon to lollygag around and meet up with old friends. Being in NYC on the anniversary of 9/11 was a very moving experience. The whole mood around the city was quite a somber one.
The first stop on my agenda was an actual musical, Fela! The Musical at the Eugene O’Neil Theatre on 49th and Broadway. The play is set in Lagos, Nigeria, where Fela grew up. The stage was full of booty shaking, traditional African dancing, and a wonderful backing band, Antibalas, an afrobeat band based in Brooklyn. The pacing of the show was very peculiar, taking place entirely during the last concert that Fela gave in his hangout/concert venue known as “The Shrine.” Would it have been too much to ask for a change of scenery? It is broadway you know. Or how about a little more action besides only choreographing dances to Fela tunes?
A whopping two hours and forty five minutes later, I was led back into mid-town Manhattan mentally, musically, and physically exhausted, but ready for the next adventure: Rene Marie’s quartet.
I arrived at the Jazz Standard on the Lower East Side forty five minutes early, just in time to see Rene and pianist Kevin Bales sit down at the baby grand to work out a few last minute harmonies. I patiently sat until 7:30 when the lights dimmed and Rene walked out with Bales, bassist Rodney Jordan, and drummer Quentin Baxter, starting without a word into an original tune of hers called “Vertigo,” originally recorded on the album of the same name. She takes a mumbling scat solo, imitating a conversion with only herself.
The intimacy of the Jazz Standard’s small room, tightly packed tables, and the closeness of everyone to the stage added to the already high emotions of it being 9/11. On top of all that, Rene’s soft spoken dialogue with the audience between tunes grabbed the attention of every single person and jerked at every single one of our emotions. Her set continued with a wonderful homage to her home in Warrenton, VA, titled “Many Years Ago.” Wiping tears from her eyes, she began to speak of 9/11 and how meaningful it was for her to be performing in such a great city on such a historical day. Trying to regain her composure, she began the most beautiful -- and most emotionally moving -- tune of her set, a medley of “My Country, 'Tis of Thee” and “Lift Every Voice.”
If there was a dry eye in the room, it was because their soul was nonexistent.
Speaking with Rene after the set was wonderful. Her kind words of encouragement for me to continue with my studies with her "favorite composer” Doug Richards motivated me in different ways than I ever have been before.
Leaving the Jazz Standard, my mind was running a mile a minute, trying to take in all that I had just been a part of. No time to ponder now!!! I had to make it back to Times Square so I didn't miss the beginning of Kurt Rosenwinkel and the OJM orchestra, the final stop on my musical pilgrimage.
My first view of the Iridium’s stage revealed all kinds of interesting woodwind doubles. Rosenwinkel was currently in the middle of a five-night-long CD Release party with the OJM Orchestra, a Portuguese big band directed by Carlos Azevedo and Pedro Guedes. The group opened the set with a very dense arrangement of “Skylark.” Rosenwinkel played the melody and blew on it with his very distinguishable tone.
Each subsequent tune after “Skylark” was an arrangement of a Rosenwinkel tune by either Azevedo or Guedes. The use of mutes in the brass section coupled with the creative doubling choices in the woodwinds led to very colorful timbres, even though the sound system (whether intentionally or not) was pumping way too much piano and guitar through the house speakers and unfortunately overpowered horns. Whether it was the desired effect of just a malfunction all too common to those of us who play in clubs, Rosenwinkel sounded wonderful soloing over the tunes and the show as a whole was wonderful.
Great music is happening everywhere. If you seek it out and are lucky enough to find such a moving performance as the great dance party that No BS! brings to the Camel or Rene Marie singing from her soul at the Jazz Standard, you will feel things that recordings, YouTube, iTunes, or Rhapsody cannot give you.
But in the words of the great LeVar Burton from his Reading Rainbow days, “Don’t take my word for it...”
photo by Christopher Isherwood

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Room to spare

Dean Christesen — Tue, 21 Sep 2010 10:00:35 +0000

photos by Sam Allen for RVANews
Last week's Musicircus was smaller than years past but it contained all the signature elements of the successful annual event curated by Brian Jones. Some of Jones's favorite musicians found their niche in the mazy Visual Arts Center on Thursday night, playing their own music against a noisy backdrop and demonstrating the relationship between sound and space.
As simple as it is in everyday life, Musicircus amplifies that relationship in music. Take, for example, upstairs at the venue where a narrow, open hallway separated guitarist Scott Burton and drummer Scott Clark -- together known as SCUO -- and Gabe Churray and his harmonium. Their music almost went together, the duo's chilled groove and Churray's lulling drones mixing nicely, but the listener walking down the hallway from one to the other gave the sounds another dimension: a live mix based on position, and thus compositional control by the observer.
At Musicircus, each performer plays with sound while each observer plays with space. It's audience participation at its best, and it makes next year seem so far away.
John Winn played bass clarinet with JC Kuhl and drummer Brian Jones
JC Kuhl on bass clarinet
Elliott Shelton created soundscapes and more with guitar and effects
Scott Burton and Scott Clark of SCUO chilled out playing meditative grooves
Barry Bless played accordion with his Happy Lucky Combo
Happy Lucky Combo's Pippin Barnett used his few percussion instruments creatively
Gamelan Raga Kusuma's Daniel Martin played the traditional Indonesian music with ensemble
UTV Chamber played like nobody was watching
Josh Bearman (left) and bluegrass champs The Hot Seats hooted and hollered, taking over the main room with jubilation

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Revisiting and reliving Tristano

Dean Christesen — Wed, 04 Aug 2010 14:30:00 +0000

Jason Scott can’t get away from the music of Lennie Tristano, and it’s a good thing. The gigs on which he performs the piano master’s compositions are just as much entertaining history lessons as they are a couple sets of interesting and not often heard jazz. In a way, Scott is keeping a part of jazz from the 40s and 50s alive, reminding us all that there was more going on in the bebop movement of the late 1940s than just Charlie Parker and Dizzy Gillespie.
In November of last year, the saxophonist took his transcriptions of Tristano -- whose band usually included influential saxophonists Lee Konitz and Warne Marsh -- to the stage, and on Monday night at The Camel, he did the same. Scott has a separate quintet that performs his originals, but finds it important to remember this material. "I keep going back to it," he said between sets, "because I feel like I get a lot out of it. If people take the time to listen to it and really check it out, they’re going to hear something that they haven’t heard before." While the complexities of bebop were impressive for the time and continue to be models for improvisation, this music has more of an awing effect as it often sounds just as modern as something you might hear being created today.
A perfect example of this, the band started with Tristano’s “WOW.” Rather than embodying the frenetic bounciness and perpetual forward momentum of bebop, there was more reserved elation, like an overjoyed person playing it cool.
This carried forward into “317 East 32nd Street” (a meeting place and jam session spot for Tristano, Marsh, and the others). A west coast relaxed vibe permeated, even as Tristano’s signature melodic style stated the theme. Scott Burton’s guitar chunked away a la Billy Bauer and bassist Cameron Ralston and drummer Russ Helm swung relaxedly.
Following a bright solo by Scott on “Smog Eyes” (or “Small Guys,” as the band leader joked), alto saxophonist Rick Rieger showed his excellent sense of contrast, prompting the audience to breathe easily. It was a send off of sorts for Rieger, who will be relocating soon to South Korea in the armed forces.
Each piece of the first set brought something different: Scott’s solo on “Lennie’s Pennies” showed great continuity while Helm added variety with hints of Tony Williams and not far removed from the bebop masters; Tchaikovsky’s “Opus 42” sounded like Christmas time, exuding more celebration and merriment than sadness despite the slow bluesy tempo; and Bach’s short “Fugue in D minor” between saxophones and guitar stood out as the oddball. It’s amazing, Scott pointed out, that these musicians occasionally played this kind of material -- particularly the Bach -- on 52nd Street in jazz’s heyday while bebop skills were being honed across the street and next door.
Tristano, Konitz, and Marsh, Scott explained, "were trying to do the same thing that Parker and Gillespie were trying to do, which was basically reinvent music at the time. This is like standard jazz music done with a twist. These guys were ahead of their time, and I feel like the music today is just as fresh as it’s ever been."

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Double take: Glows in the Dark

Dean Christesen — Tue, 27 Jul 2010 15:02:31 +0000

At Commercial Taphouse on Sunday night, Glows in the Dark tucked into the bar's back corner playing music suggestive of spy films, apocalyptic comic strips, and crime. Last night on Balliceaux's new stage, they performed the music of 70s Italian soundtrack composers with the films on the wall as their backdrop. Less was left to the imagination of the audience, and the presentation of the video with the music provided for a totally different experience.
I learn more and more every time I hear Glows in the Dark, and each little discovery makes me wait eagerly for the next one. At the Taphouse, I couldn't help but explore their music's relationship with film. It's partially the notion they put in my head with, for example, their constant homages to film scorers of the past (see Monday night). On the other hand, their music just seems to be made for film.
Composer and guitarist Scott Burton's compositions drip with drama, but it's input from the entire band that makes everything go. "I really like ideas from everyone in the band," he's told us in the past. "It’s a lot like being a film director: everyone has ideas and you just have to pick the best ones."
At times when a soloist is playing over a building groove -- like trombonist Reggie Pace, saxophonist John Lilley, or bassist Cameron Ralston weaving their stories into the fabric -- I like to picture the improviser as a character of a film, the rest of the band the musical backdrop. The importance of the individual comes to the forefront like the acting abilities of a film's main character while the rest of the cast are just as important to the work as a whole.
Their intense free jazz freak outs (like Burton and drummer Scott Clark's episode in their own "Through A Glass Darkly" on Monday night) can be less chaotic than others of its kind. There's often a continuity that speaks more to extended conflict than all-out madness. The madness is there when it needs to be, but their great control helps their stories grow.
Much of their music follows the same structure a good story would. Granted, so does a lot of music like it. The difference here is in the undeniable sense of narrative in Burton's and the band's compositions. All parts of the story are strong: the exposition is suggestive of things to come, the climax rises to unimaginable heights, and the falling action is dramatic as could be. But what caps off many of the tunes as great pieces of music is in the resolution. New themes emerge, subdued in energy but rich with poignancy and emotion, and sometimes defeat. It leaves the listener physically yearning for another go.
At Balliceaux, car chases, dirt bikes going over massive jumps, and lots of frontal nudity accompanied Glows in the Dark's arrangements of soundtracks from the period. They reaffirmed any suspicions that their music is suitable for film. Film buff Burton has a deep knowledge of the style (both the cinematography and music) that suggests that good fortune isn't all that's at hand when it comes to their film-influenced music. Years of studying, practicing, and crafting his band's sound has created a package full of imagery with a story to tell.

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Rene Marie presses onward

Dean Christesen — Thu, 13 May 2010 10:00:59 +0000

There's something about Rene Marie's voice that is alive and real; it's an extension of her soul that has been battered and bruised but otherwise prevails as strong, independent, and, at times, even giddy. Hearing such a unique voice -- whether it's literally vocal or instrumental -- live for the first time can be an amazing experience. In this case, Marie not only brought her individual voice to the Capital Ale House Downtown Music Hall, but she also revived the group sound from her 2003 MaxJazz release Live at Jazz Standard.
With pianist John Toomey, bassist Elias Bailey, and drummer Billy Williams (who is the one exception to the Jazz Standard group, filling in for Howard Curtis), the native Virginian vocalist brought that sound back to life in this month's Richmond Jazz Society Guest Educators Series. A lot of it has to do with her style, a heady and unabashedly clear voice that won't concede once she's sung the theme. She's an active leader and a dynamic entertainer.
Just as though she often lends her voice to an accompanist role, singing off mic and rarely ceasing her interaction with all members of the band, she also does just fine all on her own. She began the second of her two sets (the one that I attended) with a beautiful solo rendition of "How Can I Keep From Singing?" before bringing her group to the stage for her signature rhumba-tinged "It Might As Well Be Spring."
Introducing her first original composition of the evening, she explained her displeasure with drummers: "They play fantastic stuff when I'm not singing, and then they pull back when I sing." More specifically, she said, "I need the rimshot." Her tune, "Rimshot," had plenty of it and largely featured Williams and Bailey.*
In her piece "This Is Not A Protest Song," written about her homeless brother, aunt, and "someone else," things started to slip. The song rambled on, but did so in order to deliver the powerful message. Recovering from vocal shaky ground, she followed it with an announcement in her true endearing way that something -- she didn't know what -- was happening to her voice. To the listener, it was pretty clear: she was tired.
Not even halfway through the set, she continued determinedly. That crack in her voice that she warned we might hear fortunately never came.
We did, however, have to put up with some foul audience etiquette, even after the no-talking policy was clearly stated by RJS's Mike "Mr. Jazz" Gourrier before the set. When Marie took a break to sip on some hot tea, the rhythm section played an instrumental "It Could Happen To You," which apparently invited conversations to begin from table to table. Had the set suddenly shifted from concert to cocktail hour?
Granted, this happened directly on the heels of a venue mishap when the song before -- a beautiful rubato ballad with only vocal, piano, and drums -- was abruptly interrupted at its end by some dance music piped into the hall. What?! Exactly. This didn't make me uncomfortable. My chair made me uncomfortable. This made me utterly and painfully embarrassed, although I wasn't quite sure for whom.
Marie, the delight that she is, played that instance off. When the talking took over the hall, she thanked us for our silence while the band was playing. Those that were quiet, anyway.
She closed the set with her three-part "Voice of My Beautiful Country" suite, which took elements from "America the Beautiful" and "My Country 'Tis of Thee," as well as her controversial juxtaposition of the lyrics from "Lift Ev'ry Voice And Sing" with the melody of the "Star Spangled Banner." Yes, the same one that got her in a bit of trouble in 2008 when she sang it for the Denver Mayor's State of the City address without telling anyone that she was going to do so. Being in that room while she sang it passionately and unapologetically (like she must have done in Denver) was an amazing and powerful moment.
An encore of Van Heusen/Burke's "Imagination" segueing into The Temptations' "Just My Imagination (Running Away With Me)" ended the night with everyone in high spirits. A group singalong will do that to you, after all.
Marie surely welcomed calling it a night for her voice's sake, but we could have gone on listening all evening. Big thanks go to Richmond Jazz Society for putting on great monthly concerts and topping off the last 12 months with, as executive director B.J. Brown put it, "the crème de la crème."
Visit Rene Marie on the web
*"Honey, you don't know squat if you ain't hip to that rimshot."
Photo credit: Luis Catarino

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Monterey Jazz Festival on Tour: All star collective

Dean Christesen — Thu, 25 Feb 2010 17:00:39 +0000

Within the very first minute of Tuesday night's show in the Carpenter Theater at CenterStage, Kurt Elling was scatting and, like a flash, they were off. Wasting no time, like an exposition that just had to be told, the band's featured members were introduced via short blasts of solo statements. Vocalist Elling, violinist Regina Carter, pianist Kenny Barron, and guitarist Russell Malone, joined by Barron's bandmates bassist Kiyoshi Kitagawa and drummer Johnathan Blake, each with their very own opening statements, made up quite the cast of esteemed and decorated musicians to perform at a venue not generally known for its jazz programming.
Together known as the Monterey Jazz Festival on Tour and here presented by Modlin Downtown, the musicians gelled as a unit thanks to the cohesion of the Kenny Barron Trio and the adaptive characteristics of all, not to mention the month spent on the road before this appearance in Richmond. Their two-set program was carefully planned out with smaller combinations of musicians interspersed between the tunes on which all six played together. In other words, not much was left to chance in regards to the set list. The music itself, on the other hand, was a different story.
Elling's personality is unique. In a quick paced version of Thelonious Monk's "Rhythm-A-Ning," Elling scatted for several choruses past when you thought he would stop; those final choruses were a climax elongated by his and the rhythm section's intensity. His voice, distinctive and soulful, has recently been called the most influential in our time and has also recently been celebrated with a Grammy for Best Jazz Vocal Album. Quirky and unabashed, yet crystal clear, he backed up the praises given to him.
The masterful piano playing of Kenny Barron is relaxed, and he always manages to make it quite clear that his phrases are a part of something larger than the phrase itself. His solos, too, grow with excitement, aided by his loyal -- and significantly younger -- compadres. As for those bandmates, Kitogawa's interesting rhythmic ideas were supported and propelled by Blake's sturdy drive. At moments of their collective improvising (such as in "Rhythm-A-Ning," a memorable tune that featured lengthy solos by every member of the band), the two were playful with the time and collaborative in their use of total silence.
In one non-sextet feature, guitarist Malone arpeggiated heavenly chords simulating a harp before unveiling a familiar melody in his solo take on The Jackson 5's "I'll Be There." Later on, in Barron's "Theme #1," (written for the opening credits of a film that we'll probably "never ever see," according to the composer), Malone filled up the space left by the sparse rhythm section with a language full of blues and bebop, quick lines and impassioned and strident bended strings.
Regina Carter shone on her duet with Barron. Identifiable by the very first two notes, "Georgia On My Mind" was the vehicle for her versatility in techniques, but most of all her deep bluesy playing. Not above a quick-witted quote or two, her playing on the jollier numbers was light-hearted and impressive.
Closing with a fast "Nature Boy," Blake had the last word. Even though the band was burning and Elling worked the very top of his falsetto, Blake's incessant and fiery solo brought the show to an appropriately exciting end. With that, the esteemed and decorated musicians were off to bring the music of the Monterey Jazz Festival All-Stars to the next town lucky enough to host them.
Photo: (l-r) Kiyoshi Kitagawa, Russell Malone, Johnathan Blake, Regina Carter, Kurt Elling, Kenny Barron. Photo ©2009 r.r. jones

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Marco Benevento Trio: Straying from the norm

Dean Christesen — Mon, 15 Feb 2010 11:00:41 +0000

Marco Benevento Trio
Capital Ale House Downtown Music Hall, Richmond, VA
Thursday, February 11, 2010
I feel a certain amount of obligation, a need to clarify or defend, that goes along with reviewing Marco Benevento Trio's show at Capital Ale House on Thursday night. See, two videos from the show taken on my phone are going to be included with this review. The average reader is going to read the words, watch the videos, and wonder why this is relevant to a website with jazz in the title.
Hence my feeling of obligation.
I shouldn't feel obligated to defend my reasoning to include this dance pop, heavy on the kick drum and bass, electronic-ish jam band. We jazz folk are an inclusive crowd, despite what they say. We're good at picking up strays from the norm and sensing when musicians are doing something creative, even when it's not on our "home turf" of music that's clearly jazz-influenced. Our ears perk up when improvisation is involved in any capacity. And, believe it or not, we do enjoy having fun.
If you can get past the fact that this is not jazz, you may learn something.
Pianist Marco Benevento comes from a jazz background, having launched himself into New York's experimental jazz scene after graduating from Berklee College of Music in 1999. He seems to keep one foot in the jam rock scene by playing with people like Phish's Trey Anastasio and Mike Gordon as well as his own duo with drummer Joe Russo.
[youtube]http://www.youtube.com/watch?v=Xvbeu5ixDVk[/youtube]
His overall awareness is incredible, as evidenced on Friday night: awareness of his sound, which is a combination of acoustic piano and loads of effects and cued samples; awareness of energy and what it takes to connect with an audience; awareness of form and when it's time to move on.
Benevento's piano playing itself is not flashy. Instead, it's driving and relevant to the music at all times. He often reaches one hand toward the effect pedals and knobs on the top of his piano (a 1927 small upright red-keyed piano named Joanna) while hammering out octaves in the upper register of the instrument with the other. His chromaticism almost implies a sensibility from the ragtime days of yore, and Joanna's bright saloon tone helps propel that image. At one point, he seemed to solo with his baroque hat on, letting phrases go and go with the sense that he's worked on his share of Bach.
With drummer Andrew Barr and electric bassist Dave Dreiwitz, Benevento created heavy grooves more on the rock end of things (Barr's massive kick drum synced up with Dreiwitz's propulsive bass equals a very grounded music). Samples -- whether of drum beats, white noise, or bird-like whistling, all triggered on the sly by Benevento's foot to a hidden laptop on stage -- underly many of the pieces performed.
There's a strange sensation involved with seeing and hearing so many effects and samples and seeing only an acoustic piano and a miniature Casio keyboard present. One would expect such electronic noises to be accompanied by some sort of synthesizer or a collection of the electronic keyboards. Instead, their almost total absence (save for the Casio) is a striking feature of the Marco Benevento Trio. Benevento gets so many different sounds out of the lone piano and his effects.
[youtube]http://www.youtube.com/watch?v=ByoW52e7QWo[/youtube]
Along with "RISD" (which is "designed to shake your booty," said Benevento, and made the Casio the star) and other originals, the group played several covers, like a tune by Deerhoof and My Morning Jacket's "Golden." The latter brought the gradual move of the audience to the dance floor to an influx.
During another tune, Benevento invited drummer Joe Russo to the stage mid-song. Enjoying a day off between gigs in Charlotte, NC, and Hampton, VA, with band Furthur, Russo just happened to swing by Richmond for the show. And we're glad he did. He instantly brought a ridiculous and effortless amount of power to the stage, staying for a few tunes and coming back for a couple duo encores with Benevento.
I'm glad I was open minded about catching this one. Even the opener, folk and country-flaired singer-songwriter Nathan Moore, made me appreciate the depth of his lyrics and the value of a good solo performance.
Visit Marco Benevento online
Special thanks to David Tenenholtz for his contributions.
Photo credit: Kevin Calabro

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Luciana Souza Trio: Active imaginations

Dean Christesen — Tue, 09 Feb 2010 15:05:30 +0000

Photo by Eleonora Alberto
Luciana Souza Trio featuring Romero Lubambo, guitar, and Cyro Baptista, percussion
Camp Concert Hall, Modlin Center for the Arts
Monday, February 8, 2010
On stage at University of Richmond's Modlin Center last night, Luciana Souza introduced her colleagues as "two of the most creative and soulful musicians I know." As creative and soulful as guitarist Romero Lubambo and percussionist Cyro Baptista are, they're made whole by Souza, the dynamic vocalist, improviser, lyricist (in Portuguese and English), and storyteller whose tone is sweet and presence is captivating.
In just over 90 minutes, the trio -- either as a whole or in solo or duo form -- played a varied program that always came back to the samba. Quick paced tunes full of syncopations and soul showed off Souza's lightning fast rhythmic singing and perfectly executed leap- and skip-filled melodies. Lubambo made his way with ease, melding bass line and choppy commentary into a final product that was never without momentum. And Baptista was a playful and gyrating character behind his percussion set-up and "made himself at home" mess of shakers, cocopods, and more scattered at his feet.
The set began like Souza's latest album, Tide, which also includes Lubambo and Baptista among others. "Adeus America & Eu Quero Um Samba" demonstrated the heavy sense of groove that each member individually embodies and that is multiplied when all three come together. Baptista's off-the-wall tendencies with his broomstick-like striking apparatuses and collection of drums, cymbals, cowbells, and woodblocks, could barely be contained. His color commentary while contributing to the groove always animated the already exuberant music.
In the first half of the set, the trio covered other songs from the album: the poppy and richly orchestrated (despite the stripped down instrumentation) "Fire and Wood"; the dark and raga-tinged "Chuva"; "Sorriu Para Mim," the samba in which a fast unison passage brought the packed house to cheers and applause; and "Tide," an E.E. Cummings poem set to music. Prefacing the latter, Souza explained that she's drawn to Cummings's "oddness of syntax," which she said illustrates the "shape of love." Seated at the piano, her and her colleagues' bare-bones arrangement accentuated the melody's urgency.
A piece in the middle took on many forms and many themes. Pausing in the middle of the song, Souza informed us that we "have to imagine" this detailed scene in arid northeastern Brazil. Going on with musical interludes to describe a man who goes crazy riding a horse for fifteen days, Souza and the band continued psychedelically until it came to a dramatic close.
Following a few percussion-less duets with Souza and Lubambo, Baptista showed us his stuff. All of it. Equipped with a delay effect in his microphone, he sang and played with nearly every one of his instruments, including mouth harps, squeeze toys that simulated sounds of the rainforest, and the single-stringed struck (not bowed) berimbau. Needless to say (see "playful and gyrating character" above), there was laughter from the audience practically throughout his sparsely textured yet entertaining solo.
The trio is incredibly capable of sounding like way more than three people. Each a master of their instrument and each intimately comfortable with one another, they're brothers and sister in music, full of soul and saudade.
Visit Luciana Souza, Romero Lubambo, and Cyro Baptista on the web.

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