RVANews

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: 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

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

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

Jazz in the East

Lucas Fritz — Wed, 08 Dec 2010 19:47:03 +0000

all photos by Lucas Fritz except where noted otherwise

Emre Kartari is living everyone’s dream: having your own dream come true. He's a graduate of VCU’s Jazz Studies Program whilst under the direction of Doug Richards. He went on to get his Master’s degree from New York University. Yet even with all the contacts and networks he had created here in the states, Emre decided to move back to his homeland to do for the kids there what had been done for him here: educate them in jazz.

With the help of Skip Gailes who was named a Fulbright Specialist, Emre started the first ever Turkish Jazz Program at Hacettepe Conservatory in September. Hacettepe (pronounced "Ha-jet-teh-pay") Conservatory is located in the heart of Ankara, the governmental and financial capital of Turkey. Students begin their studies at the conservatory as early as age 10 and can continue until they turn 24. Not only is the duration of one’s education different from here in the states, but everyone attending Hacettepe is on a full scholarship. (When I tried to explain partial scholarships and still having to pay for things back home, the students just did not seem to understand.)

Skip and Emre spend all day with the ten knowledge-hungry students in the program, teaching them everything from theory, to jazz history, to improvisation. To celebrate the beginning of this wonderful program and Emre’s great accomplishments, the university funded the Hacettepe Jazz Festival to be held from November 22-27 ending with a commissioned piece by Doug Richards titled “Ben Seni Variations” for symphony orchestra, jazz octet, and kanun. (Ben Seni is a traditional Turkish folk song.) I was fortunate enough to be asked to accompany and assist Doug in his rehearsing and performance of the piece.

photo: Emre Kartari performing at one of the many gigs through the week, this one at Tenedos. By Emre Topak

There were seven musicians flown into Turkey to help perform Doug’s piece and give workshops throughout the week. Rex Richardson, VCU Professor of Trumpet and Jazz Trumpet flew in from a one week stint he was finishing up in Germany. Skip Gailes -- as already mentioned -- was already in Ankara and had been working with the students all semester. VCU Guitar and Jazz Guitar teacher Adam Larrabee flew in with Bob Hallahan who now teaches Jazz Piano and Jazz Improv at James Madison University. Howard Curtis, Emre’s teacher while he attended VCU, flew in from his home in Austria where he teaches at the University of Graz. Tim Collins, a vibist-drummer-pianist flew from his home in Munich and Mike Richmond, bassist and one of Emre’s teachers at NYU flew from New York City. Emre, one of the most genuinely nice and caring people I have ever met, was constantly stating his overwhelming gratitude for the ability to have his mentors and friends in Ankara and as a part of such a wonderful event.

Each day was structured almost exactly the same: workshops at the conservatory from 10-1, lunch break, rehearsal with the orchestra from 3-6, and then dinner at the club where the gig was. The workshops varied as much as the faculty’s backgrounds. Bob Hallahan spoke about phrasing and how lines can swing or not swing with a misplaced accent. Howard followed suit with a drum clinic on various swing patterns to be played on the ride cymbal. He played trio with two students also on drum set, forcing them out of their comfort zone and to try new things. Tim Collins (one of the best musicians I have ever had the privilege to meet or work with) gave some wonderful insight into composition through ear training. Doug talked about (what else but) Duke Ellington and the enormous impact Duke’s music had on the future evolution of jazz. Adam Larrabee talked about different approaches to practicing, which followed a similar workshop with Mike Richmond about playing in front of, behind, or right on the beat.

Adam Larrabee plays duo with student Onur Mulayim during a masterclass.

Each workshop offered new insights to not only the students of Hacettepe* but to myself and the two other VCU Students, trumpet player Ben Heemstra and bassist Andrew Randazzo, that gave up their Thanksgiving to have turkey in Turkey (yeah I know, had to put that joke in here somewhere). The best part about having the talented faculty in residence the entire week was that after their lecture brought up new questions or insights, they were available to hang and explain/discuss concepts in more detail with the students.

Watching and helping Doug rehearse an orchestra full of non-English speaking musicians that have never met him before was a sight to be seen. Many musicians in Richmond and even in other parts of America know Doug, his mannerisms, and the way he expects people to act in his presence. These students had no idea what to expect. The first rehearsal on Tuesday afternoon, to put it nicely, could have gone better. The language barrier (which we experienced all week) was a huge part of it. Doug would say things and without a response from the orchestra, assumed they understood. It is also hard to get an entire symphony orchestra to swing, let alone a Turkish symphony orchestra that hasn’t grown up with jazz somewhere in their lives.

Doug Richards rehearsing the orchestra. Oh, Baby!!!

In the notation of his piece, Doug was forced to be as literal as possible, notating legato-stacattos, triplets, and stacatto-accents to aide in the jazz phrasing. After a full rehearsal and then some of a many “BAAAAABY!”, “Oh, my heavens!!!”, and “Aye-yi-yi-yi-yiiiiiii” (a la James Brown), the students began to loosen up and understand Doug’s aural way of rehearsing an ensemble. After three full and productive rehearsals, they were ready to perform Doug’s monumental piece.

Each night consisted of dinner and a gig at different clubs around town. These ranged from a bar where we had to move tables to find room to play, to a two story music venue in which the bands performed down in the basement, to Fige, an upscale Jazz club with a stage and a piano. Although primarily Skip and Emre’s gigs, the faculty and visiting students (myself included) sat in on many tunes creating a wonderful sense of community.

Audiences in Turkey are very different than in America. First, they are there... According to the students I spoke with, people in Turkey don’t like to sit at home and watch TV, they would much rather go out and DO things (like hear live music!!!). Secondly, they are attentive and appreciative. Playing for a club full of faces smiling at you, enjoying every note you play is a wonderfully satisfying experience. When you leave the bandstand you are bombarded with people telling you “congratulations” (yeah it’s weird, their word for ‘good job’ translates as congratulations...took some getting used to).

The grand finale of the week was a concert performed at the University’s concert hall about three miles from the conservatory.** With a sound check just long enough to figure out you couldn’t hear the winds in the hall, the orchestra left the stage so that the vocalists and others could prepare for the evening. Andrew Randazzo and myself, being Doug’s ears in the hall, set up microphones throughout the orchestra and virtually ran sound for the entire concert.

photo: Bob Hallahan, Andrew Randazzo, Skip Gailes, Merve Erdal, Howard Curtis, and Adam Larrabee perform at Fige Jazz Restaurant and Bar.

Although not a perfect performance, Hacettepe Conservatory’s Symphony Orchestra brought Doug Richard’s “Ben Seni Variations” to life with character in front of a sold out crowd. After the performance, people were speechless. Emre spoke with many people who told him they had never heard anything like that before in their lives. Emre himself compared the piece to Ellington’s Far East Suite saying that nothing had really blended eastern music and jazz since.

Everyone backstage after the performance of Doug Richard’s Ben Seni Variations.

It was an emotional concert and evening. Doug and Howard were able to see one of their students succeeding in making his dreams a reality. Emre was finally realizing that he did it -- he brought jazz education to his homeland of Turkey.

The week, as a whole, was a success. Emre was able to bring those that had taught him so much through the years to his school and have them pass their knowledge onto his students. He set the wheels in motion and lit the fire of inspiration that nothing can stop or put out.

*Now is a good time for me to explain that just because there are only 10 enrolled jazz students, doesn’t mean that there were only 10 people at each masterclass. The hall, comparable to a small movie theater, was packed for each and every talk. Even the classical students came to see what these great American Jazz musicians had to say.

**Hacettepe Conservatory and Hacettepe University are the same school, but are separated in a similar way to VCU-Monroe Park and VCU-MCV campuses.

Andrew Randazzo and Skip Gailes performing at Tenedos.

Thanksgiving dinner at Fige.

Skip Gailes, Emre Kartari, and student Yunus Muti perform at Fige.

Ankara at night

Andrew Randazzo, Ben Heemstra, and Fritz with Paul Hindemith and Bela Bartok outside of Hacettepe Conservatory

Guitar summit (but everyone’s invited)

Dean Christesen — Mon, 29 Mar 2010 13:42:34 +0000

Looking into an audience of mostly musicians between tunes on a Monday night in December, guitarist Alan Parker quipped something to the effect of "Welcome to the RVA jazz musician's summit." It was a pretty accurate assessment: like that one, some shows just turn out to be musician hangs with nary a casual non-musician observer in the house.

On Tuesday night at The Camel, Alan will hold a "guitar summit," and it's happening on the stage this time instead of among the audience.

In addition to his own group, Alan has invited two other guitarists -- Karl Morse and Adam Larrabee -- to lead their bands. The jazz diplomacy begins around 8:30 with Karl Morse Quartet, featuring saxophonist Jonathan Gibson, bassist Andrew Randazzo, and drummer Devonne Harris. Alan's AP Connection, which includes bassist Cameron Ralston and drummer Billy Williams, hits next. Adam Larrabee Trio featuring bassist Randall Pharr and drummer Brian Jones (the same group that was originally slated to perform at RVAJazzfest before the snow kicked in) will close the night out, beginning around 11. That group recently put out their album Money Jungle (a re-imagining of the Ellington/Mingus/Roach classic), so we might expect to hear some of those cuts.

View event details

Model for a Monday

Dean Christesen — Tue, 01 Dec 2009 16:11:41 +0000

There's something special about jazz on Monday nights around here. The evening is often left blank on the calendars, reserved for people to stay home and lament the return of the working week. Not all of us are lamenters, though, and some people can really get behind a solid night of Monday music. In this case, solid it was last night at The Camel with three bands: two brand new quintets and a trio with a new name.

The evening began with Trio of Justice, the sousaphone-trombone-drums trio formerly known as R2Dtoo (named for its members Reggie Chapman, Reggie Pace, and Devonne Harris). Low brass and percussion -- perhaps the two instrument families capable of the loudest volumes and heaviest weights -- are their tools, and their only ones. Their sound is deep: aside from the snare drum's crack and the cymbals's pings and washes, very few tones from the band register as anything but bass or baritone. The upper registers that people are used to hearing in music are not as present, but the three seem to realize this and use their inventive abilities to accommodate for the missing frequencies. They are experts in natural-sounding grooves in the oddest of meter combinations (that are guided by melody, not contrived logic) and loose time feels that speed and slow to radical extremes.

Like most Richmond musicians, the men of the Jason Scott 5 are no strangers to playing together, but it's new to see them collaborating in a group like this one. Guitarist Scott Burton augments the small group of Fight the Big Bull members: tenor saxophonist and clarinetist Scott, trumpeter Bob Miller, bassist Cameron Ralston, and drummer Pinson Chanselle. Despite the personnel, a FTBB microcosm is the last thing that the Jason Scott 5 is.

With an affection for the music of Lennie Tristano, Warne Marsh, and Lee Konitz (his gig last week featured the music of all three), some of Jason's original compositions are melodically quick, complex, and thrilling. "Department of Ed." was glorious and constantly evolved to new sections, each one related to the last but still different. The Ornette Coleman-ish "E.M.T." began with a Blackwell/Haden drum and bass vamp before a staggering melody entered, diving in and out of three-part harmony. "Character 2052" told the tale of Jason's essay-writing frustrations and difficulties with the Richmond Department of Education in a klezmer-rock and, again, evolving style. "ANA" was simply beautiful.

Many of the tunes were composed by Jason for his graduate recital at NYU seven years ago. With a strong group giving the music life once again, this group would make a brilliant album. And hopefully they do, soon.

The lights dimmed for the Alan Parker 5, another new combination of familiar musicians. This time, the guitarist has added bassist Andrew Randazzo and tenor saxophonist Kevin Simpson along with his former AP Connect 4 members Billy Williams on drums and tenor saxophonist Marcus Tenney. Marcus is still a relatively new convert from the trumpet to tenor sax, but he more than just holds his own on the new instrument. His and Kevin's playing offset each other nicely: Marcus's tone is bright with Coltrane-like flurries and arpeggios, while Kevin has more of a weathered sound. Billy's drumming is similar to other contemporary and "urban" jazz drummers like Chris Dave and Jamire Williams: explosive, pulling from modern sources of rhythm, and heavily syncopated.

Alan's compositions are Jazz Now material, exciting and challenging, but extremely accessible thanks to fat beats and funky melodies.

Jason Arce Live at Bogart’s: Sights and sounds

Dean Christesen — Thu, 11 Jun 2009 05:15:00 +0000

The Jason Arce gig at Bogart's on Friday, June 5, was recorded by Rocket Jackson and is now available for listening on ReverbNation and below. Bogart's, in its new location, is currently under stress tests by musicians and patrons to see if it can live up to the reputation of the old Lombardy back room. While current features of the venue are questionable--like a dividing wall that can impede vision from the bar and the lack of a stage--music heard last weekend is a testament to the possibilities at Bogart's. The band was absolutely burning and was made up of Jason Arce (saxophones), John D'Earth (trumpet), Devonne Harris (Fender Rhodes), Corey Fonville (drums), and Andrew Randazzo (bass).

From Jason Arce @ Bogart's

photos by Lucas Fritz