RVANews

Jason Jenkins Group – Scenic Roots

Dean Christesen — Thu, 28 Oct 2010 03:01:58 +0000

Bassist Jason Jenkins has released a new album less than a year after his last. Scenic Roots features some of his favorite Virginian musicians, like saxophonist Kevin Simpson, guitarist Alan Parker, drummer Billy Williams, and trumpeter Marcus Tenney. The first prominent voice the listener hears, though, is of tenor saxophonist Charles Owens, the longtime leader of a weekly jam session at Smalls Jazz Club in New York and a current resident of Charlottesville.

Owens takes the longest solos of the group, but he is by no means the star. Through compositions like Jenkins's "Hypotenuse," the Chico Buarque tune "Essa Moça 'Ta Diferente" featuring Bossa Brava vocalist Bernadette Stephens, and Wayne Shorter's "JuJu," the group's fiery energy -- and especially that of the rhythm section -- sets the tone. One of three compositions by Jenkins, "Cross the Pettus Bridge (1965)" is inspired by the Bloody Sunday civil rights era march and features the bassist like no other track does.

Listen to "Cross the Pettus Bridge (1965)":
[audio: http://media.rvanews.com/04%20Cross%20the%20Pettus%20Bridge%20(1965).mp3|titles=Cross the Pettus Bridge (1965)|artists=Jason Jenkins Group]

Track listing: Scenic Roots; Hypotenuse; Essa Moça ‘Ta Diferente; Cross the Pettus Bridge (1965); JuJu; I Got It Bad; Whisper Campaign.

Personnel: Jason Jenkins, bass; Alan Parker, guitar; Billy Williams, drums; Charles Owens, tenor sax (1,2,5&6); Kevin Simpson, tenor and soprano sax (4&7); Marcus Tenney, trumpet (4&7); Bernadette Stephens, vocals (3).

Purchase Scenic Roots on CDBaby or visit Jason Jenkins online at jenkinsmusik.com

Disclaimer: The writer participated in creating separate promotional material for this album. This post serves to act as news of the album's release rather than criticism of its content.

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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

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

Introducing Justin Kauflin

Dean Christesen — Wed, 24 Mar 2010 10:00:29 +0000

Justin Kauflin
Introducing Justin Kauflin
(2010)

If the album as a whole is pianist Justin Kauflin's introduction, then track one is the first impression. On drummer Billy Williams's composition "The Covenant," Kauflin's personality comes out right away: unpretentious, creative, and assertive with a fluidity that makes the tune's 5/4 time feel as natural as ever. This release marks the Virginia Beach native's debut as a leader, and along with his remarkable abilities on his instrument, it's his and his bandmates' young ages that give Introducing life.

Fives and sevens. Sixes into fives. Some (but not many) fours. While not completely eschewing common time, this young band of 20-somethings doesn't shy away from expressing themselves in time signatures other than 4/4. The album is bookended, even, by tunes in five: "The Covenant" and "Abide with Me," Henry Lyte's nineteenth-century hymn that Thelonious Monk would eventually record, are both in the odd meter.

For these guys, though, time is a strong suit. Their rhythmic strength is intrinsic in their playing, which often flies skillfully over barlines to build big and unpredictable phrases.

For example, Kauflin's arrangement of The Beatles' "A Day in the Life" explores multiple strains between sections in 6 and 5, all after a simple and elegant piano verse. The piece hits a huge climax after a massive piano solo, then cools. Kauflin always knows where he's going, and he makes that quite clear. His solos are a smooth elevator ride to the observation deck, where the sights are breathtaking. Some pressure is taken off of Williams, who is known to be a backline motivator and a drummer who can steer a solo when needed. Instead, the drummer joins the smooth ride and plays the role of an excellent supporter, contributing to Kauflin's off-kilter (as far as traditional phrases go) melodic ideas.

Listen to "A Day in the Life":
[audio:
http://rvanews.net/sounds/Jazz/04%20A%20Day%20in%20the%20Life.mp3|titles=A Day in the Life|artists=Justin Kauflin]

Although it's in 4/4, "Exodus" has a unique vibe to it (but maybe that's because it's in 4/4, along with only two other tunes on the album). It's a not-quite samba, dark with moments of light shining through. Kauflin embellishes the melody with glimpses of strong left-hand counterpoint, and at other times tight clusters while his right hand strings along amazingly fluid lines and skip-filled scales.

"Be Thou My Vision" is a meaningful choice for Kauflin, who has been blind since the age of 11. He brings new meaning to the hymn, re-harmonizing it and igniting it with impassioned playing.

Guests alto saxophonist and Maryland native Tim Green and guitarist Etan Haziza appear on a couple tunes. Green graces two pieces near the front of the album. His jaunty playing and bright tone intensify whatever tunes he's present on; in this album's case, "The Covenant" and Wynton Marsalis's "Delfeayo's Dilemma," which features an extended saxophone solo.

Haziza joins the band for Kauflin's "Lucid Thoughts," adding a new timbre through unison and harmony with the piano. He opts for waiting for his turn to solo instead of intruding on Kauflin's space with unnecessary chord comping. When Haziza finally does enter, he exudes a Rosenwinkel-like tone in a solo that takes shape as it progresses.

Around these parts, Kauflin needs no introduction. But to those who are not yet familiar, this first impression is likely to leave a mark.

Buy mp3s or visit Justin Kauflin online to buy CD

Track listing: The Covenant; Exodus; Delfeayo's Dilemma; A Day in the Life; Three for Glasper; Return Trip; Be Thou My Vision; Lucid Thoughts; Abide with Me.

Personnel: Justin Kauflin, piano; Billy Williams, drums; Phil Kuehn, bass; Tim Green, alto sax (1,3); Etan Haziza, guitar (8).

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.

The Jason Jenkins Group – Synchronicity (2009)

Dean Christesen — Tue, 24 Nov 2009 14:45:39 +0000

Jazz fans will find many treasures in Synchronicity, and the layman should find it an accessible intro to modern swinging jazz. It's the fourth release as a leader from Richmond bassist Jason Jenkins and showcases five tunes, four of which are originals penned by the leader. Most clock in between nine and 11 minutes, but there are so many great things happening on each track that it ends up being a reward, not a qualm.

Local drummer Billy Williams joins Jenkins along with pianist Toru Dodo, a native of Japan, Berklee graduate, and current New Yorker whom Jenkins has occasionally played with at Cleopatra's Needle in NYC. Appearing on various tracks are also Richmonders James "Saxsmo" Gates on alto saxophone and Kevin Simpson on soprano saxophone, as well as Brooklynite trumpeter Duane Smith, a past fellow student of Jenkins's at Hampton University.

Jenkins's penchant for the staccato follows the bounciness in his bass walking. His sharp attack is powerful and assertive, but he's just as able to produce smooth lyrical lines like he does in the album's only non-original, Benny Davis's "There Goes My Heart." In the theme of the tune, Gates is soulful in bemoaning his lost love.

Todo is a fine accompanist to Jenkins, adding quirkiness and interjecting when appropriate, and is a thoughtful and exciting soloist, often jostling between singable melodic lines and angular leap-filled ideas. In "Decatur Chant," Williams energizes him by creating a basin of rapid and undulating cymbals and drums.

Williams's superior riling abilities also contribute to Smith's solo on the title track, helping him progress with energy and activity. The drummer solos twelve bars at a time, creating micro-themes, miniature stories, each time.

Since time in the studio wore thin and the Dodo originals that were supposed to be included were not recorded, we're left with a cliffhanger until next time. Till then, an imaginative novel lies before us.

Track list: The Decatur Chant, There Goes My Heart, Cause Celebre, Almost Invisible, Synchronicity.

Personnel: Jason Jenkins: bass; Toro Dodo: piano; Billy Williams: drums; James Gates: alto saxophone; Kevin Simpson: soprano saxophone; Duane Smith: trumpet.

Purchase Synchronicity at CD Baby or visit jenkinsmusik.com for more information

Second Street Jazz Wrap-Up

Dean Christesen — Tue, 06 Oct 2009 10:00:40 +0000

Standing at the intersection of 2nd and Clay Streets, sounds and smells from all sides inhabit your awareness. No less than two blocks in each cardinal direction stands a stage occupied by musicians or dancers. Countless food and merchandise vendors highlight the cuisine, art, and clothing of the Jackson Ward neighborhood's African American heritage. In its 21st year, the Second Street Festival stands strong as a celebration of the neighborhood's deep history. A highlight each year for jazz fans is the Richmond Jazz Society's Joe Kennedy Jr. Jazz Stage, which does its part in bringing the audience back to the heyday of jazz and swing in the vibrant community. Each 50-minute set on the stage is one facet of Richmond's diverse jazz palette.

The Billy Williams Quartet featured Williams on drums, trumpeter-cum-saxophonist Marcus Tenney, bassist Mike Hawkins, and guitarist Alan Parker. Playing tunes by Joe Henderson, Wayne Shorter, and John Coltrane, as well as a funky swinging version of Duke Ellington's "In A Sentimental Mood," the band kicked off the weekend at the jazz stage with a thrilling set.

Doc Branch & The Key Notes brought their familiar brand of energetic and crowd-riling takes on jazz standards and classics. With help from vocalist Lady E, the always dapper Doc fronted the band of guitarist Gene Pendleton, bassist Matt Harris, drummer Mike Hoggard, and pianist Dr. Sheresse Ford-Dudley.

The festival's second day on Two Street brought a cloudless sky, men and women in their Sunday best, and passionate performances on stage. First on the jazz stage was Mike Hawkins and the Jazz-Pel Choir singing spirituals with pianist Dr. Weldon Hill and saxophonist Kevin Simpson contributing tones of gospel jazz.

Desiree Roots has a dynamic voice, a rich low register tone with a gorgeous vibrato. Singing tunes that showed the influence of Dionne Warwick and Etta James, Roots and her Rosetta Stone quartet was a perfect package.

Drummer Van Lighty and QED Jazz performed for a huge audience that overflowed from the tent into the sunlight. Trumpeter Rolando Jordan and Doc Branch blew over bebop and standard jazz tunes with pianist Matt Lee, Hawkins, and Lighty in the back line.

For the complete photo albums:
2009 2nd Street Festival - Saturday
2009 2nd Street Festival - Sunday

Billy Williams Quartet @ Twins Jazz next week

Dean Christesen — Sat, 22 Dec 2007 19:25:00 +0000

Local drummer Billy Williams is taking his new quartet to Twins Jazz in Washington, D.C., on Thursday, December 27 for the group's debut. The 20-year-old drummer who has shared the stage with greats such as Cyrus Chestnut, Donald Harrison, Eric Lewis, and Larry Willis, is a Virginia Beach native and is currently a student at VCU.

The quartet consists of Williams, Justin Kauflin on piano, Alan Parker on guitar, and Matt Hall on bass. According to Williams, the four "have jammed together before, but because of geographic difficulties, this is our first gig together." Says Williams of the group's repertoire, "We will be performing a few of my originals for sure...This is one of the few times that I actually get to play them."

Williams' quartet employs two comping instruments in Kauflin and Parker. Why? "They were just killin' players that happened to both play comping instruments. It's interesting to play with both of them because they are coming from some different places musically, but they are careful not to step on each other's toes."

When asked about the proximity of D.C., to Richmond and what this means for the Richmond jazz scene, Williams responded:

Washington D.C. has a thriving music scene. As far as Richmond musicians playing up there, I believe that this is a mere matter of making the extra effort to pay $50 in gas for a road trip and doing what professionals do: networking and making connections that will give you an opportunity to get onto the scene. For me personally, D.C. offered a whole new perspective on music. I think it's just as important for Richmond musicians to play in D.C. as it is for D.C. musicians to play in Richmond. Everybody has something to offer and we could all benefit from that exchange of musical information.

Check out Billy Williams at www.bwdrumz.com for more shows and audio samples.

[where: 1344 U St. NW, Washington, DC 20009]

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