RVANews

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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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

Ombak – Fan Bricks

Aaron Williams — Wed, 04 May 2011 09:59:53 +0000

Album design by Cary Ralston on top of a Suzanna Field's painting.

Ombak
Fan Bricks
(Self released, 2011)

After two years of anticipation almost to the day, Richmond’s own Ombak will release their sophomore album, Fan Bricks tonight, Wednesday May 4th at 10pm at Balliceaux. The album is only available for digital download, but the band will be selling limited edition posters at the release party that contain download codes on the back.

Ombak is the brainchild of trombonist and composer Bryan Hooten, but Fan Bricks takes the band's collaboration a level beyond their first album Framing the Void.

Pop in the record (or in this case, open iTunes), and you may immediately notice a few things. Breaking the tradition of Ombak, Bryan Hooten did not pen every tune. The first notes heard are Trey Pollard's ethereal guitar. Before long the band joins in full force and sets the tone for the album: aggressive.

The first track is the only pre-released material from the record. "River Tam" has been on http://ombakmusic.com/ for two weeks. It is the pure essence of Ombak in one track. In only four minutes, the journey includes a full range of emotions that build into a heavy multi-metered groove. The uneasy climax transforms into the relaxed ending so smoothly that the change goes unnoticed.

Listen to “ River Tam “
[audio:http://media.rvanews.com/RiverTam.mp3|titles=River Tam|artists=Ombak]

The band, which spends more time playing bars than quiet listening rooms, has no reservations about playing loud and playing angry, but this album is not all of about “the stuff.” It is the bands development of negative space around “the stuff” that should make it a permanent resident on your daily playlist. Unlike the first record, the shadows around the obvious are more often explored in the improvisations than the compositions. Brian Jones leads the charge with his ever creative playing that seamlessly constructs and deconstructs, chases and flees and tells a story.

The second tune is "Megatron" or originally "Megatron Wants What is in My Mind." Only a rhythmic sketch scribbled down before a show, Megatron is Ombak at its most simplistic level. After the head, each soloist has the freedom to play anything and it is special to hear how Trey Pollard, Cameron Ralston and Brian Jones react.

Trey Pollard’s compositional voice is known in Richmond, but "Harmonica Shopper" is the first time that it is documented by Ombak. The gyrating melody leads into an impressive tenor saxophone solo by J.C. Kuhl, Ombak's newest member and reed player. He lights a fire on top of a heavy groove that slowly frays into space. In true Ombak fashion they reconstruct the groove and recap the melody on the way out.

"Hammer" starts as a duet between bass clarinet and trombone but after two minutes, the rest of the band joins in on a blues. The blues is far from normal. Using only quarter notes, Hooten masterfully manipulates the simplest harmony on one of the simplest forms into a masterpiece.

Next comes Ornette Coleman’s "Lonely Woman." While the tune is executed masterfully, it is slightly disappointing. The band has established a tradition of incredibly original music and for the first time this slows their momentum.

Ombak has a different personality in the studio. Microphones enable the nuances and complexities of Hooten’s timbral changes to be captured and heard. Every detail of his playing from the multiphonics on the track "Fan Bricks," to his plunger mute solo on Lonely Woman to the beauty of his normal sound on every track.

Ombak not only avoids a sophomore slump, but they logically expand on their debut record that earned exceptional praise including five stars from Style Weekly. Play the albums back to back and it just makes sense. The new record certainly expands with its heavier grooves and stronger improvisations but there is continuity. Like their first record Framing the Void, Ombak’s Fan Bricks is a must have for any serious listener in Richmond and beyond.

Old band, new sound, one night of fun

Aaron Williams — Thu, 17 Feb 2011 11:00:25 +0000

The best bands in Richmond combine strong group voices with unique individual voices. Occasionally, bands will leave character for one night and do something truly special. On Thursday February 24, Glows in the Dark will host "Mondo Italia Dance Party."

With extremely original compositions and John Lilley (sax), Reggie Pace (trombone), Scott Burton (guitar), Cameron Ralston (bass) and Scott Clark (drums), Glows in the Dark is a spectacular band in their usual element. With many of the members now regularly performing in more dance-oriented groups like Bio Ritmo, No B.S. Brass Band, The New Belgians and Ilad, Glows in the Dark’s members are impressively comfortable with both free form experimentation and backbeats.

Instead of their usual compositions that effortlessly weave through-composed melodic themes that seamlessly transition in to freer improvisations, Glows in the Dark will have one thing on the their mind: dancing. In front of a projector showing sex and violence from 1970’s Italian crime films, the band will take on the roll of DJ. Seamless transitions between compositions and improvisations will keep the crowd dancing for two whole sets.

In addition to all of that dancing, DJ Snow Panda will keep the crowd entertained in between sets with a playlist that will always leave you wondering “who is this?” as unique artists continue the dance grooves. As if the cast of characters isn’t entertaining enough, Lauren Serpa will be sitting in on flute and Eddie Prendergast will be singing a song or two.

The band’s leader, guitarist, composer and all round film guru, Scott Burton, is no stranger to combining films with music. Films or actors that Burton enjoys inspire most of Glows in the Dark’s compositions.

The night will be based on Poliziotteschi Italian crime films. These films are Police-esque films where tough cops are the main protagonists. Oh yeah, they also have everything you might want in an action film: violence, organized crime, car chases, gunfights, explosions and corruption up through the highest level of government. These films combined themes of 1960’s Italian crime films with films like Dirty Harry. By the end of the decade, the directors had turned on their own art and they started creating parodies and comedies. Try and imagine Italian Dirty Harry plus the spontaneous, danceable grooves of Glows in the Dark.

This is the first time anything remotely like this has happened in Richmond. 2011 has already proven to be the year of Richmond musicians taking it the next level and this could be the start of something special for Glows in the Dark.

Catch Glows in the Dark hosting “Mondo Italia Dance Party” at Balliceaux, 203 North Lombardy Street, Thursday February 24. No cover and 21+.

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

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.

Hometown hit

Dean Christesen — Wed, 29 Sep 2010 15:18:16 +0000

From Midlothian beginnings to finding his groove through school and like-minded musicians in New York City, trumpeter Dan Blankinship is coming back to his hometown. He and the four other musicians who make up The Flail will perform in Richmond on Sunday after playing together for the past decade, growing musically and closer together ever since their meeting at the New School.

The Flail plays jazz that's different but of the tradition, unpretentious and influenced by the masters of the trade. The New School was the setting for the quintet to meet and connect on personal and musical levels while rejecting the "academic or antiseptic approach to music," as Blankinship says. Still, learning the history of the music from great teachers would be momentous for their music.

"The Flail has no musical agenda other than to try and play jazz by incorporating its entire history," Blankinship says. "This definitely makes composing and improvising more difficult, but I don't think we'd have it any other way."

Their latest album, The Flail, recorded live at Small's Jazz Club in New York in 2007, is all over the map (in a good way), pulling from tons of different sources but still solidifying the group's sound as an original one. With cool arrangements of tunes not often played (Thelonious Monk's "Trinkle Tinkle") and some originals by pianist Brian Marsella (like "Slightly Cool"), bassist Reid Taylor, and Blankinship, the live recording lets the improvisations develop organically.

Listen to "Trinkle Tinkle":
[audio:
http://media.rvanews.com/02%20Trinkle%20Tinkle.mp3|titles=Trinkle Tinkle|artists=The Flail]

With three albums to their name and none since their eponymous album, the band's live activity is steady with a couple of notable trips overseas thanks to saxophonist Stephan Moutot's French upbringing. They recorded a live album in Grenoble, France, in 2002, a studio album in Paris and 2004, and have toured several times playing some of the most prestigious venues and festivals in Europe. The response from European audiences, Marsella says, is always positive, noting that "they rarely throw tomatoes at us!" He's noticed a willingness to take risks and experience something new in people abroad, a willingness that he doesn't see in Americans.

Listen to "Slightly Cool":
[audio:
http://media.rvanews.com/07%20Slightly%20Cool.mp3|titles=Slightly Cool|artists=The Flail]

Bassist Cameron Ralston (Fight the Big Bull, Glows in the Dark, Ombak) and his older brother Cary grew up with Blankinship, and while the younger remembers the trumpeter being a great player, Cary's recollections go much further. "Danny was, without a doubt, one of the most intelligent people that I knew in middle and high school," he says. "It really threw people for a loop that he was going to Peabody to study music and follow his gut."

In the band together at Robious Middle School, Cary could tell that Blankinship knew he was going to play the trumpet for a living. When it came time to go to college, he pursued it. "It was a ballsy move," Ralston says. "He was in the top of our class [with a] really advanced course load, and there he was with a white trumpet in his left hand and a polishing cloth in his right, basically rejecting all expectations and going with the heart of hearts."

That passion is evident, and it's not just in Blankinship. Clearly not jaded by antiseptic factory-styled higher educations, each of The Flail's beating hearts coexist to create something more meaningful than -- had they not each chosen music -- what they could have been.

The Flail plays at The Camel on Sunday, October 3, at 9pm. Jason Scott Quintet (with Bob Miller, Scott Burton, Cameron Ralston, and Pinson Chanselle) opens. The Camel is located at 1621 W. Broad St. Cover charge TBA. For more information, visit thecamel.org, or view event details.

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."

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.

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

Ombak returns to the studio

Dean Christesen — Wed, 17 Mar 2010 10:00:36 +0000

On Monday, Ombak went into the new Songwire Studios in downtown Richmond to record for their next album. Trombonist and leader Bryan Hooten said they recorded six tunes -- mostly first and second takes -- in about five hours. "We recorded enough music to put out a solid EP," he said. "It covers most of the new tunes we've started playing since the first album."

The band had planned on recording with saxophonist Tim Berne while he was originally slated to be in Richmond in early February, but a family emergency deterred those plans. A collaboration is definitely on the horizon once again, Bryan said, once they figure out scheduling and funding.

Songwire Studios is operated by Trey Pollard (also guitarist for Ombak) and Ryan Corbitt and is now located in Shockoe Bottom after a very recent move from their smaller space in Manchester. "It's a beautiful, great-sounding space," Bryan said, calling the new studio a "great place to do live recording but with enough separation that you can really tweak each instrument's sound."

Lucas Fritz was on hand to take some photos of the session. Check out a couple of the photos below, or view the entire album on Flickr.

Bryan Hooten

Cameron Ralston

Brian Jones

Trey Pollard

Pollard, Hooten, and Ralston

Pollard, Hooten, Ralston, and Ryan Corbitt

Pollard and Jones

Corbitt and Jones

Drums

Bass

All photos by Lucas Fritz

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.

Fight the Big Bull at Balliceaux: A new space, a new sound

Dean Christesen — Thu, 05 Nov 2009 14:07:29 +0000

Many remember the old Bogart's Back Room: the legends and the locals who played there, the stories that have originated there. The space is only a memory now since being recently acquired by a new pair of restaurateurs and experiencing a total gutting and impressive renovation. Like its predecessor, Balliceaux has asserted itself as a small but in-demand venue for live music since beginning service in August. Chris Bopst, who books music for the restaurant, is a firm believer of only booking bands that can knock you off your feet with power, intensity, or just plain uniqueness. All of the above describes Fight the Big Bull.

Last night, coming off of their three year gig at the restaurant and bar Cous Cous, Fight the Big Bull began their new bi-weekly residency at Balliceaux. The difference from the old home turf to the new was striking, from the band's sound to their appearance.

Most everybody could agree that the band sounded incredible. They took over the room, in a good way. Unlike at Cous Cous, bar chatter didn't stand a chance intruding on the music, except maybe at the quietist of musical moments. There was great balance and clarity between the brass, reeds, and rhythm section. The saxophones had a large sonic presence during even the loudest, most brass-heavy sections. Everything seemed to fit right in place at the right volume, much like the band's performances to completely attentive audiences like at RVAJazzfest or Mingus Awareness Project. Even with conversations going on in all corners of the room, the music's balance wasn't jeopardized.

As always, Matt White's Fight the Big Bull seems to run itself. The antithesis of an arm-flailing conductor, White's left to other decisions like cuing new sections or focusing on his own guitar work while each section is democratic in cuing backgrounds based on the pacing and development of the solos. In last night's case, the mix of the brass behind one of Jason Scott's clarinet solos was perfect. And Scott, squealing and searching with bluesy expression, commanded the new room.

Trumpeter Bob Miller's electroacoustic noise and ambience -- created with sounds from the trumpet played into a microphone that's fed into an amp with effects -- creates staggeringly different moods each time a tune is played, but it's only one stitch in the fabric. While some horn backgrounds for solos are notated, others are made up on the spot to serve the music's needs, and the perceptive and creative rhythm section of bassist Cameron Ralston, drummer Pinson Chanselle, and White, dish out new ideas each time to keep their extended story evolving.

One highlight of the first set was the multi-dimensional title track to the band's upcoming album on Clean Feed, All is Gladness in the Kingdom. The second set saw a rare performance of an early favorite, "California is for Suckers." White's Papa Staples gospel tone on the guitar dripped with soul, appropriately seguing into another early favorite: a re-arrangement of the Staple Singers' version of "Uncloudy Day." In his solo, trombonist Reggie Pace played the role of lead singer Mavis, borrowing inflection and bringing the singer's voice to life. The evening closed with their powerful version of The Band's "The Night They Drove Old Dixie Down," with trombonist Bryan Hooten taking his signature lead on the song and an infectious sing-along on the final chorus.

Add Fight the Big Bull to the list of bands that are impressed with the way they sound in this space. White commented afterwards that he thought the room sounded great and that it's "nice to have some space" for the band, adding that not being situated directly above his amp makes all the difference for him. Hooten noticed that the rhythm section wasn't as overpowering in the new space, thanks to acoustic features like the cork ceiling and wood paneling. Both guys contributed to the general consensus that clarity and balance were the two key words for the band in the new space.

Fight the Big Bull plays at Balliceaux every other Wednesday. They'll be back November 18. Meanwhile, Glows in the Dark plays there tonight, 9:15, free, 203 N Lombardy St.

Ombak releases Framing the Void at Cous Cous Wednesday

Dean Christesen — Mon, 27 Apr 2009 06:12:00 +0000

by Dean Christesen

Ombak, the current project and alleged brain-child of trombonist Bryan Hooten, will be releasing their debut album this Wednesday, April 29, at their regular bi-weekly gig at Cous Cous. Hooten has been busy sharpening Ombak's knives around town lately, as well as infiltrating the internet (blog, twitter, facebook, myspace) with music that all should hear. Because of my previous brief stint with the gentlemen last spring, it wouldn't be fair of me to rave too furiously about the band...without at least giving that very disclaimer before doing so.

A little history first: The band's biography states they have been formed since the fall of 2006. Facing shifting personnel changes for the band's first year-and-a-half, this seemed to be more of a period of compositional growth and idea percolating for Hooten than it was of regular gigging and fanbase building. With the addition of drummer Brian Jones, its current line-up was set in 2008's summer. A tour for The Great White Jenkins--which contains many Fight the Big Bull members--that summer was a serendipitous moment for Ombak: it allowed them to temporarily take over FTBB's regular Cous Cous gig, which made possible the band's most fertile period, leading up to today and this release. As Lindsey Prather observed for RVAjazz during the beginning of the Ombak gig in May 2008, "They combine to bring heavy metal beats, neo-soul dance grooves, and stylish improvisation to the masses. It is no secret that Richmond prizes musicians who can really shred on their instruments, and Ombak offers this in addition to skillfully written compositions with infinite variety and versatility."

Read RVAjazz's review of Framing the Void to get a feel for what the album and this band is about. But if you really want to come prepared to Cous Cous on Wednesday, listen to this. Listen to Jones insist on a faster tempo immediately upon his entrance, listen to a multi-metered theme played in unison between three instruments and still be so powerful that it hurts, and listen to each musician shred. "Aware" is one of those characteristically Hooten compositions: big beats meet serialist logic meets Behold...The Arctopus-like complexities. (More tracks from this live concert at the Titan Jazz Festival are up on Ombak's blog)

With music that captures the band's consistently forward-thinking live performances and brilliant packaging and design (by .:. impossible, who also created this website's header), Framing the Void is a debut album for Hooten, his band, and Richmond, to be proud of.

Ombak is: Bryan Hooten: trombone, compositions; Brian Jones: drums; Trey Pollard: guitar; Cameron Ralston: bass.

Wednesday, April 29
Ombak: Framing the Void Album Release
Cous Cous
9:30 pm/free
21+
900 W. Franklin St., Richmond, VA 23220

Ombak – Framing the Void (2009)

Dean Christesen — Sun, 12 Apr 2009 01:25:00 +0000

by Joey Ciucci

Cameron Ralston is the foundation of Richmond’s avant-garde scene. While drummer Brian Jones may be the patriarch and champion of the city's movement towards a freer, more cohesive, more aware sound, Ralston--who plays bass for Ombak, Fight the Big Bull, Glows in the Dark, Boots of Leather, and Ilad--has emerged as a pivotal player. Equally adept on upright and electric, and comfortable in any genre, Ralston provides a massive, fierce bass presence. On Ombak’s first release, Framing the Void, Ralston and Jones spin a riveting example of a uniquely locked in rhythm section, nestling a gritty, low-fi vibe inside trombonist and Ombak leader Bryan Hooten’s complex tunes.

"As Rome Burns" is characteristic Ombak. Ralston plays funky, cyclical bass lines, Jones drums in concentrated, splashy, theatrical bursts, Hooten and guitarist Trey Pollard combine to create an ethereal, melted melody. Hooten and Pollard almost always play unison melodies or simple counterpoints. The trombone/guitar pairing is unique. It’s like a twisted game of jazz skeet--as Hooten tosses wobbly, spherical notes to the sky, Pollard guns them down with alacrity. They’re playing the same melody, kind of, but the result is far more engaging than standard layering.

The third tune, "Lacuna", highlights Hooten’s compositional abilities and habit of atypical note selection. Pollard plays a memorable opening riff (for all Ombak’s weirdness, their songs will stick with you, especially the opening track, "Aware"), Hooten layers an unexpected head and expands it during a short solo. A hip, modern turnaround is followed by about seventy seconds of near silence, cymbal screeches, droning guitar effects, a few honks of the trombone. Jones emerges with a brush drum solo and gives a simple, perfect cue back to the head. It’s a six and a half minute song, and the whole band plays for about two minutes of it--evidence of Hooten’s ability to envision how he wants his songs to unfold.

"September 18" is an up-tempo shuffle. Pollard takes a great solo on the album, but it’s a real pleasure to see this tune live, when he can really cut loose and display his epic chops and bizarre sense of harmony.

"Espial" features Hooten’s distinctive use of multiphonics, allowing him to harmonize with himself, creating a haunting, memorable opening to the tune.

Listeners should be aware that many of these tunes have morphed considerably during Ombak’s bi-monthly gig at the Richmond restaurant and night-life hotspot Cous Cous. One of the hallmarks of a true artist is the ability and desire to constantly alter the means used to communicate with bandmates and the audience. Hooten leads this group by being unpredictable. Besides affording the rhythm section latitude with feel and tempo of each song on any given night, he’s not afraid to take dramatic license—segueing all the songs of a set into one block of music, utilizing electronics and amplification with his trombone, collaborating with rattan DJ to provide relevant soundscapes, having the band shake maracas behind Jones’ solos. The tunes on Framing the Void are just that--a frame--and Ombak has consistently reworked the shape of each. Study and listen to this album, consider the texture of Ombak’s style and intensity. See them live to test your hypothesis.

Track listing: Aware; As Rome Burns; Lacuna; September 18; Listen to the World; Odalisque; Framing the Void; Espial.

Personnel: Bryan Hooten: trombone, compositions; Trey Pollard: guitar; Cameron Ralston: bass; Brian Jones: drums.

Visit Ombak on the web.

Ombak performs every other Wednesday at Cous Cous at 9:30pm. The Framing the Void CD release party will take place on April 29 at Cous Cous. Recorded at Minimum Wage Studios, it is the band's debut album. There is no cover charge for the event. Bryan Hooten has written essays on "music’s relationship with negative space" for RVANews.com. Read Part I and Part II of the series.

RVAjazzfest: Glows in the Dark

Dean Christesen — Mon, 09 Feb 2009 19:40:00 +0000

Glows in the Dark will perform at RVAjazzfest with Steven Bernstein, Fight the Big Bull, and Boots of Leather on February 21, 2009, 8pm, at The Camel. Tickets are $10, all ages welcome.

by Joey Ciucci

Given Glows in the Dark's penchant for cerebral, sometimes disorienting tunes, the title of their first album, Music to Listen to Glows in the Dark By, is rather analogous to bands’ singular style. Scott Burton may be keeping time on guitar, while drummer Scott Clark absconds with the beat, floating around Cameron Ralston’s driving bass attack, as Reggie Pace forces his trombone to make entirely unnatural noises and John Lilley drops sheets of intermittently atonal and mellow sounds. Change a few things around, and Music to Listen to Glows in the Dark By quickly becomes dark music to listen to on a glowing, Commercial Taphouse Sunday night—a freaky, thematic, free vibe brought to you by some of Richmond’s finest and weirdest musicians.

Bandleader, composer, and guitarist Scott Burton, like many Richmond musicians lucky enough to be around during the Devil’s Workshop's brief gigging career, used the legendary band's weekly Bogart’s shows not only as inspiration but as a place to meet other players. Burton, who studied with Mike Ess at VCU although he didn’t major in music, started playing standards but eventually changed direction with the Free Breaks Trio. The Free Breaks Trio manipulated break beats by artists including Mad Lib and MF Doom, and played them in relatively uninterrupted sequences. This group also signified Burton’s burgeoning musical relationship with drummer Scott Clark.

Burton writes GitD’s music in stepwise fashion, first jotting down melodies as text letters, transferring them to notation as ideas flesh out, then devising bridges, setting structure and developing an overall feel for the tune. His scores include cryptic handwritten notes concerning free sections, and Scott Clark uses these, according to Burton, to “always do something way cooler than I had imagined.” Clark’s meticulous, calculated style is unique among Richmond’s excellent cadre of big hitting, big beat drummers. “Scott comes from a different place,” says Burton. “He’s so comfortable playing free… not playing time but the sense of time is always there.” Clark, whose form is such that he wears drumsticks down to a perfect point, is central to the unit’s sound. By combining precise, rudimentary beats, a sweeping sense of time, and sonic textures that jettison traditional backline drumming, Clark provides necessary structural integrity for GitD’s intense improvisational style.

Burton's compositions generally feature melodies that include counterpoints for one or both horns. A tune will move through a fairly standard head before being deconstructed for solo and free sections. Although saxophonist John Lilley, who replaced Jason Arce after his departure to New York, “isn’t as comfortable playing over fast, weird changes as Arce, he really opens up in the free sections.” Lilley’s solos channel the style of a past era. Covering a wide dynamic range, he plays with an exuberance that makes academic concerns secondary. Trombonist Reggie Pace’s signature voice really fits in this group—he’s able to utilize his seemingly endless repertoire of tonal variations and conversational phrasing. Bassist Cameron Ralston epitomizes a musician equally comfortable with being a capitvating solo and conversational voice as he is an asset to the band's sturdy foundation. Burton stays occupied directing the group and comping with oddly voiced, open chords, but also solos with rapid fire intensity, punctuating the groove with bursts of sound from his undistorted, acoustic sounding archtop.

When asked to compare Richmond’s sound with other scenes, Burton noted Richmond players tendency to “improvise out of the song…it’s a more compositional approach to soloing.” This is a decidedly good attribute, and one that GitD aptly demonstrates. Despite extended group improv and free sections, and a affinity for the outside sound, one never gets the sense that GitD is chopping out interchangeable solos, regardless of their technical proficiency. Whether playing a Burton original or an adapted John Carpenter movie theme, GitD challenges themselves and listeners to observe boundaries and cross them, and to listen and play in the moment.

Glows in the Dark is: Scott Burton: guitar/composition; Scott Clark: drums; John Lilley: saxes; Reginald Pace: trombone/shakers; Cameron Ralston: bass.

RVAjazzfest is made possible by the generous support of Richmond Jazz Society, Inc., RVA Magazine, Francis J. Balint & Associates, and Urban Views Weekly

Photos by Peter McElhinney

M.A.P. Trio – Richmond (Slang Sanctuary, 2008)

Dean Christesen — Thu, 13 Nov 2008 17:00:00 +0000

by Dean Christesen

Brightly dodging around the melody of "Jelly Roll," the M.A.P. Trio abandons the original harmony of the first few lines, instead stating the melody in unison. And so goes the challenge of performing Charles Mingus' music with a trio: sacrifices of the original composition must be made, but the ways that those sacrifices are made give the group its identity. Drummer Brian Jones, tenor saxophonist J.C. Kuhl, and bassist Cameron Ralston maintain the soul of Mingus' music while modifying it and keeping the excitement in tact.

A product of the Mingus Awareness Project, created in Chicago in 2007 to benefit research for Amyotrophic Lateral Sclerosis (which Mingus died of) and expanded to Richmond later that year, the M.A.P. Trio's Richmond features four Mingus compositions. Each is followed by a short collective improvisation.

"Canon" merges a rubato theme into a classic Mingus 3/8 feel. In between the two, drums and bass swirl around each other. Once in African-based waltz territory, Kuhl lays syncopated lines over the aggressive rhythm section, often venturing outside of the chordal tones before resolving. His statements are effectively crafted with repetition and slight alterations. Each of the three voices in the band carries an unbelievable amount of weight. The trio's impromptu orchestrations in the free sections often sound at times as full as one of Mingus' larger groups. At other times, spaces between the noise is treasured.

Like "Canon," "Opus Four" contains two feels, but this piece skits constantly between its two styles. Mingus' interesting forms are followed with coolness and leapt from with curiosity. Both Kuhl and Ralston succeed in mending the swing with its latinish counterpart with ease. Ralston flies over the chromatically ascending harmony of the bridge in a string of 8th notes before beautifully anticipating the triplet theme four measures early.

"Ecclusiastics" maintains its wonderful harmonic content despite the group having fewer instruments than most of Mingus' bands. Between Kuhl's melodic soloing and Ralston's proclivity for feverishly strumming full chords, the trio does justice to Mingus' composition from his 1961 release Oh Yeah! while making it their own.

Each sub-minute interjection--"Orange," "L.A.," "Dance," and "Ganges"--is its own statement. The snippets of improvisation lead from one composition to the next: after "Canon's" tranquil ending, "L.A." gets blood flowing again before "Opus Four" kicks off.

Track listing: Jelly Roll; Orange; Canon; L.A.; Opus Four; Dance; Ecclusiastics; Ganges.

Personnel: Brian Jones: drums; J.C. Kuhl: tenor saxophone; Cameron Ralston: bass.

Visit Mingus Awareness Project on the web.
Visit Brian Jones on the web.

All proceeds from sales of this album benefit the ALS Association, DC/MD/VA Chapter. For more info, visit alsinfo.org.

Sights from Mingus Awareness Project

Dean Christesen — Mon, 27 Oct 2008 04:08:00 +0000

by Dean Christesen
photos by Lindsey Prather

The 2nd Annual Mingus Awareness Project in Richmond this evening seemed to be, to say the very least, an absolute success on all levels. The huge turnout challenged Gallery5's capacity and made even standing room something to be thankful for. All three groups were simply amazing and were met with enthusiastic roars from the crowd. Good spirits were in the air as everyone graciously gave to the cause of ALS research.

View the complete photo album with full size photos, or continue reading for some select photos.

The M.A.P. Trio (Brian Jones, drums; Cameron Ralston, bass; J.C. Kuhl, tenor saxophone) started things off. The Mingus tunes followed Brian Jones fashion by being deconstructed into their simplest versions and by featuring ultra-interplay between the three.

From Mingus Awareness Project

Fight the Big Bull performed three Matt White originals composed for the event. The first was based on a spiritual from the 1920s and featured trombonist Reggie Pace and Jason Scott on tenor saxophone. The second was inspired by a slave song and largely featured trumpeter Taylor Barnett (who filled in for Bob Miller for the evening), and the third was based on Sacred Harp music and featured John Lilley on tenor saxophone.

The M.A.P. Big Band conducted by Doug Richards began with "Don't Be Afraid, the Clown's Afraid Too." "For Harry Carney" featured baritone saxophonist Jeff Decker, as well as some others. Each solo began as a duo with soft malleted drums, adding the rich bass and piano ostinato to the mix, and finally growing into some full band background. Other solos included pianist Bob Hallahan, trumpeters Rex Richardson and John D'earth, and bassist Randall Pharr. "Jelly Roll" contained several short solos followed by a collective solo. Drummer Brian Jones played the role of Mingus' drummer Dannie Richmond, curiously shifting into double time and back with trombonist Bryan Hooten soloing. Richards' premier arrangement of "Duke Ellington's Sound of Love" was an extraordinary showcase of sublime vocalist John Winn and the band supreme. The night closed with "Boogie Stop Shuffle," a popular number from Mingus' 1959 treasure Mingus Ah Um.

Doug Richards and Brian Jones

Bryan Hooten and DJ Peter Solomon

Matt White, Mingus Awareness Project co-creator Jon Godston, and Brian Jones

Bob Hallahan, John D'earth, and Doug Richards

[where: 200 W. Marshall St., Richmond, VA 23220]

Fight the Big Bull – Dying Will Be Easy (Clean Feed, 2008)

Dean Christesen — Tue, 02 Sep 2008 00:25:00 +0000

by Dean Christesen

This review has been published by All About Jazz.

Visit Fight the Big Bull on the web.

Track listing: Dying Will Be Easy; November 25th; Grizzly Bear; In Jarama Valley.

Personnel: Matt White: guitar, tunes; Pinson Chanselle: trap kit; Cameron Ralston: bass; Brian Jones: percussion; Bob Miller: trumpet; Reggie Pace: trombone; Bryan Hooten: trombone; J.C. Kuhl: tenor saxophone; Adrian Sandi: clarinet.

Ombak Heats it Up This Summer at Cous Cous

Dean Christesen — Thu, 29 May 2008 19:18:00 +0000

Ombak has big shoes to fill. Taking over Fight the Big Bull’s Wednesday night spot at Cous Cous this summer, Ombak, led by trombonist Bryan Hooten, is the sort of band that people are nervous to go see. It is the sort of band that could be labeled “avant garde,” or “experimental,” or some other scary term that the average listener might find daunting. What the band delivered last night, however, is best described by Hooten’s goal for the group. Hooten says he attempts to “incorporate accessible elements from the pop song form, and allude to what people expect to hear in a bar or club.” He simplifies all the complexities of what Ombak accomplishes by saying he only wants to “get the listener to slow down.”

The incredible level of musicianship in the group could only lead to something unpredictably quirky and charming. Cous Cous regulars will certainly recognize Hooten and bassist Cameron Ralston from Fight the Big Bull itself, and drummer Brian Jones and guitarist Trey Pollard are no strangers to the venue either. They combine to bring heavy metal beats, neo-soul dance grooves, and stylish improvisation to the masses. It is no secret that Richmond prizes musicians who can really shred on their instruments, and Ombak offers this in addition to skillfully written compositions with infinite variety and versatility.

The band is far better suited to the ambience of this dark, bustling venue than a place like The Camel where they last performed. They have a way of participating with the environment and reacting to Cous Cous’s clinking glasses and mellow conversation, which allow them to reach an entirely different level with the music. Of course, Hooten quickly adjusted to working with a different group than he has grown accustomed to in this venue. “I was used to playing here with Fight the Big Bull, so I was expecting a huge sound,” Hooten laughed. “With a smaller band though, you can really hear each individual part, so each part is really important. Now I’m wearing two hats, one being the composer, and the other as the improviser. I get to relax a lot more in Fight the Big Bull because it’s not as much my baby.”

Ombak’s music, and in Hooten’s opinion, all music “really is about space. Vertically, it manifests itself in melody and harmony, and horizontally, it manifests itself as rhythm, which is generally the part with which I’m more interested.” An Ombak tune often starts with a raucous metal lick and then winds down into something beautiful and sparse. Then all of a sudden, everything can reverse back to a loud, tight-knit groove. Says Hooten, “If a listener can appreciate the beauty of silence, or of one long, sustained note, they can appreciate any permutation of it because everything is built from that. [Concerning accessibility], ultimately, there’s nothing to figure out.” The group explores every permutation possible without losing sight of that one note or moment of silence.

Brian Jones lights a fire under the group, pushing everyone forward and playing the drums “like a composer. Tonight especially, he knew exactly what each piece needed and gave it,” noted Hooten. Of his other band mates he also commented, “Cameron has an incredible sense of when to take flight with you. He forces you to commit to what you’re doing. Trey, on the other hand, has the ability to synthesize all the elements of the tune and improvise in the spirit of the way I write.” But improvisation is only half of it. The compositions themselves layer time signatures and polyrhythmic ostinatos, or combine bluesy guitar with a dark, heavy bass line and erratic percussion. The music is constantly evolving, morphing into something new, but never leaving a section before completing it.

Sure, it is the same music from not so long ago at The Camel, but at Cous Cous, this ain’t your mama’s Ombak. The band has taken on something a little more raw and raunchy than The Camel show displayed, completely letting go and letting the music do all the work- much to the pleasure of concert goers and bar patrons alike. The show left music fans wondering when they would be able to listen to what Ombak offers from the comfort of their own homes. Although Hooten says a record is on the horizon, he continues, “I try not to be too goal oriented for the distant future. Hopefully after the summer we’ll get into the studio depending on people’s individual schedules.”

By Lindsey Prather