RVANews

Richmond Youth Jazz Guild set to dazzle with two weekend concerts and instrument drive

Richard Hayes — Thu, 10 Dec 2015 14:11:05 +0000

“MORE THAN” MUSIC CONCERT
Ashby Anderson cordially invites you to hear an AWESOME group of young musicians currently training at the RICHMOND YOUTH JAZZ GUILD. You will hear great music by Thelonious Monk, Charlie Parker, Art Blakey and the Jazz Messengers, John Coltrane, Freddie Hubbard, Miles Davis and Herbie Hancock.
Since 2008, the Richmond Youth Jazz Guild has been a leader in the music education for young people in the Richmond metropolitan area. To date, participating students have received over $1 MILLION in scholarships to attend college and national performing arts programs.
WHY YOU SHOULD BUY A TICKET
All proceeds benefit music education, provides free music lessons for underserved youth in the Richmond metropolitan area. Enables the repair of donated instruments to be used for that purpose. Provides an instrument for those receiving free music lessons to use free of charge,while they begin their study of music. In keeping with the holiday season’s tradition of giving, Ashby Anderson Enterprises will be providing FREE MUSIC lessons during holiday season.
HOLIDAY INSTRUMENT DRIVE…WHY YOU SHOULD DONATE A USED INSTRUMENT
An unused instrument sitting in you attic, garage, basement or closet represents unused potential! Locate an old instrument and bring it to the concert. It will be repaired, cleaned and used to provide free music lessons for youth ages 10-14 in the Richmond metropolitan area.

4:00 PM SHOW - Charlie Parker & Thelonious Monk Ensembles
$28.50 per seat - Buy Here

6:00 PM SHOW - Blue Note Ensemble
$28.50 per seat - Buy Here

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Open High student select to prestigious Summer Jazz Academy

Richard Hayes — Mon, 18 May 2015 15:30:18 +0000

From the press release:

Open High School graduating senior Drew Anderson will have the opportunity to play trumpet alongside his role model, jazz musician Wynton Marsalis, this summer when he participates in the nationally acclaimed Jazz at Lincoln Center - Summer Jazz Academy in Castleton, Va.
Following a very selective audition process, Anderson was chosen to join 41 of the nations top high school musicians for a two-week intensive jazz performance institute. Designed and instructed by Jazz at Lincoln Center Managing and Artistic Director Wynton Marsalis and a select faculty, Anderson will perform in big bands and small combos, receive private lessons, and take classes in aesthetics, culture, history, performance practice and pedagogy. The inaugural session of Summer Jazz Academy will take place on July 19 – August 3, 2015.
Jazz at Lincoln Center chose to locate its institute in Rappahannock County, Virginia at the Castleton Festival, a not-for-profit summer performance series and young artists training program founded by the late Maestro Lorin Maazel and his wife Dietlinde Turban Maazel to mentor talented young professional musicians in the world of concert and opera performance in a harmonious, supportive setting. Castleton, 550 acres of rolling meadows with views of the Blue Ridge Mountains, two professional theater venues, rehearsal spaces, and artist housing, is the location of the Castleton Festival and home to the Maazel family.
Drew Anderson graduates June 2015 and will attend The New School for Jazz and Contemporary Music in New York, New York, on a four-year, full-tuition scholarship valued at $170,000. The New School for Jazz and Contemporary Music, founded in 1986, is one of the most influential institutions of its kind. The quality and uniqueness of the school lie in its artist-as-mentor approach to learning, its progressive curriculum, small ensemble-based performance, a stellar faculty composed of artist-practitioners, and access to unique musical opportunities throughout New York City.
Additionally, Anderson was awarded a four-year, full tuition scholarship to Berklee College of Music through the Berklee City Music Network. He participated in the Berklee City Music Network program through the Richmond Youth Jazz Guild. During his seven years of study at the Richmond Youth Jazz Guild, Anderson was prepared for the rigors of college and conservatory auditions as well as for national performing arts programs such as the Summer Jazz Academy.
During high school, Anderson earned full tuition scholarships to attend Berklee College of Music’s prestigious Five Week Summer program while in 9th, 10th and 11th grades. These scholarships ranged from$5,000 to $10,000. Other honors include: receiving outstanding soloist at the Regional Jazz at Lincoln Center Essentially Ellington High School Jazz Festival held at UNC Chapel in 2013 and 2014 and performing for notables such as former President of the United States - Bill Clinton, Quincy Jones, Christian McBride, Trombone Shorty, and Terri Lynne Carrington.

Image: YouTube

Thirtieth Annual City Dance Recital

Jennifer Nesossis — Fri, 27 Jun 2014 19:30:40 +0000

Beginning at Noon on Saturday, June 28, the Department of Parks, Recreation and Community Facilities will host the 30th Annual City Dance Recital at the Carpenter Theatre at CenterStage. The recital is dedicated to the City dance program founder, Anne Holt, who is retiring after 32 years of service with the city. The City Dance Program offers complete dance and movement training for children aged three years and up, beginners through advanced levels. For more information about the City Dance Program, please call 804.646.3673.

Schedule
"Over the Rainbow" features students from ballet classes

Doors open at 11:00 AM. Performance begins at 12:00 PM

"Thanks for the Memories" features students from tap and jazz classes

Door open at 3:00 PM. Performance begins at 4:00 PM

Tickets
$6 to $11
Tickets may be purchased at the CenterStage box office or online.

NO BS! Brass Band living large with new albums, national press

Nathan Cushing — Mon, 13 May 2013 11:20:54 +0000

Most brass bands don't sound as good as you think. "There's usually a wonky, out-of-tuneness to it, in a way," says No BS! Brass Band drummer Lance Koehler. He said members of brass bands may be in tune among themselves when they perform--just "maybe not in tune with the rest of the world."

Even with the deep roots in traditional American music that brass bands have, Koehler said many today have no firm grasp of what a brass band actually is. "A lot of people come up to me at shows and think ska bands are brass bands," he said. While ska and other bands may include a horn section, a traditional brass band comprises only drums and brass instruments.

NO BS! trombonist Reggie Pace said that the phrase "brass band" often calls to mind not-so-exciting memories of high school pep bands. "Everyone is familiar with that timbre," Pace said. "They just remember it sucking."

But with each blow of the trumpet, sax, tuba, and trombone, NO BS! Brass Band can't help but play melodies that seem perfectly in tune with audiences everywhere they go, and with recent write-ups in TIME and Spin, you really can’t deny their growing appeal.

This Friday and Saturday, the band will celebrate the release of its fourth album, RVA All Day with shows at Balliceaux and The Camel, respectively. In July, the 11-piece will release Fight Song: Tribute to Charles Mingus, honoring the esteemed Jazz musician.

From BS to none

Pace and Koehler started NO BS! in 2006 after each of them became dissatisfied with their respective bands at that time.

"I really wanted to start a brass band that was creative and vital and fun," said Koehler, who moved to Richmond from New Orleans around 2002. Pace wanted the same thing.

"We were playing in bands that had potential to do things and we watched them crumble because of BS," Pace said. The new band that Koehler and Pace would put together was so decidedly no BS it became band's namesake.

"Our first gig was at ADA Gallery downtown," Pace said, with a set list only two songs long. "Nobody gave a crap about the band" at first, he said. But about a year later, the group recorded a demo that, after it turned out so well, they released as their debut album, Where is Stefan?. Before long, something strange began occurring at their shows: a lot of people were showing up. "I feel like we blinked our eye and [now] every show at The Camel is packed," Pace said.

In summer 2011, Pace toured with indie group Bon Iver. The trombonist performed on The Colbert Report, Late Night with Jimmy Fallon, and Saturday Night Live with the band. Pace said he was "constantly meeting people" as he toured. New York City-based PR firm Shore Fire Media--which has represented Bruce Springsteen, Paul Simon, and Elvis Costello--caught wind of Pace through his stint with Bon Iver and learned about NO BS! back in Richmond. The firm was so impressed, it took on the brass band as clients.

"New Yorkers can't really be bought," Pace said. "They either want to work with you or not." Both the band's talent and newly forged connections have earned them recent national press ahead of their upcoming albums, which will soon preach the gospel of RVA far and wide.

RVA All Day

Koehler said the band's forthcoming album, RVA All Day, not only has the best sound quality of any previous album they've recorded, but "the tunes are more poppy, more based around pop-music than ever." He said the new record is "pushing in a ton of different ways."

In addition to drumming, Koehler has also recorded local musicians with national appeal. Most recently, he recorded a majority of Matthew E. White's debut album, Big Inner, reviewed favorably in both Pitchfork and Rolling Stone, at his Minimum Wage Recording studio. He's also recorded Tim Berry (former singer of Avail), Fight the Big Bull, and recently recorded local metal band Municipal Waste.

One of his most bizarre recording experiences came after a late night fight in a Roanoke pizza shop following a NO BS! show. A group of men came in and provoked one of the pizza shop customers. Koehler recalled seeing that customer fly across the restaurant. Koehler jumped in to defend the man. Soon thereafter, "I was being picked up off the floor while four dudes were kicking the shit out of me."

He recorded the band's tribute to Charles Mingus while recovering from a concussion. The group decided to call the album Fight Song to honor Koehler.¹

He said the band has limited touring to the East Coast in years past, but they hope to cross the country and even travel to Europe to perform in the near future. "We're basically trying to push the RVA music gospel out to the far corners,” Koehler said.

Pace relishes the time he’s had with the band so far, and the times ahead. "One of my dreams has been to [be] able to travel the world and play music with my friends," he said. "Play with these RVA boys and show the world what's up.”

NO BS! Brass Band will play Balliceaux at 10:00 PM on Friday, May 17th and The Camel at 10:00 PM on Saturday, May 18th to celebrate the release of RVA All Day. The band will release Fight Song: Tribute to Charles Mingus on July 5th.

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Footnotes

A photo of Koehler taken after the fight is used on the album's cover. ↩

photo by PJ Sykes

Stablemates: A new record label brings Richmond’s jazz players together

David Tenenholtz — Thu, 18 Oct 2012 15:18:35 +0000

Over the course of the summer, two long-time members of Richmond’s music scene have worked closely to build an independent record label. Bassist Jason Jenkins and guitarist Alan Parker present 32 Bar Records, which as they describe, “…looks to champion unsigned musical talent, assisting in both album production and visual promotion of their art, as well as distribution. Along with jazz and non-jazz releases from its co-founders, the label’s early roster will include some of Richmond’s finest, with albums from these artists coming soon.”

The roster they speak of includes some of the finest musicians in the Richmond and Charlottesville areas:

Jason Jenkins
aP Connection
Larri Branch Agenda – pianist Larri Branch’s engaging leader project
Charles Owens, a masterful jazz saxophonist with serious street cred having held court at Small’s Jazz Club in New York City for many years.
Vocalist Sharon Rae North, who sings a flavorsome mix of R&B and jazz

In an association of this caliber, there are going to be some exciting releases coming at you very soon.

On Friday, October 19th, there will be a CD release for The Larri Branch Agenda at The Camel, they’ll go on at 9:30 PM, and will be followed by the NO BS! Brass Band. The door charge is $7.00.

32 Bar’s new holiday album A Season to Remember will be out soon, with a CD release at Capital Ale House Downtown on November 13th. The night is scheduled by The Richmond Jazz Society. The proceeds from A Season to Remember will go to benefit The Children’s Hospital of Richmond. Advance tickets are $15, and $20 on the day of the show.

Current releases

aP Connection – Juke

Alan Parker, who’s been one of Richmond’s leading voices on guitar for some years despite his youth, has a unique confidence and maturity in his playing. This trio outing features a mix of bop-inflected jazz, with hints of rock and backbeat driven funkiness at times. The sounds that Parker achieves even from a clean tone can range from silky smooth to brittle and almost brass-horn like. His skills as an improviser are abundantly present on each track, as are those of his grooving bandmates, Matt Hall (bass) and Billy Williams, Jr. (drums).

Jason Jenkins Quartet – Cole Porter Songbook

Bassist Jason Jenkins leads a band that features Alan Parker (guitar), Devonne Harris (drums), and Kevin Simpson (saxophones). They are joined by Newport News vocalist Charles Darden on two tracks that interpret Cole Porter’s most treasured songs. The band’s comfort level in swinging these standards makes this album cozy and relaxed.

The Larri Branch Agenda – Vol. 2

Labragenda (the short form for pianist Branch’s group) is a “working band,” meaning that the same musicians play each gig, and appear on each release. So it’s a close-knit unit, its own brand, and they offer a contrasting approach to standards and originals that is idiosyncratic in tone and texture. The interconnectedness among the members of the band, since they’ve been together for a decent gestation period of a couple years already, is what makes Labragenda such a kick.

Vol. 1, along with a CD of holiday music, have both worked to bring this group into their own. Chris Ryan’s guitar provides the urbanity, and the visceral statements of many melodies on the tracks. The hook-up of the bass and drums, by Brian Cruse and C.J. Wolfe respectively, has been something of a Richmond gem. They frequently work as a pair in other projects, and continue to develop as a rhythmic unit that emphasizes taste. Branch’s playing, from the first track, shows his wit and roots in gospel and the blues (I’m thinking of Otis Spann, Wynton Kelly, Joe Sample, and Vince Guaraldi in one tasty blend). The arrangement of Bud Powell’s “Tempus Fugit” is one that appears regularly in their live gigs. The short Salsa montuno that emerges as a part of the arrangement and gets brought into the solos is a delightfully clever and adventurous touch.

Charles Owens Trio – A Wealth in Common

A master saxophonist who relocated to Charlottesville after many years as a veteran of the New York jazz scene, Charles Owens leads a trio on this album of jazz favorites from the Great American Songbook as well as works by saxophone greats Sonny Rollins and John Coltrane among others. The trio comprised of sax, bass, and drums has an audacious spirit with no chordal backing instrument to supply instructive pathways for the improvising by Owens. He is free to phrase and explore harmony according to his own methods, and his interplay with drummer Devonne Harris and bassist Andrew Randazzo make this record daring and high-spirited.

Looking to the future

In the spring, the marvelous up-and-coming trumpeter Victor Haskins and his working band will record an album for the label, and other artists will be added, with hopes to bring classical artists as well as other non-jazz groups into the mix.

— ∮∮∮ —

Recording, mixing, and mastering on all of these releases have been completed here in Richmond by Lance Koehler at his studio, Minimum Wage Recording. CDs are for sale at the upcoming gigs, and also available online on iTunes and Spotify.

Matthew E. White’s debut album, ‘Big Inner’, released today

Nathan Cushing — Tue, 21 Aug 2012 14:54:35 +0000

Update #1 -- August 21st, 10:54 AM

Today marks the release of Matthew E. White's debut solo album, Big Inner on RVA-based Spacebomb Records. The album is also available to stream on Rdio, Spotify, and YouTube.

Pitchfork has given the album an 8.1/10:

White's gift on Big Inner is taking sounds created by actual southerners and turning them into figments of his musical imagination, which he bends and shapes into bottomless columns of ethereal soul.

The album will also have a write-up in the next issue of Rolling Stone.

— ∮∮∮ —

original

Matthew E. White is a busy man. The musician, who celebrates his 30th birthday next month, has been rehearsing for live performances, including one that will feature nearly 40 musicians at the Hopscotch Music Festival in Raleigh, North Carolina. His debut solo album, Big Inner, comes out on Hometapes / Spacebomb Records next month, and to further detract from his free time, he's recording a dub version of the record. If recent media attention is any indication, White will be staying busy well into the future.

The first track from the album, "One of These Days," has been making the rounds online for over a month. It's garnered a favorable write-up in Pitchfork and was featured in a video teaser shown on Stereogum earlier this month:

http://youtu.be/xD37ydJJdxY

Both of these mentions have helped the album attain national buzz a month prior to its release. White has certainly earned the praise.

He studied music at VCU, graduating from the university in 2005. In fall of that year, the guitarist and composer co-founded Fight the Big Bull, an avant-garde jazz band that's been featured on NPR's "Fresh Air" and whose 2010 album, All is Gladness in the Kingdom, was named one of the top 10 best jazz albums by NPR. In February 2012, the group played at the famed Kennedy Center in Washington, D.C. (Note: White has contributed to RVANews).

Collaborative writing for his solo record, Big Inner, began in fall 2010. Spacebomb, the record company he co-founded, wanted to implement a house band. It would evoke a foregone era in music in which labels like Motown had near-consistent bands supporting various singers for the label. It was a great idea in theory, but White and Spacebomb couldn't rest on the laurels of its novelty. It needed to, you know, happen.

"I kind of just began writing," said White. He describes himself as a "songwriter by accident," collaborating with various friends and musicians to make the record. While some musical arrangers treat their own lyrics as a mere by-product of their music, White wanted the lyrics to "say explicit things that arrangements in music can't say," and vice versa. Bassist Cameron Ralston (the Wise) and drummer Pinson Chanselle (the Mighty), who together make up the Spacebomb House Band, recorded their parts of the album in White's attic in the city's West End, beginning in February 2011.

The album reflects the eternal themes of love, death, searching, and even lauds several notable musicians (for example, Jimmy Cliff) by incorporating their arrangements into White's songs. It was a natural way for him to integrate his admiration of other songwriters. "Taking the past and reworking" it is something that White enjoys.

"There's a lot of folk elements," said White about the album. The early praise earned in Pitchfork and the attention garnered on Stereogum has people outside RVA eager to hear the album. "It's rewarding to see people excited about it," said White. It's all the more astonishing when that buzz has come despite White not playing live since last September. That changes next week.

White will play a "One of These Days" release party at Balliceaux on Tuesday, July 24th at 10:00 PM. Although White estimates he's played nearly 500 shows in the area, "this is my first time playing in Richmond under my own name." White said the show represents the work that he and Spacebomb have put in over the years: taking the idea of a house band and making it into an album, and a reality.

"There is a physical representation...now it exists."

Matthew E. White's debut album, Big Inner, will be released on August 21st.

photo by Sara Padgett

Review: Richmond Jazz Festival

David Tenenholtz — Fri, 17 Aug 2012 17:32:24 +0000

Tradition. That word kept running through my mind as I walked through Maymont last weekend taking in the live music on two stages at The Richmond Jazz Festival. I was lucky to see big names and practitioners of various traditions. Some bands (Jeff Lorber Fusion, Norman Brown, Najee, George Benson, and many others) presented the "new" in the scope of jazz, and a small group of others represented their ancestors. People like John Pizzarelli and saxophonist Ravi Coltrane.

The "vintage" sounds of Pizzarelli's quartet stood in stark contrast to the other, more contemporary music presented at the festival taken as a whole. Pizzarelli is a virtuoso guitarist, and the son of one of the most famous guitarists in jazz, Bucky Pizzarelli. ¹ Like his guitar playing, John's singing is equally full of life. Even playful at times. The arrangements of Duke Ellington standards followed by new arrangements (or more-accurately, "mash-ups," to steal a modern idea from DJs) off his latest record Double Exposure, smartly blended jazz tradition with popular music by Lennon/McCartney, The Allman Brothers, and even Tom Waits.

Behind Pizzarelli, pianist Larry Fuller put serious muscle into the keys, with a vocabulary gleaned from one of the most iconic jazz pianists of all time, the legendary Oscar Peterson. Fuller, having apprenticed under bassist Ray Brown for years, has an immediate connection to that hard driving, swinging piano tradition Peterson created. Brown was Peterson's longest-running collaborator in the pianist's trio. In Fuller, one can hear that tradition reverently on display, and the feeling left me (a fellow piano player) mesmerized.

Another musician with a famous father, Ravi Coltrane, presented, not his working band for the past decade or longer, but a pick-up band featuring younger talent. There is a deeper story here about Ravi's father, John Coltrane, who created a modern concept of the tenor saxophone and formed a working band that became one of the leading bands of the 1960s.

John Coltrane succumbed to liver cancer in 1967 at 40 before some of the jazz world developed new, more diffuse pallets fused with rock drumming and electronics. Ravi was only a toddler when his father died, and during those early years, John was constantly away from home on tour. His relationship to his famous dad, although unique as every familial relationship is, can be deluded by merely framing it as someone Ravi grew up knowing. In another way, it might seem that his relationship to John is closer to that of an archivist with a priceless collection to oversee.

Ravi has physical possessions, physical handing-down of the jazz tradition, of his father's that no one else has: notebooks of theoretical structures that he had yet to develop on stage, philosophical musings, and home recordings on reel-to-reel tape. So when Ravi comes to a Jazz Festival where he presents a group of likeminded young artists, and much of the scope of jazz presented at the entire festival is marketed as "contemporary" or "smooth" or even "quiet storm" (what does that mean, exactly?), there are traditions that stare him in the face, and traditions that he knows he is a steward of for better or worse. One has to wonder how he takes it all in.

It took him a few minutes to get started, as he set up the stage with the crew (even pushing the grand piano into the position that he wanted). He paced, and spoke with each person he saw, and smiled. After being introduced, he and his band started into a swirling, up-tempo version of the 1942 Jerome Kern standard "I'm Old Fashioned." Enough said. As clever a joke as that selection was, it also speaks volumes about where he sees himself in the context of bands like George Benson's, or Najee's, or many others at the festival. Did the audience pick up on the commentary if Coltrane meant it as such? Who knows? But the set presented by this group had all the staples of a great modern band like his father's was back in the 60s, and they brought a searching, fearless vibe to the stage. The rapport between the young rhythm section (pianist Glenn Zaleski, bassist Dezron Douglas, and drummer Nate Smith) seemed to give each song a sizzle, and maybe this is what Coltrane felt he missed with the more routinized working group he just broke up.

Other songs in the set were decided by Coltrane calling the tunes to his bandmates after a few seconds of running options and then confirming they were familiar with them. That sort of off-the-cuff spirit did not show up in the other groups presented (even Pizzarelli's). Surprises came in each improvised arrangement, with a version of Thelonious Monk's "Epistrophy" that began only with sax and Smith's powered drumming. The entire set was gripping, and the band held court. They closed with Ravi's father's ultra-modern chest-thumping composition "Giant Steps" (composed way back in 1957) which was another nod to his stewardship of the tradition. Clearly, it's still fresh to Ravi.

Catching bits-and-pieces of the Jeff Lorber Fusion band, it was obvious to me that there is another element even to the way "contemporary" jazz comes together on stage. Lorber moved back and forth between Yamaha keyboards, switching patches, altering filters, adjusting effects and volume levels. He plays brilliant, hard edged piano, but maybe not with the same kind of might of Larry Fuller. Still it was fun to see the great bassist from the Yellowjackets, Jimmy Haslip, and saxophonist Eric Marienthal, whose active playing in many groups under the "Smooth Jazz" marketing bubble is something that made that tradition what it is today.

Featured before the Sunday night headliners The Whispers on the "Dominion" stage, guitarist Norman Brown played his grooving guitar riffs for an elated and equally grooving audience (this is the first time I've seen so many people dancing at the foot of the stage at a jazz festival). The drummer rocked propulsive beats, and the keyboardists laid down pads of futuristic, metallic synth brass from an arsenal of Korg Triton keyboards. All these space-ship-esque keyboards made the stage look more like a set from the '80s movie Flight of the Navigator. Still, the crowd enjoyed the offering from Brown's tight band, and he pleased them with a medley of selections from his gold album After the Storm.

On the "Virginia Is for Lovers" stage on Sunday evening, NEA Jazz Master George Benson, with ten Grammy Awards under his belt, also made the audience get out of their lawn chairs and dance. The music alternated from R&B to disco, and even a teaser of some swinging blues. Benson's singing took a more central role to his guitar. After an opener of his most famous tune "Breezin'" that seemed to get started without ceremony, he sang "Moody's Mood for Love" and the Quincy Jones ballad "Everything Must Change" from Jones' 1974 album Body Heat. Having spent more time listening to his 1966 album It's Uptown than his colossal multi-platinum record Breezin' from a decade later, I was surprised to hear him take the focus off the guitar, especially since his latest album released only last year is titled Guitar Man. Maybe it's a choice he makes for his life shows, since the audience might not want to hear lots of long solos. On this performance at least, his soloing chops were nothing like what they were on It's Uptown or this gem on YouTube. Still, Benson knows his audience very well, and they know him (many audience members standing around me sang along during "Everything Must Change"). He is an icon not only of jazz, but contemporary R&B culled from the 1970s and 80s.

Overall, the Richmond Jazz Festival, with two stages and merchants sandwiched in between, felt well-executed. The idea of bringing the radio-friendly brand of "instrumental pop" or "contemporary jazz" or "smooth jazz" onto the stage to see what the artists like to do when they stretch is admittedly intriguing, but also left me disappointed at times (Najee's five minutes spent circular breathing while holding a long tone on his soprano saxophone got the crowd going, but, sadly, didn't impress me). However, to be able to hear a live band is always going to be a thrill in comparison to something on the radio, no matter what era of jazz these artists might offer. Unfortunately, I missed Saturday attractions like Stanely Clarke, Trombone Shorty, and the headliner India Arie, but thankfully these artists all will make their way again through Richmond soon in other contexts, be they "traditional," "pop," "jazz," or some other word.

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Footnotes

who had played on the master recording of Ray Charles' "Georgia on My Mind," as John informed the audience ↩

photo courtesy of Marc Cheatham

Endangered Blood coursing through Richmond, joined by Scott Clark 4tet

David Tenenholtz — Mon, 09 Apr 2012 11:27:43 +0000

On Thursday, April 12 a performance at The Camel will be sure to freak out metal enthusiasts, thrill avant-garde jazzheads, and possibly tickle any residents from the Balkans. Richmond’s Scott Clark will lead his free jazz project The Scott Clark 4tet and will support Trevor Dunn’s Endangered Blood.

Here at the dawn of the 21st century the idea of being an ‘eclectic’ musician is old news. Fusions of all kinds, genre-shifting, and layering have been with us, at this point, far too long to calculate. Today, as a member of the audience, I’m not sure I could even hold a conversation with someone who hasn’t spent quality time listening to Slayer and Webern and Mingus. It is hard to believe there are actually people who don’t appreciate The Swans and Jo Stafford. Trevor Dunn, Arcana II: Musicians on Music

If the above quote is any indication of the myriad influences that Dunn and his group have absorbed over their respective careers in music, then this part of the show is no doubt going to be a total-immersion in what downtown New York City is all about: a complete understanding of musical details and a complete freedom to express them. The cross-pollinated Endangered Blood consists of Dunn, drummer Jim Black, alto saxophonist/clarinetist Oscar Noriega, and tenor saxophonist Chris Speed. Initially, they started performing four years ago at a benefit concert for a musician and friend, alto saxophonist and bandleader Andrew D’Angelo, that needed to raise money for brain cancer treatment. After that first performance, they continued to work together as well as on their respective projects. Having recorded their self-titled debut album on Skirl Records and released it on March 15, the band is now traveling and performing in support of the album and traversing musical territories born out of fascinations with everything from searching ‘60s post-bop, to early 20th century chromaticism, to sweaty post-punk filtered through their acoustic instrumentation.

Trevor Dunn, bandleader

Bandleader Trevor Dunn shows a dedication to using the acoustic contrabass in thrash metal, jazz, a Beach Boys cover--you name it. But he is equally adept as an electric player and most famously showcased his command of that instrument as a founding member of experimental rock band Mr. Bungle. Currently he is a member of John Zorn’s Electric Masada band and works frequently in the metal genre as a member of Fantômas and The Melvins. He also is a member of The Nels Cline Singers, which despite the name, is an all-instrumental jazz project led by Wilco guitarist Nels Cline. As a leader, Dunn also has a group called Trio Convulsant, a metal-meets-jazz concept that shifts in and out of the two poles without being forced. Check out their cover of Duke Ellington’s "The Single Petal of a Rose" off the album Sister Phantom Owl Fish, released on Ipecac records.

Jim Black, drums

Drummer Jim Black is a long-time friend and musical associate of tenorist Chris Speed. A discography on Black’s website is sickly diverse, comprised of work with experimental singer/songwriter Laurie Anderson, saxophone/flute icon Dave Liebman, and Nels Cline. From listening to Endangered Blood, his influences seem limitless, and waves of lyrical jazz accompaniment move seamlessly into punk rock oriented energy where nothing is ornamental and everything is pulsating in the extreme. On one side, the cymbals shimmer and sizzle, and on the other the bass drum fiercely pounds, and the cracking snare is like a razor cutting through it all.

Oscar Noriega, alto saxophone/bass clarinet

Alto saxophonist/bass clarinetist Oscar Noriega is probably the lesser known member within the band, but his resume shines as a downtown New York jazz contributor of the highest order. He is an associate of NEA Jazz Master Lee Konitz and recorded with him in a nonet format in 2006. He is a collaborator with altoist Tim Berne on the latter’s Snakeoil project and appears on a host of recordings with Japanese pianist Sakoto Fujii. Further adding to his creative chops is a band called Slavic Soul Party!, which is a reinterpretation of Macedonian and Balkian folk tunes by some of New York’s downtown jazz musicians. For more background on Noriega, check out an interview with him describing his upbringing in his family band in Tuscon, Arizona playing norteño music.

Chris Speed, tenor saxophone

Tenor saxophonist Chris Speed already had a hit at The Camel recently as a member of The Claudia Quintet back in October and has since been busy touring with a wide variety of creative improvisers like Dave King (drummer for The Bad Plus), pianist Uri Caine, and The Claudia Quintet. He is a founding member of the artist-run record label Skirl Records, which boasts a long roster of the finest creative improvising musicians in New York. Speed, just like Noriega, also is a member of a Balkan/jazz fusion project called Pachora, which includes Black on drums.

— ∮∮∮ —

The Camel is located at 1621 W. Broad Street. Tickets are $7 at the door, $5 for students. Showtime starts at 9pm.

Upcoming Events

Aaron Williams — Sun, 11 Mar 2012 14:54:34 +0000

Unfortunately Yahoo's Upcoming is not working and we are unable to add events to the calendar at the moment.

Here are some of this weeks jazz events:

Jazz Vespers
Sunday March 11, 5pm
The Gayton Kirk
11421 Gayton Rd
FREE

Jason Jenkins Trio
Every Saturday at the Barrel Thief Cafe
5805 Patterson Avenue
FREE

RVA Big Band
Monday March 12, 9pm
Balliceaux
203 North Lombardy Street
FREE

Alan Parker & Jason Jenkins duo
every Wednesday at the Barrel Thief Cafe
5805 Patterson Avenue
FREE

Marlysse Simmons Quartet
Thursday March 15th, 6pm-9pm
VMFA
200 N. Boulevard
FREE

Alan Parker Trio
Thursday March 15th, 8pm
Crossroad Coffee
3600 Forest Hill Ave
FREE

I'll update this article with more events until a permanent fix is found.

Compass Rose Orchestra

Aaron Williams — Fri, 17 Feb 2012 13:28:44 +0000

The Richmond jazz scene is all about bands. While the Compass Rose Orchestra has been around for a few years, they are gaining momentum and are quickly becoming one of the premier original music groups in Richmond. On Friday February 17th, Compass Rose Orchestra releases their first album. A self titled CD, Compass Rose Orchestra features seven tunes tunes that include three Fritz originals, a Berhanu original, a Munoz original and as well as "Crimes" by The Blood Brothers, and "Strange Brew" by Eric Clapton.

Compass Rose Orchestra is definitely worth purchasing and Compass Rose Orchestra is definitely worth seeing live. You can do both on Friday night at the Camel.

Compass Rose Orchestra and The Congress perform tomorrow night at the Camel:

The Camel, 1621 W. Broad Street

8:30 - Compass Rose Orchestra plays the entire album
9:45 - Compass Roes Orchestra plays some surprising covers...
10:30 - The Congress Free Before 8PM Admission
$10 (Under 21-$12)

Listen:
[audio:http://media.rvanews.com/wp-content/uploads/2012/02/01-Purple-UP.mp3|titles=Purple UP!|artists=Compass Rose Orchestra]

Compass Rose Orchestra is:
Lucas Fritz - Trumpet, Arrangements
Suzi Fishcer - Alto Saxophone
Jonathan Gibson - Tenor Saxophone
Alex Powers - Trombone
Paul Willson - Guitar
Devonne Harris - Wurlitzer, Piano
Andrew Randazzo - Bass
Abinnet Berhanu - Drums
Armando Munoz - Vocals

Don’t Speak: musicality

Bryan Hooten — Mon, 13 Feb 2012 11:00:53 +0000

This is the first in a series of articles from Bryan Hooten, a Richmond-based trombonist, composer and music educator, that seek to streamline the way people, musicians and non-musicians included, talk about music.

Words cut. Words divide our sensory perceptions into “this and not that.” If words do not cut in this way, they are useless. Words are powerful tools that give us specificity. However, when we apply language to the densely tied knot of subjectivity that is The Arts, our words often loose some of their sharpness. I shall begin my streamlining mission with the word ‘musicality.’ This word, typically said with deep affectation and furrowed brow, is often used to praise or deride a performer or particular performance. Some usage examples include:

“Her playing wasn’t that technically proficient but she played with such musicality!”

“His playing was so mechanical. There was very little musicality.”

“I’ve been working really hard on my musicality.”

Saying someone played music with musicality is tantamount to saying someone ate eatingly or ran runningly, as if it were possible to do these things in any other way. To fully eviscerate this term, we must first decide what it means.

The Merriam Webster dictionary defines music as “the science or art of ordering tones or sounds in succession, in combination, and in temporal relationships to produce a composition having unity and continuity” and musicality as “sensitivity to, knowledge of, or talent for music.” Let us discard both of these definitions, starting with the root word. The “ordering of sounds” occurs equally in the listener and the composer/performer. This is a truth that, when followed to it’s logical conclusion, asserts that when we perceive any set of sounds (car horns, wind, cell-phones going off in the middle of Mahler 9) happening simultaneously or in order, music is occurring. Even as a musician, I have no problem with such a broad definition, but I’m a “the tree does not make a sound if no one is there to hear it” kind of person. In short: no listener, no sound. Listener creates music. According to the above definition, everything we hear is music. Also, as we will discuss later, not all music is designed to convey “unity” and “continuity.” The above definition of musicality also does not express the degree to which one must have sensitivity, knowledge or talent for music in order to be musical. I suppose being able to hear at all counts as sensitivity, being able to sing ‘Happy Birthday’ counts as ‘knowledge of’ and ‘talent-for.’ Having established that the definitions for music and musicality are hopelessly broad, allow me to state what I think people think they mean when they speak this way.

“Musicality means the expression of emotions through music.”

This definition is warm and fuzzy but doesn’t work because it is too broad. We are never “emotionless” and therefore every performance occurs at an equal level of emotionality. Perhaps people think that a performer ‘moved’ them in some way, whatever that means. However, if you intensely disliked something, you were moved. If you intensely liked something, you were moved. If you felt nothing, you were still feeling. If we take emotion to mean a state of being, it is impossible to play music without expressing an emotion.

“Musicality means expressing a wide range of dynamics, timbres and tempos.”

I think we are getting closer to something but this definition doesn’t work because it is too specific. Some music, especially Baroque (despite the way most people perform the Bach Cello Suites) and minimalist does not always ask for a wide rage of dynamics, timbres and tempos. Antonio Carlos Jobim doesn’t sing about the apocalyptic battle of the Norse gods and a fat lady with a Viking helmet and accompanied by a massive orchestra doesn’t sing about lounging on a Brazilian beach. If James Brown’s drummer played Sex Machine with the rhythmic push and pull of a Rachmaninoff Piano Concerto, no one could dance to it. For every specific element we throw into the ‘musicality’ basket, some piece requires the opposite element, therefore destroying this definition.

Here’s what I think some people really mean when they use the word musicality:

“I’m a smarter and more astute listener than you.”

Obviously, this attitude doesn’t do anyone any good. Here we have a prime example of jargon as a dividing line between the initiated and uninitiated. I said earlier that words must cut, that they must convey “this and not that.” Words must do this, however, so that people can have a common experience, so we can be specific about places, times and things. We must use words to divide our experience into logical pieces, but not to divide ourselves.

There are two things I ask of you, dear reader. One: In the comments below, please suggest alternatives for the word musicality. Two: There may be some holes in my argument so please don’t hesitate to point them out. However, if you must criticize, please do so critically.

Bryan Hooten is a Richmond, VA based trombonist, composer and educator. He performs and records with No BS! Brass, Fight the Big Bull, Ombak, Spacebomb Records and recently released his debut solo trombone album, Richmond Love Call. Hooten teaches music at VCU, James River High School and Hanover High School.

Listening back: UTVchamber

Aaron Williams — Wed, 25 Jan 2012 11:00:45 +0000

In Listening Back, we chronicle jazz happenings at The Camel located at 1621 W. Broad Street.

On Tuesday January 17th the reorganized UTVchamber took the stage at The Camel. In the fall bass trombonist Reggie Chapman moved to Chicago, on Tuesday night bassist Andrew Randazzo held down the fort on electric bass.

UTVchamber is:
Vocals: Chelsea Temple
Alto Saxophone: David Hood
Tenor Saxophone: Marcus Tenney
Flugel Horn: Mary Lawrence
Guitar: Paul Willson
Bass: Andrew Randazzo
Drums: Devonne Harris

Listen to UTVchamber:
[audio:http://media.rvanews.com/wp-content/uploads/2012/01/UTVchamber-@-The-Camel-01.17.12-1.mp3|titles=UTVchamber|artists=Utvchamber]

Jason Ajemian and High Life

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

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

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

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

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

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

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

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

2011 in (RVA) Jazz

Aaron Williams — Fri, 06 Jan 2012 11:00:28 +0000

2011 saw some of the best music ever in ol' RVA. While we look forward to all of the wonderful things that 2012 will bring us (including February 29th), we also pause to look back at all of the great music that happened in 2011:

All of that jazz and more

Old Band, New Sound, One Night of Fun - Glows in the Dark went electric and performed dance music based on Italian crime thrillers.
Minimum Wage is far from minimum quality - Drummer and engineer Lance Koehler plays a very important role in the Richmond music scene.
Richmond reuinion Before Sean Moran returned to Richmond to perform with Brian Jones, we found out a little about what Richmond used to be like.
Amazing May May turned to out to be an action packed month worthy of its own chronicling.
Déjà vu: The Richmond Jazz Festival We comment on the return of the Richmond Jazz Festival.
Cutting contest, Cutting contest, part 2 - In a two part series, Bryan Hooten and John Lilley discuss illegally downloading music.
The list: five essential non jazz records for the jazz listener/musician - Stevie Wonder isn't jazz, but non jazz musicians have limitless influence on jazz musicians.
Titans of the Tough Toned Texas Tenor John Lilley delivers a history lesson on the Texas tenor sound.
Selba – more jazz than anywhere else in Richmond Selba has become one of the hottest spots in town for straight-ahead jazz.

Live

Two trios tear it up at The Camel - Trio of Justice and Marcus Tenney Trio tore up the Camel.
District rendezvous - In a night of north meet south, Darcy James Argue's Secret Society and Fight the Big Bull met up at Subterranean A in Washington DC.
Lou Hoff Quartet at VMFA Jazz Cafe
Toby Whitaker Big Band at Balliceaux
Brian Jones – two nights, five sets
Brian Jones’ Musicircus
Snarky Puppy
Looking back at a crazy week
Esperanza Spalding – showmanship without the fluff
Gretchen Parlato didn’t swing (and that’s OK)

Listening Back

UTV.Chamber and Scott Clark 4-tet
Brian Jones Quintet and The Music of Art Blakey and the Jazz Messengers
Lucas Fritz Quintet and Old Soul
Devonne Harris’s Reeverb + 2 bonus sets
Jazz By Numbers
Larri Branch Agenda and Steve Kessler
Brian Jones
UTV.chamber & Compass Rose Orchestra
Elby Brass
Mara Rosenbloom Quartet
Zevious and Top Knot Trio
Brian Jones Set 1
Brian Jones Set 2
Rattlemouth
Glenn Wilson and the Jazz Maniacs Set 1
Glenn Wilson and the Jazz Maniacs Set 2
Miller’s Band Set 1
Miller’s Band Set 2
Glows in the Dark

RVA Records

UTV.chamber: The First Letter
Ombak – Fan Bricks
Deep Dish: Scott Burton on Glows in the Dark’s new record
part one: Bryan Hooten – Richmond Love Call
part two: Bryan Hooten – Richmond Love Call
Old Soul – sounds before the silence

Everywhere else on record

Throughout the year, we feature some out of town albums.

Bela Fleck and the Flecktones – Rocket Science
From “Live at Smalls” to live at The Camel
Patois-Patois
Building groove mansions

RVAJazzfest

After facing a sudden death in the family and a blizzard in 2010, the 2011 RVAJazzfest escaped unscathed. Oh yeah and some great music happened too.

Announcing RVAJazzfest 2011
Harris Eisenstadt and Canada Day: Fitting in, standing out
Richmond Jazz Society: Miles at the Mosque
Scott Clark 4tet: Back line leader
Old New Things
VCU presents pianist Fred Hersch
Southside Jazz at Milestone
Looking Back at the RVAJazzfest
RVAJazzfest in video

Drop the Needle

You really stepped up, Richmond. Hear some of the best impromptu sessions hand picked by Toby Whitaker.

DROP THE NEEDLE! Round 3!
Drop the Needle #3: Toby Whitaker edition

Farewell to Dean Christesen

Farewell pt. 1
Farewell pt. 2

***

Old Soul – sounds before the silence

Aaron Williams — Fri, 16 Dec 2011 13:45:34 +0000

Old Soul
Sounds Before the Silence
(self released, 2011)

Paul Willson graduated from the VCU jazz program last spring and he hasn't wasted a minute since then. Sounds Before the Silence is Old Soul's first release and while it isn't under Willson's name, his vision is clear.

Mixing the ubiquitous sound of Kurt Rosenwinkle, the more rugged sound of Bill Frisell and a taste of Richmond, Paul Willson is developing a unique sound as both a guitarist and a composer. For all of his skills as a player, his compositions are his greatest strength. His interesting harmonic and rhythmic vocabulary add depth to his angular melodies. With eight of the ten tunes on the record coming from Willson's pen, Sounds Before the Silence offers an excellent opportunity to explore the compositional range of his work.

"Changes in Perception" enables some of the members of Old Soul to stretch out over an interesting groove. A majority of the tune utilizes the odd time signature of seven-four. Unlike most seven-four, which divides into a group of four beats followed by a group three beats and feels like a beat is missing, the seven-four is divided into a group of three beats followed by a group of four beats and it feels like a beat is being added to a waltz. The unsung heroes of the tune are Willson and keyboardist Devonne Harris. While drummer Matt Coyle and bassist Evan Sarver repeat the groove under the soloists, the guitar and Fender Rhodes beautifully walk the tight rope of holding the groove together while creating interesting moments of accompaniment.

Listen to "Changes in Perception":
[audio:http://media.rvanews.com/04 Changes In Perception.mp3|titles=Changes in Perception|artists=Old Soul]

"Ghoul's Tune" starts with tenor saxophonist Marcus Tenney and alto saxophonist David hood playing counterpoint unaccompanied. Before long the haunting vocals of Willson backed by female vocalist Lydia Ooghe and the rest of the band enter. Texturally, the saxophonists and vocalist capture the spirit of a tune that was written around Halloween 2010. Hood's saxophone solo truly explores the limits of what has been heard on alto saxophone, and then he takes it a little further delivering a truly unique performance.

Just when the song is about to end, keyboardist Devonne Harris plays a minute long solo tag that only adds to the mystery of the tune that was just performed.

Listen to "Ghouls Tune":
[audio:http://media.rvanews.com/wp-content/uploads/2011/12/05-Ghouls-Tune.mp3|titles=Ghoul's Tune|artists=Old Soul]

At only 23, Old Soul's new album clearly shows that Willson is onto something special and it will be exciting to watch him pursue it. Buy Sounds Before the Silence, you won't regret it.

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

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

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

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

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

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

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

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

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

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

— ∮∮∮ —

Gretchen Parlato has three albums:

Photo by David Bartolom

Drop the Needle #3: Toby Whitaker edition

Aaron Williams — Fri, 25 Nov 2011 11:00:47 +0000

Listen to the entire playlist:

[audio:http://media.rvanews.com/April.mp3,http://media.rvanews.com/2010PARK.mp3,http://media.rvanews.com/02 Wet ToungeDTN.m4a,http://media.rvanews.com/wil&il.mp3,http://media.rvanews.com/02 Heart-throb3DTN.mp3,http://media.rvanews.com/07 07 Black SandDTN.mp3 andDTN.mp3,http://media.rvanews.com/habitDTN.mp3,http://media.rvanews.com/Joey and Al 8-5DTN.m4a,http://media.rvanews.com/02 mailed you a noteDTN.mp3,http://media.rvanews.com/08 Where is the Line_DTN.mp3,http://media.rvanews.com/Boomwhacky.mp3,http://media.rvanews.com/http://media.rvanews.com/The Garden of Souls mp3DTN.mp3,http://media.rvanews.com/01 Wabash mp3.mp3,http://media.rvanews.com/04 CrimesDTN.mp3,http://media.rvanews.com/ANB rvajazzfest mp3.mp3,"http://media.rvanews.com/03 IgotyoursDTN.mp3 |titles=April,2010 Park,Wet Tongue,Wil&il,Heart Throb,Black Sand |artists=Tommy Beekman,PA3,The Shooter McGavins,Tommy Beekman,King Boomy,Gianna Barone & Lucas Fritz,]

1. "April" - Tommy Beekman

TW says: Nice solo instrumental track. The rhythm of the guitar sets a nice mood.

The artist says: - If you put your ear right up to an acoustic guitar I think it has a very distinctive sound. I was listening to the Decemberists a lot a few months ago and I liked how they treated the acoustic guitars on their Hazards of Love album. I put this tune together as another experiment to see if I could get that in your face acoustic guitar sound. The tracks are dry for the most part, most of the reverb you hear is from the guitar itself. This was also an experiment with panning and trying to fit the two parts together.

Software: Garageband

Hardware - Acoustic Guitar

The musicians: Tommy Beekman

Listen:

[audio:http://media.rvanews.com/April.mp3|titles=April|artists=Tommy Beekman]

2. "2010 Park" - PA3

TW says: I think the blending of curse words with a message about the importance of eating your vegetables, is a good way to get through to the kids.

The artist says: This song was recorded because Park Avenue is the greatest hood of all the hoods. You are both welcome to my hood and BETTAH STAY OUTTA MY HOOD at the same time.

The musicians:
L Dog - Drums, bass, trumpet, background vocals, main vocals
P Class - Main Vocals
H Money - Main Vocals
Sassy Lass - Background vocals, hype vocals
The G Man - Hype vocals
Those throwin down, Aug 12, 2011 - Claps

Listen:

[audio:http://media.rvanews.com/2010PARK.mp3|titles=2010 Park|artists=PA3]

3. "Wet Tongue" - The Shooter McGavins

TW says: Nice driving tune. The droning background vocals are a nice touch. Banjos are always cool and like the kazoo(?) solo.

The artist says: Here is a track we recorded a few weeks ago once over for instruments and then again for vocals.

The musicians:

Matty Blissard - Guitar/Vocals/Kazoo
Ben Price - Banjolele /Vocals/Kazoo
Justin Esposito - Upright Bass
BJ Robinette – Drums

Listen:

[audio:http://media.rvanews.com/WetTonguemp3.mp3|titles=Wet Tongue|artists=The Shooter McGavins]

4. "wil&il" - Tommy Beekman

TW says: Cool mellow trumpet sounds. Makes me feel like I'm in Iceland. I like the build into the controlled chaos at the end.

The artist says: wil&il - I came up with the guitar riff a few years ago and it's been something I've played with different people (including RVANews' own Dean Christesen on several occasions). The drums and guitar were recorded live with two microphones because that's all I've got. Bass was added later. Lucas Fritz (Compass Rose Orchestra, Elby Brass, RVANews) came over and added some Trumpet. I really wanted a 'wet' trumpet sound over the groove so I recorded it with two mics, one was on the trumpet and one was hooked up to my fender with lots of that nice spring reverb, chorus and delay. Then some editing happened and it came out this way.

Software: Garageband

The musicians: Bass, Electric Guitar (Tommy Beekman), Drums (Eric Highfill), Trumpet (Lucas Fritz)

[audio:http://media.rvanews.com/wil&il.mp3|titles=Wil&il|artists=Tommy Beekman]

5. "Heart Throb" - King Boomy

TW says: Awesome psychedelic groove track. I like the weird blend of melodies. Sounds like someone from Konono # 1 is sitting in.

The artist says: The band is called KingBoomy, it's really just me messing around in the spacebomb studio which happens to double as my attic.

The musicians: Pinson Chanselle: drumset, guitar, bass, shakers, ethiopian drum, bottles, steeldrum, voice

Listen:

[audio:http://media.rvanews.com/02 Heart-throb3DTN.mp3|titles=Heart Throb|artists=King Boomy]

6. "Black Sand" - Gianna Berone

TW says: Really nice big band writing. Good use of mutes in the brass and the shout chorus is kickin.

The artist says:Jenny Lewis, arr Lucas Fritz
Recorded Apr 8, 2011 at VCU Performing Arts Center, Sonia Vlachevic Concert Hall

The musicians:

Woodwinds: Suzi Fischer, Jason Scott, John Lilley, Jon Gibson, David Hood
Trombones: Bryan Hooten, Reggie Pace, Dillard Watt, Reggie Chapman
Trumpets: Rob Quallich, Marcus Tenney, Ben Heemstra, Lucas Fritz
Rhythm: Devonne Harris, Andrew Randazzo, Brian Mahne, Paul Willson
Vocals: Gianna Barone

Listen:

[audio:http://media.rvanews.com/07 Black SandDTN.mp3|titles=Black Sand|artists=Gianna Berone]

7. "Red Wine" - Get Downs

TW says: The fact that I know who this has not biased my opinion of the song. Sweet headhunters synth sounds. Awesome hook.

The artist says: It was made using Garage Band and percussion."

The musicians:ReggiePace/Lauren Serpa

Listen:

[audio:http://media.rvanews.com/RedWineMP3.mp3|titles=Red Wine|artists=Get Downs]

8. "Habit" - Elliot Shelton

TW says: Good soundtrack music. Slightly angular organ/acordian sounds, nicely accompanied by feel good guitar pads.

The artist says: Instrumentation: Drums, Casio Sk-1, Lowrey Wandering Genie, Guitar
Gear: EH2880, Behringer Eurorack Mixer, 2 mics

The musicians: Elliot Shelton

Listen:

[audio:http://media.rvanews.com/habitDTN.mp3|titles=Habit|artists=Elliot Shelton]

9. "Joey and Al 8-5" - Quango Almo

TW says: I enjoyed the trippy interlude in the middle of the song.

The artist says:

We have begun recording our rehearsals as a tool for our own improvement and have not shared any of them in their entirety, until now.

What few vocals did make it onto the recording are pretty muffled and low fidelity. I was singing through an instrument mic into my guitar amp—which was also handling my guitar—and we had set up just two recording mics which each caught everything in the room with no separation. I applied a bit of compression and eq, but there's not much I can do.

It was early, or at least it was before noon. We had not rehearsed since our previous gig. This was the first, energetic, unsure take of the day and the improvised development section played through with a messy tenseness. We did other takes that day and though I was able to get the vocals more balanced in them, none were as fresh as the first.

written by Freddy Lau
Recorded 8/5/11 by Freddy Lau in Chesterfield, Va
mics: Samson C02 (x2)
program: Ableton Live

The musicians:Aaron Bowles: bass
Jack Tierney: guitar
Cj Alicea: drums
Freddy Lau: guitar, midi keyboard, vocals

Listen:

[audio:http://media.rvanews.com/JoeyandAlMP3.mp3|titles=Joey and Al 8-5|artists=Quango Alma]

10. "Mailed You a Note" - King Boomy

TW says: These vocals are freaking me out........actually the whole song kinda freaks me out.

The artist says: The band is called KingBoomy, it's really just me messing around in the spacebomb studio which happens to double as my attic.

The musicians: Pinson Chanselle: Drums, synthesizer, bass, guitar, shakers, voice

Listen:

[audio:http://media.rvanews.com/02 mailed you a noteDTN.mp3|titles=Mailed You a Note|artists=King Boomy]

11. "Where is the Line?" (Bjork) - The Richmond Jazz Collective w/ Strings

TW says: Super cinematic. Awesome trombones in the beginning. Strings and maybe even a Tibetan Singing Bowl....what more could you ask for.

The artist says:Everyone should listen to Bjork. I don't care.

The musicians:Woodwinds: Suzi Fischer, Jason Scott, John Lilley, Jonathan Gibson, David Hood
Trombones: Bryan Hooten, Reggie Pace, Dillard Watt, Reggie Chapman
Trumpets: Rob Quallich, Marcus Tenney, Ben Heemstra
Flugel Horn: Lucas Fritz
Rhythm: Devonne Harris, Andrew Randazzo, Brian Mahne, Paul Willson, Matt Coyle, Andrew Walters
String Quartet: Katie Wooldridge, Wei Li Suen, Garret Pederson, Michael Knowles

Listen:

[audio:http://media.rvanews.com/08 Where is the Line_DTN.mp3|titles=Where is the Line?|artists=The Richmond Jazz Collective w/ strings]

12. "Boomwhacky" - Tommy Beekman

TW says: Weird (in a good way) drum track. Could use an ending but sounds cool.

The artist says:Came from an experimentation with Boomwhackers. They are a pitched colored tube (www.boomwhackers.com) that you smack against a surface to produce a sound. Added a little home-made shaker (rice in an old bottle of vitamins) and some bass, then I repeated the loop a few times. I was working with balance, panning, and effects with this track to try to get the boomwhackers to spread out a little because the recording made them sound a little thin. At first there was a vocal on here but I took it off.

Software: Garageband

Hardware: Boomwhackers, Bass, Homemade Shaker

The musicians: Tommy Beekman

Listen:

[audio:http://media.rvanews.com/Boomwhacky.mp3|titles=|artists=]

13."C C C C" - Elliot Shelton

TW says: Kind of an off kilter dub jam. This track makes me wanna walk funny.

The artist says:Instrumentation: Guitar, Lowrey Wandering Genie, Yamaha Keyboard
Gear: EH2880, Behringer Eurorack Mixer, 1 mic

The musicians:Elliot Shelton

Listen:

[audio:http://media.rvanews.com/C C C CDTN.mp3|titles=C C C C|artists=Elliot Shelton]

14."The Garden of Souls" - Scrio

TW says: Sweet sax-guitar melody. Awesome drumming. Extended patriotic improvisation. Great song. I think I can even hear Bryan Hooten shouting over the performance.

The artist says: Recorded live at the Commercial Taphouse on July 3rd

The musicians: (Scott Clark, Scott Burton, Jason Scott)

Listen:

[audio:http://media.rvanews.com/The Garden of Souls mp3DTN.mp3|titles=The Garden of the Souls|artists=Scrio]

15. "Wabash" - Etaka

TW says: This virtuosic trombone-ing sounds strangely familiar. Phenomenal drumming as well. Seamless transitions between improvised and written material. Just awesome.

The artist says: The tune is called Wabash and it's from an unreleased duo album recorded with Lance at Minimum Wage.

The musicians: Reggie Pace & Scott Clark

Listen:

[audio:http://media.rvanews.com/01 Wabash mp3.mp3|titles=Wabash|artists=Etaka]

16. "Crimes" (The Blood Brothers) - Compass Rose Orchestra

TW says: I like vibraphones. The song sets a film-noir-ish mood and builds nicely

The artist says:This was recorded at my Senior Recital in the VCU Performing Arts Center, April 8, 2011.

The musicians:Compass Rose Orchestra
Tpt - Lucas Fritz
Trombone - Chris Bates
Alto Sax - Suzi Fischer
Tenor Sax - Jonathan Gibson
Guitar - Paul Willson
Bass - Andrew Randazzo
Drums - Abinnet Berhanu
Vibes - Matt Coyle

Listen:

[audio:http://media.rvanews.com/04 CrimesDTN.mp3|titles=Crimes|artists=Compass Rose Orchestra]

17. "ANB" - Scott Clark quartet

TW says: Crazy, fast, out, chord-less jazz. Throw a trombone in there and you might have something. Or maybe it's fine the way it is. Yeah it's pretty amazing the way it is.

The artist says: It was recorded live at the RVAjazzfest.

The musicians: Scott Clark, Cameron Ralston, Bob Miller, Jason Scott

Listen:

[audio:http://media.rvanews.com/ANB rvajazzfest mp3.mp3|titles=ANB|artists=Scott Clark Quartet]

18. "I Got Yours" - King Boomy

TW says: Groovin drumbeat, cool dub effects, and crazy guitar loops. Nicely done.

The artist says: The band is called KingBoomy, it's really just me messing around in the spacebomb studio which happens to double as my attic.

The musicians: Pinson Chanselle: Drums, Bass, Guitar, Bottles, melodica. James Wallace: Fender Rhodes

Listen:

[audio:http://media.rvanews.com/03 IgotyoursDTN.mp3|titles=I Got Yours|artists=King Boomy]

Crossroads – Brian Jones “Redhead”

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

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

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

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

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

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

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

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

part two: Bryan Hooten – Richmond Love Call

Aaron Williams — Tue, 01 Nov 2011 10:00:12 +0000

Click here to read part one of this article.

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

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

Question: How different is the process of working on a record and developing music alone?

BH: Most of it is different because of the amount of time I can spend on it. I can practice my solo trombone repertoire anytime regardless of other people's schedules.

In other ways, I think it is more difficult. You have no one to bounce ideas off of, no time to rest and fewer ways to change the orchestration. In some ways it is really hard but I really enjoy it.

Question: Did you learn a lot of things about yourself?

BH: As a player, what didn’t I learn about myself. As a player and personally, I am learning to have more patience. In the solo performance situation, the right answer always appears to be, I need to fill up all of this space. But actually, doing that can ruin some really good musical ideas. Musically I need to learn to be patient. That also affects me personally. I don’t need to fill up all of the space in my life. I also learned that a project like this is possible. Every time I reach a plateau, I have a better perspective on what is possible.

Question: Over the past few years, you have performed solo several times. How different of an experience is it performing solo when you aren’t surrounded by Fight The Big Bull, Ombak, NoBS!, etc.?

BH: It is like being naked in front of a whole bunch of people. The more teaching that I do, the better I get at playing solo trombone. Teaching a theory class, or leading a big band or instructing a marching band, you are the guy in charge and you have to be on with no one else to depend upon. That is not to say that I am ever musically or mentally disengaged when playing with other bands. It is intense having all of the music be on you and no one else for the audience to look at.

Question: You aren't from Richmond, but you love it. What does this city mean to you personally and musically?

BH: I think it is the perfect blend between everything I love about the South having grown up (in Alabama) and everything I love about being a creative person. It’s friendly. Everyone knows everyone else, yet it is also artistically very forward thinking and the artists take a lot of risks. I am so glad to be a part of the scene. I think for lack of a better term, Richmond is a spiritual home for me.

Question: Finally, what is next for solo trombone and your music in general?

BH: Well, for solo trombone, I want to do two or three more albums. I am entertaining the idea of recording each one at a different studio and working with a different producer.

There are no electronics on this record but I can see the next one involving electronics. I have experimented a little with using a distortion pedal live but for the time being I am staying away from loop pedals.

I am really enjoying writing and singing for No BS!. I am writing a new set of songs for Ombak and I do mean songs with words sung by a singer. I am also kicking around the idea of a top-secret collaboration with snow panda. I am also excited about all of the upcoming recording projects with Spacebomb records.

part one: Bryan Hooten – Richmond Love Call

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Selba – more jazz than anywhere else in Richmond

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

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

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

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

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

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

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

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

Click here for Nathan Cushing's preview of Selba.

Booking Contact:
Brian Mahne
selbabooking@gmail.com

Esperanza Spalding – showmanship without the fluff

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Looking back at a crazy week

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

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

The Claudia Quintet

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

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

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

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

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

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

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

Rex Richardon w/ Steve Wilson

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

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

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

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

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

Zach Brock and The Magic Number

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

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

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

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

Buy Zach Brock's music here

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

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

On the horizon

Aaron Williams — Fri, 30 Sep 2011 10:00:18 +0000

There is always good music happening in Richmond, but sometimes the stars align and there is an insane amount of awesome jazz. Starting tomorrow, an unprecedented run of national and local musicians will perform around Richmond in clubs, concert halls and even at an outdoor festival.

No BS! Brass Band, The Brand New Life
Friday September 31st 9pm
The Camel
1621 W. Broad St.
$7

Richmond's favorite brass band and Greensboro's sophisticated jazz funk group share the stage at No BS! Brass' monthly show at The Camel.

Glows in the Dark Mondo Italia Dance Party
Friday September 31st 10pm
Balliceaux
203 N. Lombardy
free

Glows in the Dark grooves to music from 70's Italian crime films. It is truly unlike anything you have seen before.

2nd Street Festival
Saturday October 1st 12pm-6pm
Sunday October 1st 1pm-6pm
2nd St. and Marshall St.
free

Acts including:
Saturday: Robert Jospe Trio, Victor Haskins Quartet, James "Saxsmo" Gates
Sunday: Richmond Youth Jazz Guild, Jason Jenkins Quartet, Steve Kessler Quartet,

Professor Darryl Harper's VCU Faculty Recital
Sunday, October 2nd 4pm
VCU Singleton Center for the Performing Arts
922 Park Ave.
$5

"Tales of a Suburban Cowboy"
Xavier Davis (piano), Matthew Parrish (bass), Harry "Butch" Reed (drums), and Prof. Rex Richardson (trumpet), who will perform music by Xavier Davis, Stevie Wonder, Julius Hemphill, and Darryl Harper.

Claudia Quintet +1, Scott Clark 4tet
Sunday October 2nd 9pm
1621 W. Broad St.
7$-$10

Tickets

One of the most unique jazz groups in the World, John Hollenbeck, Chris Speed, Matt Moran, Drew Gress and Ted Reichman team up with pianist Matt Mitchell and vocalist Theo Bleckman. The New York based group returns to Richmond for the first time since it performed at Rumors Boutique.

Professor Rex Richardson's VCU Faculty Recital w/ Steve Wilson
Tuesday, October 4th 7:30pm
922 Park Ave.
$5

Trumpet: Rex Richardson, Saxophone: Steve Wilson, Guitar: Trey Pollard, Bass: Randall Pharr, Drums: Brian Jones

Five incredible musicians team up to explore original compositions in preparation for recording a new album.

Zach Brock, Old Soul
Tuesday October 4th 9pm
1621 W. Broad St.
free

Virtuosic jazz violinist Zach Brock and his band team up with Richmond's Old Soul for a night of FREE! jazz. From critical acclaim as a bandleader to international exposure in collaborations with Stanley Clarke, Grazyna Auguscik, and Frank Vignola, Zach continues to gain admiration from both jazz purists and music enthusiasts alike.

Image by Antonio Garcia

Snarky Puppy

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

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

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

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

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

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

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

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

Snarky Puppy at Balliceaux:

You can buy their newest album here.

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

Brian Jones’ Musicircus

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

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

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Megafaun featuring RVA

Aaron Williams — Thu, 15 Sep 2011 10:00:20 +0000

Somewhere between Bon Iver's newest record, their sold out show at The National and trombonist Reggie Pace joining the band, Richmond discovered and fell in love with Justin Vernon's music. While many in Richmond are familiar with Bon Iver, fewer are familiar with Megafaun. That is about to change.
Now based in Durham, North Carolina, the members of Megafaun hail from Wisconsin and used to be in Deyarmond Edison with Justin Vernon. Their new record hits stores September 20th but you can stream it now on rollingstone.com. With a rigorous international tour and a new record, the band will undoubtedly get more national attention in the coming months.
This is good news for guitarist Matt White who arranged all of the horn parts for the record. The record also features many of Richmond's finest jazz musicians including John Lilley (saxophone), Jason Scott (woodwinds), Bob Miller (trumpet), Marcus Tenney (trumpet), Reggie Pace (trombone), Bryan Hooten (trombone), Toby Whitaker (trombone)and Reggie Chapman (bass trombone).
You can catch Megafaun September 23rd in Washington D.C. at The Red Palace with Matt White.

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Northside teen wins full scholarship to Berklee College of Music

North Richmond News — Mon, 12 Sep 2011 11:00:45 +0000

Myrish Spell is not so much super lucky as she is super talented. One of 16 winners nationwide (only six of which were chosen from outside the Boston area), this Richmond Community High alumna worked hard to earn a full-tuition scholarship to Berklee College of Music in Boston. Each candidate had to meet the program’s [...]

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Building groove mansions

Scott Burton — Fri, 09 Sep 2011 10:00:38 +0000

Recently, bassist Jason Ajemian and his group High Life released a new record on Jason's Sundmagi label called "Riding the Light into the Bird's Eye." I'm always interested in a band's approach to composition and improvising, and thought it'd be cool to give everyone a peek into the truly unique approach that Ajemian has taken with the High Life.
Jason uses AUTOCAD, a program traditionally employed by architects, to create graphic notation that the musicians follow as if they were walking through a house. By combining traditional notation with symbols, cues, and written instruction, Ajemian has literally become a sound architect, building groove mansions that the band "walk through" during any given concert.
It seems daunting, but when you actually study the score and follow along with the music, the idea becomes much more clear, and the genius and humor of the process is revealed. As an example, let's look at the first of three scores the band perform on the new record, called "Fear Dings." The entire album is one long performance, and this score contains what would become tracks 2 and 3, "Bliss is This" and "Spectacle" respectively.
You can follow along by starting at the upper left-hand corner of the chart, and traveling down the page and then to the right and up...you'll know it's time to turn the page when you hear this sound...(jk).
Listen to Bliss is This:
[audio:http://media.rvanews.com/02 Bliss Is This.mp3|titles=Bliss is This|artists=Jason Ajemian and HighLife]
Listen to Spectacle:
[audio:http://media.rvanews.com/03 Spectacle.mp3|titles=Spectacle|artists=Jason Ajemian and HighLife]
The wine bottle is popped and the song starts with some "swirling Ab wonderness" until Jason brings in more structure with the line, "You live in fear inside your eyes," at which point the rhythm section hold down a steady quarter note pulse while the horns play around the theme. You can follow the bass and melody lines until the band breaks into free time after Jason sings "Un Decide." The words "Archs Up" signal Ajemian's rising arco bass line, and the band quickly "walk" left and down the score, playing each of the short written themes in free time while improvising flourishes through out. They arrive at "Breath Slow Walk Leading to Concrete" and Jason brings the band back into time as he sings "This Concrete" etc. The horns flowing freely adding backgrounds and improvising around the key of A flat. After Ajemian sings a repeated chorus of, "Your Soul Oh Lord," he and drummer Marc Riordan create a seamless transition into the tight groove of the next track "Spectacle."
You can view several Jason Ajemian scores here.
"Spectacle" finds the rhythm section holding down a solid groove with Owen Stewart-Robertson interjecting some funk scratch on guitar, while Peter Hanson on sax and Jacob Wick on trumpet improvise shouts and atonal lines. The lyrics start with, "Dings in your Head" and move up. Jason and the band follow the singing cues until they end with a big hit as Jason sings "Bubble Big Sky." and then they improvise out and onto the next gigantic AUTOCAD chart.
What makes this approach so intriguing, is that it truly does accurately depict the flow of the music in a more organic and creative way, and the music still works just as well in a live setting. No one in the audience has to follow these charts to get the full feeling and emotion being translated. And you don't need the charts to help you dance either.
With "Riding the Light into the Bird's Eye" Jason Ajemian and the High Life have taken Jason's compositional approach to another level, and created a set of truly exciting and unpredictable jazz and funk for maximum thought and movement. I recommend everyone pick this album up as soon as possible. This is rare indeed, some great new original music.
Click here to buy Jason Ajemian's music.

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Brian Jones – two nights, five sets

Aaron Williams — Fri, 02 Sep 2011 07:26:42 +0000

Drummer and composer Brian Jones is undoubtedly one of the most prolific and orignal musicians in Richmond, VA. Tuesday and Wednesday, two of his groups took the stage to perform five different sets.
Tuesday night, The Brian Jones Quartet performed original compositions and improvisations to classic episodes of Tom and Jerry. A younger crowd enjoyed the 7pm set while a nostalgic crowd enjoyed the 9pm set. All music aside, the Tom and Jerry cartoons are timeless and enjoyable for all ages. The addition of live music by Jones, Reggie Pace, Marcus Tenney and Randall Pharr is an incredible and unique experience.
Click for Tom and Jerry youtube videos.
Trombonist Reggie Pace was particularly inspiring. His wide palette of effects and sounds effectively emulated the full orchestra that recorded the original Tom and Jerry music. Despite this responsibility, he constantly found ways to manipulate the mood of the room alongside the other three musicians.
The quartet closed the night by playing tunes to old short films.
Wednesday night, the Brian Jones Wurlitzer Trio played two exhilerating sets at Balliceaux. Joined by Daniel Clarke (wurlitzer) and Randall Pharr (bass), the trio performed music exclusively from their two records A.M. Thrift and Drug Piano. Seeing Clarke was a rare treat as he is usually on tour with Mandy Moore or K.D. Lang. The bottom line, the rhythms eminating from the stage were brilliant and infectious .
Listen The Brian Jones Wurlitzer Trio:
[audio:http://media.rvanews.com/BJWT1.mp3 |titles=unknown|artists=Brian Jones Wurlitzer Trio]
[audio:http://media.rvanews.com/BJWT2.mp3 |titles=unknown|artists=Brian Jones Wurlitzer Trio]
[audio:http://media.rvanews.com/BJWT3.mp3 |titles=unknown|artists=Brian Jones Wurlitzer Trio]
[audio:http://media.rvanews.com/BJWT4.mp3 |titles=unknown|artists=Brian Jones Wurlitzer Trio]
Main image by Lauren Serpa.

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RVANews

Richmond Youth Jazz Guild set to dazzle with two weekend concerts and instrument drive

Open High student select to prestigious Summer Jazz Academy

Thirtieth Annual City Dance Recital

NO BS! Brass Band living large with new albums, national press

From BS to none

RVA All Day

Footnotes

Stablemates: A new record label brings Richmond’s jazz players together

Current releases

aP Connection – Juke

Jason Jenkins Quartet – Cole Porter Songbook

The Larri Branch Agenda – Vol. 2

Charles Owens Trio – A Wealth in Common

Looking to the future

Matthew E. White’s debut album, ‘Big Inner’, released today

Related

Review: Richmond Jazz Festival

Footnotes

Endangered Blood coursing through Richmond, joined by Scott Clark 4tet

Trevor Dunn, bandleader

Jim Black, drums

Oscar Noriega, alto saxophone/bass clarinet

Chris Speed, tenor saxophone

Upcoming Events

Compass Rose Orchestra

Don’t Speak: musicality

Listening back: UTVchamber

Listen to UTVchamber:

Jason Ajemian and High Life

2011 in (RVA) Jazz

All of that jazz and more

Live

Listening Back

RVA Records

Everywhere else on record

RVAJazzfest

Drop the Needle

Farewell to Dean Christesen

Old Soul – sounds before the silence

Listen to "Changes in Perception":

Listen to "Ghouls Tune":

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

Drop the Needle #3: Toby Whitaker edition

Listen to the entire playlist:

1. "April" - Tommy Beekman

2. "2010 Park" - PA3

3. "Wet Tongue" - The Shooter McGavins

4. "wil&il" - Tommy Beekman

5. "Heart Throb" - King Boomy

6. "Black Sand" - Gianna Berone

7. "Red Wine" - Get Downs

8. "Habit" - Elliot Shelton

9. "Joey and Al 8-5" - Quango Almo

10. "Mailed You a Note" - King Boomy

11. "Where is the Line?" (Bjork) - The Richmond Jazz Collective w/ Strings

12. "Boomwhacky" - Tommy Beekman

13."C C C C" - Elliot Shelton

14."The Garden of Souls" - Scrio

15. "Wabash" - Etaka

16. "Crimes" (The Blood Brothers) - Compass Rose Orchestra

17. "ANB" - Scott Clark quartet

18. "I Got Yours" - King Boomy

Crossroads – Brian Jones “Redhead”

part two: Bryan Hooten – Richmond Love Call

part one: Bryan Hooten – Richmond Love Call

Selba – more jazz than anywhere else in Richmond

Esperanza Spalding – showmanship without the fluff

Looking back at a crazy week

On the horizon

Snarky Puppy

Brian Jones’ Musicircus

Megafaun featuring RVA

Northside teen wins full scholarship to Berklee College of Music

Building groove mansions

Brian Jones – two nights, five sets