RVANews

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

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

In Listening Back, we chronicle the happenings at The Camel's free weekly jazz series on Tuesday nights. Be there if you can. But if you can't, stop by here every Saturday morning for a recap in sights and sounds. This week, Brian Jones detoured the music to Monday night, leading two of his groups in two thrilling sets.

Photos and audio by Lucas Fritz

There's not much to say to preface a set like this; a line-up as stacked as drummer Brian Jones, keyboardist Daniel Clarke, saxophonist J.C. Kuhl, trumpeter John D'earth, and bassist Randall Pharr almost speaks for itself. It's the quality of musicianship you come to expect from a Brian Jones set, but when you get there, you're still blown away by how well they play together in the moment and how different the tunes are from the last time you heard them.

While he's a prolific composer (he's getting ready to release four CDs at the same time in February of new material), there's a canon of Jones's music that serves as his soundtrack. Take the second song of the set (or the first if you consider it having an extended intro), "Pinchback," first recorded in 2003 with Monday night's rhythm section (Clarke on Wurlitzer) and reverently rearranged and covered by the Richmond Marching Band in 2009. Signature Jones, but it's different every single time.

Listen to Brian Jones Quintet's set:
[audio:http://media.rvanews.com/Brian%20Jones_set1_011711.mp3|titles=Brian Jones Quintet January 17 2011 at The Camel|artists=Brian Jones Quintet]

Randall Pharr, Brian Jones, John D'earth, and J.C. Kuhl

The audience looks on as Jones solos

Two things come to mind when I think of Art Blakey's Jazz Messengers: Blakey's powerful shuffle and the heavy horn section with their dramatic dynamic shifts. The ensemble -- add trumpeter Rex Richardson and trombonist Pete Anderson to the first set's line-up -- channeled the jazz supergroup well.

Listen to Brian Jones's The Music of Art Blakey and the Jazz Messengers set:
[audio:http://media.rvanews.com/Brian%20Jones_set2_011711.mp3|titles=Brian Jones plays the music of Art Blakey and the Jazz Messengers January 17 2011 at The Camel|artists=Brian Jones]

Rex Richardson, D'earth, Kuhl, and Pete Anderson form the horn section

J.C. Kuhl

On Tuesday, Lucas Fritz Quintet and Old Soul continue the free series. [facebook] The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.

Listen back to other gigs in Richmond

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Room to spare

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

photos by Sam Allen for RVANews

Last week's Musicircus was smaller than years past but it contained all the signature elements of the successful annual event curated by Brian Jones. Some of Jones's favorite musicians found their niche in the mazy Visual Arts Center on Thursday night, playing their own music against a noisy backdrop and demonstrating the relationship between sound and space.

As simple as it is in everyday life, Musicircus amplifies that relationship in music. Take, for example, upstairs at the venue where a narrow, open hallway separated guitarist Scott Burton and drummer Scott Clark -- together known as SCUO -- and Gabe Churray and his harmonium. Their music almost went together, the duo's chilled groove and Churray's lulling drones mixing nicely, but the listener walking down the hallway from one to the other gave the sounds another dimension: a live mix based on position, and thus compositional control by the observer.

At Musicircus, each performer plays with sound while each observer plays with space. It's audience participation at its best, and it makes next year seem so far away.

John Winn played bass clarinet with JC Kuhl and drummer Brian Jones

JC Kuhl on bass clarinet

Elliott Shelton created soundscapes and more with guitar and effects

Scott Burton and Scott Clark of SCUO chilled out playing meditative grooves

Barry Bless played accordion with his Happy Lucky Combo

Happy Lucky Combo's Pippin Barnett used his few percussion instruments creatively

Gamelan Raga Kusuma's Daniel Martin played the traditional Indonesian music with ensemble

UTV Chamber played like nobody was watching

Josh Bearman (left) and bluegrass champs The Hot Seats hooted and hollered, taking over the main room with jubilation

To view more photos, visit RVAJazz on flickr

Dean Christesen — Sun, 05 Sep 2010 14:16:13 +0000

Visit RVAJazz on flickr.

Scenes from day one at the Richmond Jazz Festival

Dean Christesen — Sat, 14 Aug 2010 21:08:10 +0000

The sun was unforgiving this afternoon, but people flocked anyway to day one of the Richmond Jazz Festival in what seemed like the thousands. Later tonight, Poncho Sanchez, Chaka Khan, and others are scheduled to perform, and tomorrow will see performances by Chuck Mangione, Boney James, and more.

Big Sam's Funky Nation

Richmond-based Shanta "Bunmi" Jasper and her band

The field surrounding the Dominion stage was completely packed for Richmond's Joye B. Moore

Tuesdays with Richmond

Lucas Fritz — Wed, 05 May 2010 10:00:21 +0000

Editor's note: As we often discuss here on RVAJazz, weeknights are prime opportunities for seeing great music in Richmond. Our photographer/contributor Lucas Fritz documents his diverse musical evening last Tuesday from The Camel to the Cary Street Cafe.

Just because the week has hardly started doesn’t mean Tuesday can’t pretend like it’s Friday. Tuesday, April 27, proved to be a night of wonderful music here in Richmond, VA. My night started at The Camel with Great Architect, an avant-garde/free-jazz group out of North Carolina.

Fresh off their new 7” split record release with Moenda, the six multi-instrumentalists (lap steel/harmonica/recorded samples, trombone/trumpet, tenor sax, guitar, drums, cello/violin) of Great Architect took The Camel’s stage a little bit after 9 pm for their one continuous, 25 minute set. The highs, lows, timbral shifts, and intense peaks kept the crowd’s eyes and ears fixed on what was to come. The set abruptly finished right in the middle of a cacophonous free improvisation...Silence. “Thanks for listening, we have 7”s and LP’s for sale.” And they walked off stage.

During the set break, not only was I in need of a chance to reflect on the music I had just experienced/been a part of, but I also needed to get their LP. Shortly following, Richmond favorite Ombak, led by trombonist Bryan Hooten, took the stage.

Hooten’s jagged movements whilst allowing the music to escape his body coupled with the head bobbing of bassist and new father Cameron Ralston, engaging the listener in a way recorded music will not. Drummer Brian Jones can hardly keep his seat (and neither could I!) while banging out the asymmetrical grooves composed by Hooten. Hooten’s melodies, often doubled by guitarist Trey Pollard, left me wondering just what exactly is going on in that bald head of his...

After a quick ride and search for the appropriate stop/one-way/no-parking sign on which to lock my bike, I entered the already crowded Cary Street Cafe to catch the tail end of The New Belgians' set. Made up of members of bands such as the DJ Williams Projekt and NO BS! Brass Band, The New Belgians combine elements of funk, soul, and jazz into something you must experience to understand.

Marcus Tenney, trumpet player turned tenor saxophonist and the lone horn player here, rips through melodies while Brian Mahne (organ) and Joel DeNuzio (drums) hold down the funky rhythm section. The combination of guitar and lap-steel (Todd Herrington and Charles Arthur) offers an interesting timbre and great accompaniment to Tenney’s soloing.

The crowd continued to pick up as The Former Champions took the stage as the home team (the Champs play every Tuesday at Cary Street Cafe and have for quite some time now). This electronic quartet could at first look like a Phish wannabe jam-band but don’t let the light show fool you: these guys know what they are doing. Guitarist Matt Walton, bassist David Ashby, and key/synth player Ben White all have attended or currently attend VCU to study Jazz Performance. White’s use of the Nord running through a Moogerfooger (an analog effects pedal made by the Moog company) coupled with his Korg MS 2000 and Korg Triton produces sounds ranging from a deep-space alien attack to some funky clavinet a’la Stevie Wonder.

Drummer Geoff Bakel never seemed to lose the groove that he and Ashby had established right from the start. To the right of Bakel’s set was a table-top covered in all sorts of auxiliary percussion instruments ranging from the standard cowbell to things I had never seen before and to the left, an electronic drum pad with numerous samples activated with a quick tap. I left before the band finished their second set but most of the crowd wasn’t ready to stand still and stop dancing (let alone leave!).

I feel the two CDs that I purchased the day before on a trip to Plan9 very accurately described my night of music: Ornette Coleman’s “Free Jazz” and Tower of Power’s “Back to Oakland.” You say there is no music happening in good ole RVA? I say spend a Tuesday with Richmond and then decide.

View the entire photo albums on flickr: Ombak & Great Architect at The Camel, Former Champions & The New Belgians at Cary Street Cafe

Jones and company round out week at The Camel

Dean Christesen — Fri, 23 Apr 2010 03:55:52 +0000

Photos by Lucas Fritz

It was a good week for seeing jazz at The Camel. It's nothing out of the ordinary, though. Our friends at The Camel are pretty jazz-friendly, given their "we book anything" approach and your chance of seeing polar opposite bands there on two consecutive nights. Catching some solid nights of jazz several times per month at the place is a safe bet, especially because of weeks like the last seven days.*

On Saturday night, the good guys that make up Jason Ajemian & The HighLife stopped through Richmond on their tour and intrigued us with their unusual visual scores and then backed it up with incredible and original music.

The monthly VCU Jazz at The Camel series was on Wednesday, and it was (literally) a big one. The VCU Jazz Orchestras I and II made up the bill, and guests like trumpeter Rex Richardson, tenor saxophonist Skip Gailes, pianist Bob Hallahan, and drummer Brian Jones made guest appearances. Unless another surprise gig pops up, it was both Taylor Barnett's last gig directing the VCU Jazz Orchestra II and Hallahan's last performance in a VCU capacity. Both gentlemen will be starting at James Madison University in the fall, Barnett to begin his music doctorate degree and Hallahan to teach full-time.

And in between the two other nights, Brian Jones's monthly quintet gig (which began not as a gig for his quintet, but a monthly opportunity to release CDs of his various groups) hit on Tuesday night. Pianist Wells Hanley -- who was just announced last week as Hallahan's replacement as Jazz Piano Instructor at VCU -- was sounding incredible, as was the entire band completed by bassist Randall Pharr, trumpeter Marcus Tenney and saxophonist J.C. Kuhl.

Some exciting news also came out of Tuesday night: Jones announced that next month's gig on May 18 will be three full sets recorded live for a new album. That's just a week after Fight the Big Bull's three-night recording adventure at Balliceaux. May should be a good month.

Our resident photographer was there on Tuesday (well, he was there on the other nights, too) to take some photos.

View the entire photo album on flickr

*Heads up! The Camel outdoes itself next week with Ombak and Great Architect on Tuesday night, Hotel X and guests on Thursday, and No BS! Brass on Friday.

Jason Ajemian & The HighLife: Live high or die hard

Dean Christesen — Tue, 20 Apr 2010 14:54:22 +0000

photos by Lucas Fritz

When I talk to people who didn't come to see Jason Ajemian & The HighLife and Coald Toast on Saturday night about what they missed, I find myself stumbling over my words to make any description other than "It was amazing." People like reference points. They want to know what genre it is or what genres it pulls from. They'd like to be told what artist or band it sounds like, so that they might be able to imagine what the music was like without having been there. As soon as I realize that doing so for The HighLife would be like identifying a kaleidoscope by a single color, it becomes a bit of an easier task.

See, an explanation of this band is less of what musical influences they draw from and more of an exact description of their sound. Breaking it down even further, what they sound like is a direct result of their unique musical process and the characters who are taking part in it.

Each of Ajemian's Auto-CAD-notated scores is a blueprint for the set. It's a visual map from room to room, each room being a song sung solely by the bassist and accompanied by the band, an a capella Canadian sea shanty sung by a harmonizing and stomping quintet, a James Brown-ish groove, a rhythmically lulling chorus with lyrics "We're not scared of monsters, monsters," and so the list continues.

Jacob Wick, Peter Hanson, Jason Ajemian

The notated hallways that connect each room (this is less of a metaphor than you may think) set the tone for the improvised transitions from room to room. Saturday night was their 20th or so gig on this tour alone. Along with their tour in August of last year and various other gigs, that makes it their 35th or so gig as a band. Trumpeter Jacob Wick told me that while the main songs (rooms) were likely to be similar from night to night, the real variations happen in the improvised transitions (hallways) or when Ajemian cues a song in a different order than the score suggests.

Wick and Hanson

Between their first and second set, I had to ask the band about how they never seemed to look at the music. The three or four large sheets that make up one set were carefully draped over monitor speakers at the front of the stage, far enough away from guitarist Owen Stewart-Robertson and drummer Marc Riordan that seeing the smaller details on the page for them seemed unlikely. Furthermore, Wick, alto saxophonist Peter Hanson, and Ajemian looked like their eyes were closed throughout the performance even though they would delicately turn the page when it was time. Their answer should have been pretty obvious to me: they've played lots of gigs together to the point where they mostly use the scores for reference.

Coald Toast: Caleb Flood, Taylor Burton, and Tyler Newbold

View the entire photo album on flickr

Brass boys in the studio

Dean Christesen — Tue, 30 Mar 2010 10:00:34 +0000

Photos by Lucas Fritz

Richmond's favorite brass band entered their resident studio this past weekend to record for their next album. The large group of brass players plus lone reedsman and drummer that make up No BS Brass got down to business at the eccentric and popular Minimum Wage studio, owned and operated by No BS drummer and co-leader Lance Koehler.

The guys recorded eight songs over the weekend, with a couple more to do to complete the album that should be out by September, co-leader and trombonist Reggie Pace said. A few tunes will have singing (or screaming) by band members, which explains photos of the dudes standing around a microphone sans instruments. Jesse Harper may contribute his vocals to a track.

Once again, Lucas Fritz was there and took some photos. Click here to check out the entire album.

Reggie Chapman looks on

Trumpeter Rob Quallich

Rob Quallich, Taylor Barnett, Marcus Tenney, David Hood

Bryan Hooten and Reggie Pace singing

Trombonist Reggie Chapman

Trumpeter Marcus Tenney

Saxophone: the only reed instrument in No BS!

Quallich, Barnett, Tenney, Hood, Hooten, Pace

Drummer Lance Koehler

Playback

View the entire album on Flickr

Ombak returns to the studio

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

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

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

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

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

Bryan Hooten

Cameron Ralston

Brian Jones

Trey Pollard

Pollard, Hooten, and Ralston

Pollard, Hooten, Ralston, and Ryan Corbitt

Pollard and Jones

Corbitt and Jones

Drums

Bass

All photos by Lucas Fritz

RVAJazzfest 2010 in photos

Dean Christesen — Mon, 08 Feb 2010 16:10:08 +0000

This weekend's buzz phrase was "despite the weather." When referring to the enthusiastic audience that trekked through snow and ice to be there or to the flight bringing our featured artist that was canceled mere hours before the event, the phrase applies. But to the music, it does not.

I say this because the music at RVAJazzfest on Saturday was, quite simply, amazing, and those who came to listen were rewarded. It really didn't matter what was going on outside or what the day had been like in snowy Richmond; Trio of Justice, Jones+Kuhl, and Ombak put on one hell of a show.

Trio of Justice

Reggie Pace, Devonne Harris, and Reggie Chapman

Pace and Harris

Jones+Kuhl

J.C. Kuhl and Brian Jones

Ombak

Cameron Ralston, Brian Jones, Bryan Hooten, and Trey Pollard

Reggie Pace and J.C. Kuhl join Ombak for a Tuvan folk song

Cameron Ralston, J.C. Kuhl, Dean Christesen, and Trey Pollard

View all the photos on Flickr

Glenn Wilson Quartet in photos

Dean Christesen — Tue, 03 Nov 2009 16:00:31 +0000

On Friday night, Glenn Wilson Quartet graced us with their presence for an incredible performance at The Camel. Their repertoire included inventive originals and unique versions of standards, like a multi-tempoed "Stella by Starlight," an uptempo waltz "All Blues," and a wildly passionate "In A Silent Way." Wilson's fat and rich tone on the baritone sax fronted the band of seasoned professionals, including the talented Rory Stuart on guitar, Jimmy Masters on bass, and Tony Martucci on drums.

Thanks to the band and to all who came and enjoyed the music! Be on the lookout for the next event presented by RVAJazz.

View the entire set on Flickr

Musicircus in Photos, Part 2

Dean Christesen — Sat, 24 Oct 2009 16:20:52 +0000

In part 2 of photos from Thursday's Musicircus, we see some more musicians who participated in the event. There's a photo of nearly every musician who performed on Flickr. If you couldn't make the event and it's audio and video that you crave, hang tight.

Brian Jones with Fight the Big Bull

A mobile Happy Lucky Combo

The Burton Brothers: Scott and Taylor

Mary Lawrence Hicks, Reggie Chapman, and Chelsea Temple of Use The Vastness

Gamelan Raga Kusuma

Devonne Harris's reeverb

Ballard Midyette and Sherri Oyen

Labragenda

Trey Pollard and Jimmy Masters

Go to Musicircus in Photos, Part 1 or view the entire set on Flickr.

Musicircus in Photos, Part 1

Dean Christesen — Fri, 23 Oct 2009 20:32:00 +0000

Last night's Musicircus seemed to be a huge success due to the participation of tons of eager musicians and observers. Around 9:30pm, sounds began trickling down each hallway until every space in the building was filled with noise. For an hour, the observer's experience was all his or her own. Nooks and crevasses explored and one's pace of wandering around added up to create a unique piece of music for each listener. With so many fantastic musicians scattered throughout the building, some were inclined to spend more time watching some groups than others. But, alas, the sounds of their neighbors could not be avoided!

The man of the hour, curator of the evening Brian Jones, played percussion -- as well as made conduction-like hand gestures (in Part 2) -- with Fight the Big Bull.

There were so many musicians, and thus so many photos, that selections from the photos will be posted in two parts. View the entire set on Flickr. Video and audio are also on their way.

A downsized Fight the Big Bull

The Happy Lucky Combo found a corridor to inhabit, but they wouldn't stay there for long.

The Hot Seats played bluegrass in the same room as Sam Byrd and Tim Harding's free jazz drums and guitar duo.

Electro-acoustical musician Roland Karnatz on theremin with his collaborator on saxophone

In the same room, Pete Mathis performed baroque music on a Fender Rhodes.

Caustic Castle

The Fan District Caroling Association, an ad hoc ensemble formed to celebrate Christmas in October through song

Josh Small

Dois na Bossa: Kevin Harding on guitar and Laura Ann Boyd on vocals

Bryce:Ghaphery:Drums:Fife

John Lilley and Pinson Chanselle of Fight the Big Bull

View the entire set on Flickr

Second Street Jazz Wrap-Up

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

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

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

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

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

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

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

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

Richmond Marching Band Independence Day March

Dean Christesen — Mon, 06 Jul 2009 17:22:00 +0000

Our audience was no one in particular. Cars passing by, drivers filling up at gas stations, and people waiting at bus stops watched us as we marched on. Some were confused but intrigued, and others were excited to see such an unusual parade.

For those wondering what I'm describing, there's not much to know. In March, Matt White and Reggie Pace got a marching band together, welcoming anyone and everyone to join. The mission was for a community marching band to perform downtown on the Fourth of July. We got busted at the first rehearsal with a noise complaint. Equipped with a permit to rehearse each time following that incident, we bounced back.

Imagine a high-school marching band that is open to all regardless of musical ability, does not involve any military-style discipline, drops everything for the ice cream man, and culminates in a sweet party. The tunes were all composed or arranged by members of the band (like A Tribe Called Quest's "Electric Relaxation", Duke Ellington's "Blue Pepper", Brian Jones's "Pinchback", and Glows in the Dark's "Crippled Avengers"), and although there were written parts for each instrument, the music had a party vibe to it, almost a do-what-you-want mentality.

The march on Saturday evening fell into place. Who knew a fire-breather would be there? Some people wore costumes. People who never came to rehearse arrived with instruments. It all worked, and I think we put on quite a show for those who happened to see us. - DC

photos by Tommy Beekman:

From July 4th March

photos by Gabe Churray:

Photos from Tuesday at Gallery5

Dean Christesen — Fri, 03 Jul 2009 21:15:00 +0000

photos by Betsy Ralston

Fight the Giant Bull, the Runaway Circus, and Ilad performed at Gallery5 on Tuesday night.

From Fight the Giant Bull, Ilad, Runaway Circus @ Gallery5

Fight the Giant Bull

Ilad

Cary Ralston, guest vibraphonist with Ilad

Photos from Richmond Marching Band rehearsal

Dean Christesen — Mon, 29 Jun 2009 06:27:00 +0000

photos by Audrey Tillack

The Richmond Marching Band, the open community ensemble made up of local musicians of all backgrounds, met today to rehearse in Chimborazo Park for the last time before their Independence Day march on Saturday. The RMB will march on Broad St. downtown in the evening. Details--time and marching route--will be announced here as they are finalized.

From Richmond Marching Band Rehearsal

photo by Dean Christesen

View the entire album

Richmond takes over Artomatic

Dean Christesen — Mon, 15 Jun 2009 08:53:00 +0000

photos and words by Dean Christesen

View the photo slideshow

In a large cement room on the first floor of a 9-story building that seemed to be normally uninhabited, Richmond bands performed today for what became known as RVA Band Day at the 10th annual Artomatic festival in Washington, D.C. It was a 6+ hour display of exceptional Richmond bands, and while people came and went, those who stayed for the entirety really were rewarded.

Os Magrelos went on a little late. Traffic on I95 was the reason, and would be the cause of problems later in the evening, but by 4:45 they had begun. Rooted in Brazilian music tradition, their Carnival energy exerted through modern rhythms had a Tropicalia vibe to it: exciting, different, and with clear influence but no limits.

From Artomatic in D.C.

Their set was marred by poor sound, through no fault of theirs. Bass frequencies clouded up the spectrum of sound, and making out specific pitches was sometimes a challenge. This didn't completely detract from the performance, but unfortunately the risk of playing first in a new space was evident.

Bio Ritmo is a fun, lively, and damn good salsa band. The muddiness issue of Os Magrelos's sound was resolved, but it was replaced with sheer volume. Singer Rei Alvarez leads the band, and timbalero Giustino Riccio controls it much of the time from the back of the stage.

Despite the high ceilings, concrete floors, and problems that the previous bands experienced, Glows in the Dark sounded perfect. Trombonist Reggie Pace gave orders to the sound man to only mic horns and bass, which dramatically clarified the sound. Having just completed a short Northeastern tour, they had some contrasting performing experiences in the past couple days. Reggie Chapman, who traveled with the band recording each performance, mentioned the band's ability to adapt extremely well to a rock band-style sound system at Piano's in New York on Thursday. The same adaptability led them to a great group sound tonight.

Amazing Ghost

Fight the Big Bull and The Great White Jenkins shared the stage, Andy Jenkins jumping from percussion to guitar/vocals and back, Eddie Prendergast and Cameron Ralston swapping basses and percussion depending on the tune. The sum of the two bands has played weddings recently (there is no other explanation for their closer, "Great Balls of Fire"), and their compatibility is a no-brainer: FTBB, which shares almost all rhythm section members with TGWJ, becomes a horn section during the latter's songs. For Big Bull material, Jenkins and Prendergast revert to the side of the stage to play shakers, cowbells, cymbals, and whistles.

The group took command of the room and its sonic tendencies. Like Glows in the Dark's set, the music benefited from perfect clarity. Moments of overwhelming insanity rocked my brain at intense and loud moments, but all for good.

It's hard to imagine an RVA Band Day without ILAD, but technical problems caused by the aforementioned traffic left no other choice. But the overall response of the evening seemed to be positive. The sound man for the day even noted his preference on Twitter: "A crew of musicians from Richmond VA came up to #artomatic & killed it the whole day amazing stuff!!" and "...amazing music coming to #artomatic best day of music on electric stage yet". We think so too, but we're a bit biased.

Thanks, Marlysse, for putting together RVA Band Day at Artomatic, and thanks to Artomatic for doing great things. Twitter is still the RVAjazz #1 method of instant micro-bloggification. I tweeted a bit during the events. Follow @RVAjazz.

Jason Arce Live at Bogart’s: Sights and sounds

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

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

From Jason Arce @ Bogart's

photos by Lucas Fritz

Scenes from Matana Roberts at MUSE

Dean Christesen — Sun, 24 May 2009 01:55:00 +0000

photos by David Hood

Photos from last night's performance at MUSE Creative Workspace by Glows in the Dark, Fight the Big Bull, and featuring Matana Roberts. View the rest of the photos.

Fight the Big Bull:

From Matana Roberts, Glows in the Dark, Fight the Big Bull @ MUSE

Glows in the Dark & Matana Roberts:

Matana Roberts:

Scenes from UTV at Black Hand

Dean Christesen — Sun, 24 May 2009 01:20:00 +0000

photos by Dean Christesen

Use The Vastness (UTV) and Yellow Grass took over Black Hand Coffee yesterday for an afternoon concert. Photos from UTV:

Marcus Tenney, Brett Ripley, Mary Lawrence Hicks

Marcus Tenney, Mary Lawrence Hicks, Reggie Chapman

Stuart Jackson, Brett Ripley

Chelsea Temple

David Hood, Marcus Tenney

See more photos from the event on Flickr.

The Twitter instant review:

RVAjazzfest in Photos, Pt. 3

Dean Christesen — Fri, 20 Mar 2009 17:10:00 +0000

Finally, the last set of photos from RVAjazzfest. This set was taken by Will Fisher. View the entire album or check out some select photos below.

Fight the Big Bull with Steven Bernstein:

Boots of Leather, Glows in the Dark:

RVAjazzfest in Photos, Pt. 2

Dean Christesen — Fri, 20 Mar 2009 04:48:00 +0000

Here are more photos of RVAjazzfest featuring Steven Bernstein. This set was taken by Lindsey Prather, long time contributor, photographer, and go-to girl for RVAjazz. One more set of photos will be up soon.

From RVAjazzfest - Lindsey Prather

Steven Bernstein fronting Fight the Big Bull

Steven Bernstein with Fight the Big Bull

Brian Jones with Fight the Big Bull

Jason Scott, Pinson Chanselle, and Matt White of Fight the Big Bull

Steven Bernstein

Jason Scott of Fight the Big Bull

John Lilley of Glows in the Dark

Cameron Ralston, Brian Jones, and J.C. Kuhl of Boots of Leather

RVAjazzfest in Photos, Pt. 1

Dean Christesen — Sun, 22 Feb 2009 20:48:00 +0000

Thanks to everyone who came to RVAjazzfest last night and made it a success. All three bands were incredible and I was blown away by the enthusiasm that everyone shared. There were a couple of photographers taking photos that will be here on the site in the next week. This first set was taken by Ed Christesen. View the entire gallery.

Steven Bernstein directs one of his arrangements with Fight the Big Bull

(front row) Jason Scott, John Lilley, David Hood, (back row) Cameron Ralston, and Pinson Chanselle of Fight the Big Bull

Steven Bernstein performing with Fight the Big Bull

Cameron Ralston, Brian Jones, and J.C. Kuhl of Boots of Leather

John Lilley, Reggie Pace, Cameron Ralston, Scott Clark, and Scott Burton of Glows in the Dark

NO BS! Packs The Camel

Dean Christesen — Sun, 01 Feb 2009 03:33:00 +0000

Photos by Peter McElhinney

For anyone lucky enough to beat the crowd and get in to The Camel last night, this is what the scene looked like. NO BS! Brass played to an excited, capacity crowd, leaving late-comers out in the cold.

From No BS! Brass @ The Camel

Sights from Mingus Awareness Project

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

by Dean Christesen
photos by Lindsey Prather

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

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

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

From Mingus Awareness Project

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

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

Doug Richards and Brian Jones

Bryan Hooten and DJ Peter Solomon

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

Bob Hallahan, John D'earth, and Doug Richards

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

Musicircus

Dean Christesen — Fri, 19 Sep 2008 05:39:00 +0000

We followed our ears to nooks in the store, finding musicians and ensembles around every corner. The musicians had almost nothing to do with each other, save for the fact that sound is their art.

From Musicircus

Before you even entered Chop Suey Books this evening, a sized-down No BS! Brass Band greeted you with their signature flavor on the street.

Directly inside the doors stood the Four Story Sax Quartet to the right, Marty McCavitt's trio to the left, the sounds of the two equaling something much different than the two parts.

Further inside sat an autoharpist, which blended into Boots of Leather's (Brian Jones, J.C. Kuhl and Randall Pharr) Velvet Underground re-orchestrations and Jones originals. Silence in the band's sound was replaced by humming drones of other instruments and ensembles throughout the store, disconcerting and beautiful at the same time.

Through the window to the backyard the drums, bells, and cymbals of Gamelan Raga Kusuma interacted with the trio with slightly more volume than the other groups. Walking into the backyard gave a more pure gamelan experience.

Smaller rooms upstairs housed more unconventional music makers, like coins vibrating in a small cymbal on an amplifier, bowed cymbals and singing bowls, and Snow Panda.

David Hood Party played as an impromptu brass and woodwind quintet in the largest room.

Like last night's event, the audience was eclectic and wildly supportive of experimental and avant-garde music.

According to Brian Jones, curator of the event every year, this is the 6th or 7th Musicircus that he has put on. Check out the photos and don't let it pass you by next year.

photos by dean christesen