RVANews

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.

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Toby Whitaker Big Band at Balliceaux

Aaron Williams — Fri, 05 Aug 2011 10:00:18 +0000

Last week, we interviewed Toby Whitaker about his big band, his departure from Richmond and we dubbed him the newest judge for our DROP THE NEEDLE series. Wednesday night, his big band debuted to a packed house at Balliceaux.

After an incredible and rare set by Jason Scott's Small Town, 15 musicians crowded onto the undersized stage tucked in the back corner of the dark cement clad restaurant. Every seat was taken and an awkward mass of people clustered around the bar trying to distance themselves from the onslaught of twelve loud horns while still being engaged in the action.

Toby Whitaker stands next to the band as he directs and plays trombone.

While this was the live debut of TWBB, the first tune "#2" was featured on DROP THE NEEDLE in 2010. The tune began with large chords created by pyramids of horns grouped across sections. The composition utilized a nice balance between these pyramids and a simple melody interupted by loud horn hits.

The powerful horns eventually made way to Marlysse Simmons pounding away at her Nord keyboard. Drummer Pinson Chanselle Jr. and Cameron Ralston rounded out the rhythm section that pleasantly sounded like nothing I have ever heard before. Chanselle's style of big band drumming is unprecedented. His enthusiasm and willingness to distort the meter and form showed an amazing confidence in the other fourteen performers and their abilities to keep grooving.

Whitaker's writing for large ensemble is mature and it will be exciting to hear him grow during his graduate studies at Rutgers. His compositions feature modern harmony, interesting rhythm and a broad palette of textures.

"#1", another tune featured on DROP THE NEEDLE, started with a horn intro, but the music didn't truly take flight until the seductive bass melody entered. After the saxophones joined, the tempo picked up and Bob Miller delivered a solid trumpet solo. Whitaker took the final solo and his knowledge of the complex backgrounds paid off as the band's intensity built to the end.

Listen to #1:
[audio:http://media.rvanews.com/%231.mp3|titles=#1|artists=Toby Whitaker Big Band]

The fourth tune of the night, "Future Caveman" contained some of the best solo work of the concert. Toby Whitaker, JC Kuhl and Scott Frock all traded phrases over a rim click drum groove, each of them outdoing the next until they all played at once. Finally, drummer Pinson Chanselle Jr. and bassist Cameron Ralston improvised together. Comfortably the two of them, both members of Fight the Big Bull, engaged in a satisfying rhythmic discussion.

Listen to Future Caveman:
[audio:http://media.rvanews.com/FutureCaveman.mp3|titles=Future Caveman|artists=Toby Whitaker Big Band]

Saxophonist J.C. Kuhl trades bars with Scott Frock (Scott Frock) and Toby Whitaker (Trombone.)

The final tune of the night came too soon for many. "#3" started with a constant stream of quarter notes performed enthusiastically by the bobbing saxophones and clarinet of the front row. The bass added on before the brass entered full force and three different ideas combined to create a unique big band sound. Sticking in his upper register, Jason Scott fought to be heard during his clarinet solo. Simmons then took one last tranquil solo that set the stage for the intense last two minutes of the night.

Listen to Intro and #3:
[audio:http://media.rvanews.com/Introand3.mp3|titles=Intro and #3|artists=Toby Whitaker Big Band]

Stefan Demetriadis came prepared for the dark back room at Balliceaux.

Six tunes after the down beat, the house music came back on as the fans were left desiring more. The immediate buzz: "when will this happen again?" I heard countless people state the need for a permanent original big band in Richmond, something that has been lacking since the days of Devil's Workshop Big Band. There is no doubt Richmond contains the talented musicians and composers needed to have a big band. More importantly, Wednesday showed us there is a crowd willing to listen.

Jason Scott (alto saxophone/ clarinet)

Toby Whitaker Big Band:
Reeds: Jason Scott, JC Kuhl, John Lilley, David Hood
Bones: Toby Whitaker, Stefan Demetriadis, Pete Anderson, Reggie Chapman
Trumpets: Rob Quallich, Bob Miller, Scott Frock, Marcus Tenney
Rhythm: Marlysse Simmons, Cameron Ralston, Pinson Chanselle Jr.

All photos by the talented Lauren Serpa

Listening back: Miller’s Band (set #2)

Aaron Williams — Wed, 01 Jun 2011 10:00:45 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. After a bit of a break, listening back has returned. In an effort to catch up, a new set will be released every day until the vaults are empty.
The Miller's Band features John D'earth, JC Kuhl, Pete Sparr, Jamal Milner and Devonne Harris.

Listen to The Miller's Band's second set:
[audio:http://media.rvanews.com/wp-content/uploads/2011/05/Millers-Band-@-The-Camel-set-2-04.05.11.mp3|titles=Set #2|artists=Miller's Band]

Check back tomorrow for another great set from The Camel and keep checking back everyday until we empty the vault.

Listening Back: Miller’s Band

Aaron Williams — Tue, 31 May 2011 10:00:05 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. After a bit of a break, listening back has returned. In an effort to catch up, a new set will be released every day until the vaults are empty.
The Miller's Band features John D'earth, JC Kuhl, Pete Sparr, Jamal Milner and Devonne Harris.

Listen to The Miller's Band's first set:
[audio:http://media.rvanews.com/wp-content/uploads/2011/05/Millers-Band-@-The-Camel-set-1-04.05.11.mp3|titles=Set #1|artists=Miller's Band]

Check back tomorrow for another great set from The Camel and keep checking back everyday until we empty the vault.

Listening Back: Brian Jones

Dean Christesen — Sat, 26 Feb 2011 11:00:52 +0000

In Listening Back, we chronicle the happenings at The Camel’s free weekly jazz series on Tuesday nights. Be there if you can. But if you can’t, stop by here every Saturday for a recap in sights and sounds. This week, Brian Jones continued the series with two of his groups.

Listen to Brian Jones + JC Kuhl:
[audio:http://media.rvanews.com/Brian%20Jones%20and%20JC%20Kuhl%20022211.mp3|titles=Live at The Camel February 22 2011|artists=Brian Jones JC Kuhl]

Listen to Brian Jones Quintet:
[audio:http://media.rvanews.com/Brian%20Jones%20Quintet%20022211.mp3|titles=Live at The Camel February 22 2011|artists=Brian Jones Quintet]

Listen to Marty McCavitt:
[audio:http://media.rvanews.com/Marty%20McCavit%20022211.mp3|titles=Live at The Camel February 22 2011|artists=Marty McCavitt]

On Tuesday, Compass Rose Orchestra and UTV continue the free series. The Camel is located at 1621 W. Broad St. in Richmond, VA. More information is available at thecamel.org.

Listen back to other gigs in Richmond

Photos by Lucas Fritz

Three reasons to visit Balliceaux this week

Dean Christesen — Mon, 11 Oct 2010 16:32:39 +0000

Balliceaux is the place to be this week. On Wednesday night, Ombak makes their return, this time with JC Kuhl. They'll be playing tunes from their new album, and it's guaranteed to get a little crazy. Fresh off their performances this past weekend at the Richmond Folk Festival (including their kazoo march in the family area), No BS! Brass plays a free show at Balliceaux. Hear the sounds of their new album and old favorites. For the main event, the New York-based Jason Ajemian & The HighLife return to Richmond on Friday. We hosted them back in April, and it's bound to be a hit again this time. Watch for more on that later this week.

(Bonus fourth reason: did I see they serve Sunday brunch now?)

May: Recording In Our Clubs Month

Dean Christesen — Wed, 26 May 2010 10:00:38 +0000

All photos and videos by Lucas Fritz

With May flowers came a couple notable club gigs in Richmond this month. Fight the Big Bull, celebrating the release of their new album, played three consecutive nights at Balliceaux. The next week, Brian Jones Quintet played two sets at his monthly gig at The Camel.

The common thread: all four nights were recorded by Minimum Wage Studios's Lance Koehler to be released as two separate albums.

Being there while a record is being made is a pretty exciting thing, and something that not a lot of jazz groups in Richmond have done lately. No BS! Brass alluded to the concept with their last studio album Alive in Richmond, but no bands in recent memory have recorded a true live album.

While we'll likely have to wait a while to hear the final product from both bands' outings, we've got photos and videos to enjoy now, courtesy of Lucas Fritz.

Fight the Big Bull at Balliceaux:

Fight the Big Bull is Matt White (guitar), Pinson Chanselle (trap kit), Cameron Ralston (bass), Jason Scott (tenor sax, clarinet), John Lilley (tenor sax), Bryan Hooten (trombone), Reggie Pace (trombone), Bob Miller (trumpet).

View the entire photo album on flickr

Brian Jones Quintet at The Camel:

Brian Jones Quintet is Brian Jones (drums), Wells Hanley (keyboard), Marcus Tenney (trumpet), J.C. Kuhl (tenor sax), and Randall Pharr (bass).

Pianist Marty McCavitt played at the bar during set break.

View the entire photo album on flickr

[youtube]http://www.youtube.com/watch?v=ryGjY6UcSFo[/youtube]
[youtube]http://www.youtube.com/watch?v=HpYj81IItfc[/youtube]
To see all seven videos from the evening, check out Brian Jones's new YouTube page.

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.

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

Third Tuesdays belong to Brian Jones

Dean Christesen — Mon, 16 Nov 2009 20:58:31 +0000

Tomorrow night, drummer Brian Jones's monthly series returns to The Camel. This time, it features his New Trio, which includes JC Kuhl on tenor saxophone and Alan Parker on guitar, and his duo with experimental musician and keyboardist Marty McCavitt.

The first round of the series -- which has so far celebrated the releases of new albums by his (Guitar) Quartet in September and his quartet with trumpeter John D'earth in October -- concludes next month on December 15 with performances by his Wurlitzer Trio (with keyboardist Daniel Clarke) and his Double Quartet. The series will pick back up in 2010 with one of Jones's quartets, which is booked at the club monthly from January to May.

I still can't get enough of the (Guitar) Quartet's new album Wool and the Jones/D'earth quartet's Redhead. Do yourself a favor and pick up a CD at the show, whether it's a new release or it's from back in the day.

View event details

RVAjazzfest: Boots of Leather

Dean Christesen — Thu, 12 Feb 2009 17:28:00 +0000

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

by Nathan Goodwyn

Drummer Brian Jones wants to record 40 records by the time he’s 40. Last week, he turned 36. He’s done 21 records so far, so he’s got a ways to go.

But not to worry, he says.

"I'm doing a session next week with a bunch of ringers. Jesse Harper (Old School Freight Train) is singing a bunch of tunes I wrote."

He’s also working on a standards record with pianist Wells Hanley and bassist Curtis Fye.

"The idea is to look back and say, okay, in 2009, I did a standards record. It was time to do that on some level. I love playing standards."

His hunger for playing and recording music, along with obvious talent and skill, have kept Jones at the forefront of music and creativity in Richmond for almost two decades.

His life has been devoted to music. Things have worked out pretty well along the way.

Not surprisingly, Jones suggests that life on the road with Agents of Good Roots, probably the most talented rock band that Richmond has ever produced, was the thing that created openings for him in so many other musical situations.

"I was on the road all the time and was listening to music and reading books. That's basically all I would do all day."

These moments alone with his headphones led to the creation of the Velvet Underground-inspired group Boots of Leather.

"I started listening to Dave Douglas a lot. There was a period of time where jazz players were recomposing and rearranging a bunch of older music. Dave Douglas did a series of records where he did Booker Little, Wayne Shorter, maybe a few other guys. I admired what Dave was doing so much. Every record was so good, and he set such a high standard."

"As I started to put out records myself, I knew I eventually would like to try a project like [Boots of Leather]. I didn’t want to use a jazz musician as the primary source. I wanted to use a rock band as the source."

The decision to go with Velvet Underground as the inspiration for the group was logical given Jones's roots. He's a trained jazz musician but his sensibilities as a player are tied to rock.

"I grew up listening to rock: Led Zeppelin, U2, Rush, David Bowie, and others. The inspiration for [Boots of Leather] could have just as easily been Neil Young. A friend of mine loaned me a bunch of Velvet records. It was just what I happened to be listening to at the time."

Jones credits jazz for his willingness to try most anything as a musician.

"Learning how to play jazz teaches you to be very flexible," he says. "I try to approach anything I'm playing from that mindset. You try to keep an open mind. As a jazz musician your goal is to try to make it different every time. Jazz musicians are trained to do that. You could take what I did with the Velvets [and] you could do anything else."

For Jones, Boots of Leather has always been about that sense of adventure and flexibility. "It started with JC [Kuhl, saxophone] and John Sullivan, who now plays with a really successful pop group [Jack's Mannequin, an internationally-known alternative rock band based in Orange County, California]. We had a great first rehearsal together and it sounded good and developed from there. Randall Pharr is on bass now and JC is still with me."

But people may have the wrong impression about the group in an important sense.

"Sometimes the readings are more straight ahead but if people even recognized the tunes as Velvet tunes, I would be pretty surprised. People thought we were going to be a Velvet Underground cover band. The idea was to take someone else's music and rip it apart, put it back together."

The name "Boots of Leather" comes from a characteristically enigmatic Velvet lyric, "Venus in Furs," recorded on The Velvet Underground & Nico in 1966. That track in particular features John Cale on viola and Lou Reed playing a guitar on which all of the strings are tuned to the same note (an "Ostrich guitar"). What results is a sound principally based on melody and rhythm, not so much on harmony or counterpoint. The tune feels more like Ravi Shankar than rock and roll.

"The rap on the Velvets has always been that Lou Reed is a provocative lyricist and all that, but I became interested in the lack of harmonic structure and dissonance and the strong melodies. The melodies were just beautiful to me."

Jones's iconoclasm has earned him the respect and admiration of myriad musicians in Richmond and beyond. He is in high demand as a session player. He teaches daily, balancing time between students at William and Mary, University of Richmond, Collegiate School, Virginia Commonwealth University, and other locations—all of this as well as taking care of his young family. He has two daughters, ages 5 and 2, and his wife is an attorney.

Jones juggles a challenging schedule that would threaten to wear anyone down. His family and his sense of routine seem to help keep him grounded.

"The kids are up at 6:30am every day, so that's when I get up. Doesn't matter if I had a gig the night before and got home at 2am. They need to eat breakfast." He also works out regularly at the YMCA. "Typically I get in there around nine in the morning three or four times a week to run and workout."

"My older daughter is really coming into her own. She sits at the piano and plays a few notes and says she’s writing a tune. It's pretty cool to watch."

He seems not to focus on the fact that he is one of the most admired and imitated musicians in town, and he doesn’t think much about the respect he’s earned. All of the focus is on the music he’s creating in the moment, whenever it comes.

"Tonight I'm playing percussion with Fight the Big Bull and all I'm thinking about is, 'How are we going to approach it and what are we going to play?' I'm just thinking about what's happening right now. If someone likes what I'm doing, I'm pleased. To me it's about opportunity. I just want to keep playing, teaching, recording, performing, as long as I can. I do look at developing and helping people who are younger than me, people like [drummers] Pinson [Chanselle] and Scott Clark. My attitude is, 'here's what I've done, but I'm not saying it's the way.'"

"People need to find their own voice."

Boots of Leather is: Brian Jones: drums; Randall Pharr: bass; J.C. Kuhl: saxophone.

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

Photos by Dean Christesen and Lindsey Prather

Duo Camp with Brian Jones and J.C. Kuhl

Dean Christesen — Mon, 08 Dec 2008 23:20:00 +0000

The following notice comes from Brian Jones. Email browderjones@verizon.net if interested.

j.c. kuhl (saxophones) and brian jones (drum set) will be teaching a workshop on duo playing this january. though the day and time are still up in the air, it will definitely be one day during the week of monday 1/5/2009-sunday

1/11/2009. the workshop will last 4 hours and cost $100. we are still working on securing the location, but it will be somewhere in the city of richmond. if you are interested, please email your availibility for the above week as soon as you can. below is a general description of what we have planned for the workshop:

hour one:

jones + kuhl will perform 3 compositions that encapsulate 3 different approaches to duo playing (we will hand out copies of our charts). there will be time for discussion/questions after the performance. there will be a brief listening section about the history/discography of duo playing within the jazz tradition, as well as genres outside of jazz.

hour two:

drummers and saxophonists will split up by instrument. each group will work on a chart to perform in the third hour. we will also discuss various modes/techniques of improvisation specific to our instruments, as well as talk about composing for the duo format.

hour three:

sax/drums will reconvene back in the same room and work on a specific jones + kuhl composition. jones and kuhl will coach the different student duos and discuss/demonstrate different approaches to performing the tune.

jc and brian will discuss/demonstrate how they adapted Coltrane's A Love Supreme from a quartet piece to a duo piece.

hour four:

"free" improvisation hour: conduction, collage form, avant-trades, abstraction, etc. everyone will participate simultaneously (as a large ensemble).

though the tone of this email is kind of formal, i anticipate this workshop to be very loose and lots of fun. please email if you have questions.

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

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

by Dean Christesen

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

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

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

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

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

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

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

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

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

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

Sights from Mingus Awareness Project

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

by Dean Christesen
photos by Lindsey Prather

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

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

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

From Mingus Awareness Project

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

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

Doug Richards and Brian Jones

Bryan Hooten and DJ Peter Solomon

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

Bob Hallahan, John D'earth, and Doug Richards

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

Congratulations No BS! + Chicago Calling

Dean Christesen — Wed, 01 Oct 2008 20:13:00 +0000

No BS! Brass was awarded a 11th Annual Theresa Pollak Prize For Excellence in the Arts in the Ensemble category. The write-up and photos are in the current issue of Richmond Magazine.

Harry Kollatz Jr. writes:

That Richmond produced this group is to the credit of its musical ferment. Out of the city’s stew of punk and metal groups, bluegrass and assorted musical experiments came No BS. Its huge, bright sound seems more Bourbon Street than Broad Street, but Pace says that hasn’t hurt: “We’ve gotten no resistance to what we do.” He adds with a laugh, “People seem to want us around.”

----------------------------------------------------------------------------------------

The 3rd Annual Chicago Calling Arts Festival is happening right now until October 12th in Chicago, IL. The festival features "Chicago-based artists collaborating in performances and projects with artists living in other locations — both here in the U.S. and abroad. These collaborations will be prepared or improvised, and some performances will involve live feeds between Chicago and elsewhere."

On Thursday evening at 7pm CST (8pm EST), Richmond will play the role of "elsewhere" as Brian Jones and J.C. Kuhl will perform with a live audio/video connection to two other ensembles (a tentet at WNUR in Chicago and a nonet at Mills College in Oakland, CA). The performance is being streamed at WNUR at Northwestern University, Chicago.

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

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

by Dean Christesen

This review has been published by All About Jazz.

Visit Fight the Big Bull on the web.

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

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

Brian Jones and J.C. Kuhl present A Love Supreme

Dean Christesen — Wed, 16 Jul 2008 02:42:00 +0000

This Saturday, the duo of drummer Brian Jones and saxophonist J.C. Kuhl (casually referred to as Jones + Kuhl) is hitting the balcony. The two have been collaborating for years, recording their first album, Moment-um, in 1999. Jones' website calls the duo "the oldest and most familiar of Jones' current projects."

It was just announced tonight by Thompson & Grace Balcony Concert Series co-founder Reggie Pace that the duo will be performing John Coltrane's A Love Supreme in its entirety. Knowing what these two are capable of, don't miss this.

Saturday, July 19
Jones + Kuhl
Thompson & Grace Balcony Concert Series
Party at 2 pm, Music from 2:30-4pm
Free, all ages
[where: 3426 W. Grace St., Richmond, VA 23221]