RVANews

Jason Jenkins Group – Scenic Roots

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

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

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

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

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

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

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

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

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Model for a Monday

Dean Christesen — Tue, 01 Dec 2009 16:11:41 +0000

There's something special about jazz on Monday nights around here. The evening is often left blank on the calendars, reserved for people to stay home and lament the return of the working week. Not all of us are lamenters, though, and some people can really get behind a solid night of Monday music. In this case, solid it was last night at The Camel with three bands: two brand new quintets and a trio with a new name.

The evening began with Trio of Justice, the sousaphone-trombone-drums trio formerly known as R2Dtoo (named for its members Reggie Chapman, Reggie Pace, and Devonne Harris). Low brass and percussion -- perhaps the two instrument families capable of the loudest volumes and heaviest weights -- are their tools, and their only ones. Their sound is deep: aside from the snare drum's crack and the cymbals's pings and washes, very few tones from the band register as anything but bass or baritone. The upper registers that people are used to hearing in music are not as present, but the three seem to realize this and use their inventive abilities to accommodate for the missing frequencies. They are experts in natural-sounding grooves in the oddest of meter combinations (that are guided by melody, not contrived logic) and loose time feels that speed and slow to radical extremes.

Like most Richmond musicians, the men of the Jason Scott 5 are no strangers to playing together, but it's new to see them collaborating in a group like this one. Guitarist Scott Burton augments the small group of Fight the Big Bull members: tenor saxophonist and clarinetist Scott, trumpeter Bob Miller, bassist Cameron Ralston, and drummer Pinson Chanselle. Despite the personnel, a FTBB microcosm is the last thing that the Jason Scott 5 is.

With an affection for the music of Lennie Tristano, Warne Marsh, and Lee Konitz (his gig last week featured the music of all three), some of Jason's original compositions are melodically quick, complex, and thrilling. "Department of Ed." was glorious and constantly evolved to new sections, each one related to the last but still different. The Ornette Coleman-ish "E.M.T." began with a Blackwell/Haden drum and bass vamp before a staggering melody entered, diving in and out of three-part harmony. "Character 2052" told the tale of Jason's essay-writing frustrations and difficulties with the Richmond Department of Education in a klezmer-rock and, again, evolving style. "ANA" was simply beautiful.

Many of the tunes were composed by Jason for his graduate recital at NYU seven years ago. With a strong group giving the music life once again, this group would make a brilliant album. And hopefully they do, soon.

The lights dimmed for the Alan Parker 5, another new combination of familiar musicians. This time, the guitarist has added bassist Andrew Randazzo and tenor saxophonist Kevin Simpson along with his former AP Connect 4 members Billy Williams on drums and tenor saxophonist Marcus Tenney. Marcus is still a relatively new convert from the trumpet to tenor sax, but he more than just holds his own on the new instrument. His and Kevin's playing offset each other nicely: Marcus's tone is bright with Coltrane-like flurries and arpeggios, while Kevin has more of a weathered sound. Billy's drumming is similar to other contemporary and "urban" jazz drummers like Chris Dave and Jamire Williams: explosive, pulling from modern sources of rhythm, and heavily syncopated.

Alan's compositions are Jazz Now material, exciting and challenging, but extremely accessible thanks to fat beats and funky melodies.

The Jason Jenkins Group – Synchronicity (2009)

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

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

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

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

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

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

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

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

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

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

Second Street Jazz Wrap-Up

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

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

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

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

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

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

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

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