RVANews

Toby Whitaker Big Band at Balliceaux

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Jason Scott (alto saxophone/ clarinet)

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

All photos by the talented Lauren Serpa

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Model for a Monday

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Richmond Marching Band assembles, gets busted

Dean Christesen — Sun, 29 Mar 2009 22:04:00 +0000

by Dean Christesen
photos by Peter McElhinney

Beautiful weather at the picturesque Chimborazo Park was the scene of the Richmond Marching Band's first rehearsal today.

From Richmond Marching Band's First Rehearsal

An ad hoc ensemble comprised of local musicians, VCU and high school students, and community members, the band's mission of welcoming all to participate was completely evident. Trombonist Reggie Pace and guitarist-turned-bass-drummer Matt White run the band, for the most part, but Pinson Chanselle's direction of the drumline is not to be undermined. I was lucky enough to be one of the snare drummers and got to see the group turn into something great in this first rehearsal.

The drumline met before the rest of the band showed up. Snare drums included myself, Pinson, Scott Clark, and three high schoolers from Douglas Freeman HS. The bass drum line is made up of four non-drummers--Eddie Prendergast (bassist for Bio Ritmo), Cameron Ralston (bassist for Fight the Big Bull, Glows in the Dark, Ombak, etc.), Matt White (guitarist/leader of Fight the Big Bull), and Scott Burton (guitarist/leader of Glows in the Dark)--along with No BS! Brass drummer Lance Koehler.

With the gradual arrival of the various brass and woodwind players, the sections combined and we put the pieces together. Our main focuses were our Fight Song, and Brian Jones' Pinchback (from his Wurlitzer Trio's album Drug Piano). Although the Fight Song begins with a quirky marching band flair and uptempo peppiness, it abruptly turns on its head into a fat groove, slow and immediately hip. Pinchback takes Randall Pharr's bass from the album into the low brass section and Daniel Clarke's dark Wurlitzer melody into the assortment of trombones, saxophones, and fluegelhorns. The bridge of the tune builds with huge chords while the percussion section grows with vigor, transitioning back into the main theme.

Two police officers casually strutted over to our rehearsal in the middle of the park. Like any appropriately-sized marching band, we were very loud. We were apparently too loud for the residents living next to the park. To paraphrase one of the cops, "They won't call us about people doing drugs in the park, but they'll call about things like this." Permits to rehearse in Monroe Park should prevent that from happening at future rehearsals. The Monument Avenue 10K yesterday kept us from rehearsing there today, so Chimborazo was the temporary park to rehearse in. The cops were considerate enough to give us 15 minutes to wrap up our rehearsal.

The band is rehearsing for its first anticipated march on July 4th, although the locale has not yet been determined. All are welcome to join the brass or woodwind sections. Rehearsals are the last Sunday of each month, 3pm at Monroe Park. Everyone who is interested are encouraged to join the Facebook group.

I updated Twitter with photos and certain news about cops during the rehearsal. I'll continue to utilize that social networking site more and more as I figure out ways to do it, so be sure to follow @RVAjazz.

UPDATE: Bryan Hooten posted even more photos on his Twitter. Follow @ombakmusic while you're at it.

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.