#jellowstonestudio

No BS! Brass Band

February 20, 2016

If you haven’t seen and heard No BS! Brass Band perform live in Richmond, you are missing out on an out of body experience; each member of the band plays as if it’s their last time, every time. Their writing is brave and relevant, and their energy is infectious. They’re a twelve piece band boasting trombones, trumpets, saxophones, tubas, and drums; a one-of-a-kind staple in the RVA music scene. I recently sat down with a few members of the band to ask them about all things No BS…

LANCE KOEHLER (DRUMS):

When you’re at a NO BS show it’s an interactive experience:

It’s always really in the moment, that’s one thing I love about the band, we’re never just getting up and going through the motions. It’s not typical for a band that’s been together as long as we have, we’re always fresh. There’s no professional detachment. We’re really playing to impress ourselves, and as lame as that sounds, it keeps things so that we’re always doing our personal best. Of course, we are playing for the crowd too, and getting them involved is the ultimate experience.

You can just see our gigs as a bunch of people playing music together, it’s super refreshing, you don’t have to understand the theory of music, and that’s fine, but if you do understand music, there’s some real hefty musical shit going on in our songs, but it’s not flaunted in your face like incredulous bullshit.

For some bands, the gigs are the most stressful, but not for you:

Music is all we really do. So, that’s when we’re most comfortable. So, when we get up there its like okay, now, we’re here. We’re gonna do this together.

It’s the rest of our lives that we don’t know what the fuck to do with. We get on stage, and we feel comfortable. Even if there’s a certain amount of uncomfortable-ness, its the healthy sort of anxiety; we don’t know anyone in this audience so we wanna impress the shit out of them, and we are gonna do it together.

This has been the most dude-ish / bro-ish experience I’ve ever had.

Has it been wild to see the band evolve over the years?

Yeah, crazy! Six of us are still original band members. We have twelve members now. I have early pictures on my wall of press photos of us from the beginning, and it’s hilarious. Pace has no hair, Marcus looks like a youngin’; it’s been amazing to see everyone grow…and grow up.

There’s way more of a family sort of tolerance now than there was before. We’ve become really close, whether we like it or not. NO BS is the most diverse set of people, there’s not two of the same species anywhere on this damn boat! We don’t always get along, but we’re always decent to each other, and when it comes down to it, it’s really like a relationship, we can be angry with each other, but then at the gig we all come together and everything is cool after that. You remember what you love about each other at the gigs. We are all still such complete and utter music dorks, and we always remember that. Sort of a “now I remember why I love you…alright” kind of thing.

How long have you been playing drums?

I used to ride horses when I was a kid, and my road was leading to doing that, but I played snare drum in the school band, and my mom found a drum set for really cheap in the paper when I was in the 6th grade…and I pretty much started playing drums and stopped riding horses after that. I became immersed in punk rock in the mid-eighties. I used to give drum lessons, and play gigs with like 10 different bands, just to get by. I got sick of doing that and immersed myself in writing songs, and then starting traveling around the states, living in a spot for a year or so and then moving on. I settled in New Orleans for five years, and ultimately ended up in Richmond. I started my own studio here, and for the last 13 - 14 years I’ve been making it happen here.

How often do you write for the group?

For the first six years or so, Pace and I were doing most of the writing. Now it’s evolved and many of us write.

Lyrics are what always held me back. To be vital as an artist you really have to be able to let shit go, and let it happen, and I was never able to do that…I would stagnate on a song forever, and the songs turned out great. But, it was also kind of cancerous in the way each song moved, so slowly, and not really in a positive way. It’s usually the chorus that comes to me first, most easily, and it’s the verses that are harder for me to write. So, in this band, I’m writing a lot of shout choruses, and those come to me quickly.

When me and Pace met each other, we sort of just clicked. He has a way of being able to facilitate and finish a lot of my ideas.

What’s the main reason you play?

At this point, it’s to create something new, it always has been, to really create something new and great that we feel good about. Now, it’s kind of evolved, we didn’t realize what we were trying to create, and now we are trying to further our originality. We’re doing exactly what we want, we don’t really factor in what songs people are buying, we just play what makes us happy. We want to be at the threshold/crest of our musical capabilities.

BRYAN HOOTEN (TROMBONE)

How did you get started with NO BS?

It must’ve been 2007, when Reggie first approached me to be in the band. I was in Bio Ritmo and in grad school, and stupidly turned him down. But then, Sam Savage left town to head to Miami, and I started subbing in for Sam in No BS; one thing led to another and the rest is “trombone history.” So, I’ve been playing with them for about nine years.

Do you think you’re writing has improved since you’ve been in this band?

Oh, certainly. Although we play a variety of styles of music and have a lot of influences, the mission of the band is very clear…DANCE. MUSIC. So, one of the best ways to spur creativity is to have clear limitations. And so, in that sense, that has really helped me to be creative within certain perameters. We all need to come up with songs that are danceable, memorable, sing-a-longable, and are interesting enough intellectually that the ears of music students and professional musicians are bent to it.

The writing on your latest record, Brass Knuckles, focuses heavily on the current political climate, human rights, and movements toward racial reconciliation in our country. Do you think your writing is more brave now, than it was in the beginning?

Yeah, we’re older. We’ve lived more life. It’s shown up more in the music recently, although no one in this band has ever really been afraid to speak our minds. Certainly, feeling like we could say what we felt like we needed to say without losing our audience — to be able to give a voice to that, even if people don’t agree, is an honor.

You have an opportunity to have a voice reaching lots of people through this band, does that ever feel overwhelming?

It never feels overwhelming to play the tunes, sometimes it feels overwhelming to talk about that stuff on the mic. Maybe with more practice I’ll feel more comfortable, but sometimes it feels like we’re in a party atmosphere, everyone’s having a good time, and maybe the lyrics should speak for themselves.

But to break into the mic with “Hey, right now, black people don’t feel safe. And, people are killing each other in the streets.” I don’t always feel like talking about that stuff, and I probably should more than I do. It’s our responsibility to provide the audience with an opportunity for catharsis, not to exercise our own catharsis on them.

The impact of your music is huge, considering the amount of followers you have. It seems like you have a significant amount of passion for connecting with your fans, is that true?

Yeah, I think that’s why we do it. To be in front of people, to share with them, to connect with them through our music is a really powerful thing. I always feel great after a NO BS show. No matter what.

Do you think you’ll have a new album out in the next year or two?

I don’t think we’ve totally started thinking about it, we’re touring a lot this summer, but we will probably have an album in the next two years. The ideas have not run out.

Is this the band you see yourself growing old with?

Absolutely. There are a lot of factors in continuing to play in the band, but I have no desire to quit the band. We are all very committed to working with each other. I look forward to playing with this band for a very long time.

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- You can catch No BS! Brass on tour: http://www.nobsbrass.com/home/#eventspage - Locally, they’ll be at The Broadberry on March 26th.

CHARLES OWENS TRIO

November 4, 2015

The Charles Owens Trio is about to debut their new record. "A Day With Us," recorded in one single day at Jellowstone Studios.  This Trio is a dream team backed by Jellowstone Records: Andy Randazzo on bass, Devonne Harris on drums, and Charles Owens on tenor saxophone. I sat down with Charles Owens for a poignant and vulnerable interview last week.

When did music become a focus for you?

I started playing sax when I was eight. My band teacher picked up the tenor sax in class and I was so attracted to the curves, and to how complex it looked, with all of the different mechanisms on it.

I initially started with piano – there are photos of me literally in diapers playing. I also sing in “In Full,” the cover band I play in. I’m actually gonna be playing the part of a Jazz Tenor Player in John D’earth’s opera in Charlottesville soon...and I’ll be singing! My voice has the exact same range as the tenor sax.

Tell us about the new record.

The record is Andy on acoustic bass, Devonne on drums, and me. It’s just so natural. Devonne is a genius; he’s the only guy I would use on drums, piano, AND on bass.

We open up the record with “Caravan”…and everyone has covered “Caravan,” but we’ve come up with another rendition of it. We also play “Take Five,” another tune everyone plays, but we came up with a new version without piano! Artists need challenges. So, my challenge was to play these songs that everyone knows in a unique way.

We also play a Beatles tune, “Something,” a Gershwin ballad, “The Man I love,” and a Billy Strayhorn tune, “Upper Manhattan Medical Group” – that’s a really hard song, a challenge. We also play two originals of mine, one I wrote when I was 21. And then, “No Resolution” I wrote and recorded in 1998; it has become a Charles Owens standard.

All of my decisions are made by thinking, “is this an expression how jazz should look today?” Jazz has gone through this transition, where folks now want their jazz to sound like it did in the Golden era, the 50’s and 60’s…but in a way that is relevant now. We want to pay tributes to the masters. We strive to play music they’d be proud to hear. This is my best studio record.

What was it like to record this?

We recorded just the three of us at Jellowstone Studio on a cold day in February. We recorded ten tunes in one day, and nine of the tunes made it onto the record. I went into this with no trepidation, no fear. I’m so glad that Reggie and Devonne were like “Yeah! Make a record for Jellowstone,” and didn’t force me into anything, they let me do it how I wanted. The recording is a real expression of what I feel like a modern jazz musician should sound like…it also sounds like a live gig! It’s a lot like coming to see us play at a club.

It just worked how I wanted it to…I just get very emotional playing with these guys. This record is very emotional; it’s raw, it cuts to your heart. I’m really happy with it. Part of my expression is to play fast and loud like Coltrane and Sonny Rollins, the saxophone was made to be played fast and loud. But, what is just as important to me is conveying real emotion through my instrument and achieving an instinctual reaction from my audience.

Do your children inspire any of your music?

I wrote a song for my daughter Violet…called…”Violet.” She’s autistic. Autism is so mysterious. She’s one of my best friends in the world. When we hang out, we don’t talk much but we really enjoy each other’s presence. Everyone that meets her loves her. You would love her too, I’m sure.

“Losing Victory” is for my wife. Her name means victory, and it’s my best song. My personal favorite. I’m not a professional composer, I go through times when I don’t want to write. But, when you do write, it’s great, because you’re really making something…making a song.

The Trio?

The Trio comes from me being kind of a hardcore jazz musician, being really into harmony, over chords, and I like to create my own chords. Sonny Rollins liked to play trio, Coltrane loved to play without chords to; it broadens one’s palate. When we play in a trio, we all get to play.

How are you feeling about your new quartet?

The new quartet includes Devonne, Andrew, and Kelli Strawbridge on drums. Everyone just flocks to Kelli, people just want to get to know him, he’s so special. People were just all over him when we played a gig at Smalls in New York.

I’m notoriously tough on rhythm sections, I’m very picky, and they all know what I wanna do without talking a lot about it. The reason why I wanna work with this group is we don’t really have to talk much. It just works.

This band has so much instinct, and so much training. The quartet is just so fun; Devonne, Andy, Kelli…they’re my people.

What motivates you to write and play?

I was abused as a kid, physically abused by my dad. I had a lot of anger and pain as a result of that, and music became a great outlet for my pain. There could’ve been other outlets, like drugs and crime, and such, but for me it’s like, I would sometimes feel empty and alone, and I could play the saxophone and play it loud and hard, and it would basically save my life. So, that’s why I am so serious about it and have to play my best every time. Music is really a higher power, other worldly for me, it’s my spirituality. I have to have it. I was homeless as a teenager for a while after being kicked out, lived in abuse shelters, and I always had a song in my heart, a song to sing.

I still have a lot of self-esteem issues and my dad made it so I hate myself most of the time, but being on stage and playing I forget it all. I stick by nine words: melody – harmony - rhythm, calm - confidence - clarity, spirituality –intellect - and passion. Music is melody, harmony, and rhythm. When you play music, you have to be calm, clear, and have confidence. But, from where does one draw music? From spirituality, intellect, and passion.

I take stock of these things while I’m playing.  You have to have a balance. Jazz requires you to draw from those nine things all of the time, it’s the ultimate form of self-expression, because you need all of those things that require you to be human to play jazz music.

Music has to make you feel something. That’s why I play, because I want every human to respond. My number one job as an artist is to make a visceral response in my audience; I have to make them feel something. If I can tap into those things that make us innately human, then it will connect with people. Our job as artists is to make our fellow humans, feel. A true master is someone who can convey a feeling through their instrument, their voice…to someone else.

Upcoming events

The CD release party for “A Day With Us” will be held on Tuesday, November 10th at Capital AleHouse (downtown location). Doors will open at 6:00pm, and music will start at 7:00pm. Tickets are $15 in advance and $20 at the door.

Special guests will include Kelli Strawbridge, Marcus Tenney, and more. The show is sponsored by the Richmond Jazz Society.

More about the record…

Drumming, engineering and mixing by Devonne Harris and mastered by Adrian Olsen at Montrose Recording. The cover art is by Richard Christopher Patterson. Let's not forget the man Andrew Jay Randazzo on bass. This record is a product of years of Andrew, Devonne, and Charles playing together and forming their sound over time.

BUTCHER BROWN

August 1, 2015

Butcher Brown is on the rise.

Four notable jazz/funk musicians started working together as a session band in Richmond, VA in 2013; from there they evolved into Butcher Brown of Jellowstone Records. The players are game changers: DJ Harrison (keys), Corey Fonville (drums), Andrew Randazzo (bass), and Keith Askey (Grammy Award winning guitarist). They are also frequently accompanied by Marcus Tenney (saxophone) and Reggie Pace (percussion).

Writing is collective and collaborative. For them, coming together to write structured songs and joining the record making business has tightened up the band.

I recently caught up with them at Jellowstone Studio for an interview.

Is this band the project that you’re most excited about?

Andrew: “It’s the tip of the pyramid, it’s the most important thing.”

Corey: “I get excited to play with these dudes like it’s the first time, every time. Everyone’s like-minded, but we all have something different to offer.”

They’ve all been playing music together for so long, the depth of their relationships enhances the musical bond. They’ve been playing music together unofficially for seven years in one way or another.

They’ve officially been Butcher Brown since December of 2013. Their newest record, All Purpose Music, was recorded at Jellowstone Studio in January 2014.

Biggest accomplishments?

Andy: “The scope of our audience and the people who know about us. People at the D’Angelo concert were wearing Butcher Brown shirts…people that we admire and have admired for a long time. We have done something right to reach those people. We didn’t expect to be this well-connected this quickly. Word of mouth is crazy these days.”

Corey: “I had a lot of confidence in this band from the very beginning, but I wasn’t expecting for us to progress this much this quickly. But, we are still building. It’s still a work in progress.”

Andy: “We’re always looking forward.”

What are your goals for the rest of the year?

Andy: “Build our fan base. More fans. Be able to walk into any city across the country and be able to play. Just keep building. Play bigger venues. Expand the name right now…we want to expand outside of richmond.”

What kind of energy do you bring to each gig?

Corey: “Every show is on 200. We ain’t playing no games. When it’s time to play, it’s game time. We give 150%. Go hard or go home. If you ain’t got confidence, you ain’t got shit.”

Andy: “Also, we play for ourselves, for the joy of it.”

Devonne: “We don’t care if it’s a big venue or a small venue. People enjoy seeing a band enjoy themselves. We try to always be on 10.”

What’s your pre-show huddle like?

Andy: “It’s just a moment. It’s a vibe. We don’t really feel nervous before we play. We trust each other. We make mistakes, but it’s all good. I feel confident in myself before a gig, and I trust these guys. It makes it easier to not be nervous.”

Where does your bond come from?

Devonne: “This house got us started. We all live together, play together, work together. We all know each other so well. It’s a family. We’re buds. Just a shitload of jokes.”

Andy: “We’ll stay on the floor in an apartment in Oakland covered in beer cans if we need to. Because for us, this is what we’ve got. We’re happy to pay some dues.”

Devonne: “Not many people will walk to the corner store to get you ginger ale and medicine if you’re sick on the road. I can trust these dudes to take care of shit that needs to be taken care of.”

And their influences?

Andy: “We’ve all been listening to Devonne’s music for so long…and thats the sound of this band! That’s our genre. He’s prolific.”

Everyone in the room agrees.

Devonne: “Their playing has influenced my playing.”

Andy: “With musicians, every single thing they listen to will have an influence on them in their lives. It’s like a lineage.”

Their newest project?

”Braxton Cook Meets Butcher Brown”

Saxophonist and Composer, Braxton Cook connected with Corey Fonville during their time playing with the Christian Scott Sextet. From there, a spark was ignited, and Butcher Brown is now collaborating with Braxton on a new album.

Braxton is a Maryland native who lives in New York and recently graduated from the prestigious Juilliard School. At the ripe age of 24, he has already shared the stage with Wynton Marsalis, Jon Batiste and more. His writing is powerful and relevant.

A few highlights from the album…

Braxton: “‘Wide Open’ is a slow ‘70s - like tune. I previously recorded this song for my debut EP Sketch (Corey Fonville played on this track). Corey told me how perfect that song would be with Butcher Brown and then a year later I decided to bring it down to Richmond and record it.

‘Hymn’ is a tune that I composed in memory of Trayvon Martin, Eric Garner, Mike Brown, and the numerous other black kids that have been killed due to racial injustice.

‘Ooooo' is a groove tune that I wrote the first half to and couldn't figure out what to do with it. When I brought it to the studio session, DJ Harrison listened to it and within five minutes wrote the catchiest bridge, and then we immediately recorded a couple takes. This song is something you would hear at a family reunion or a summer BBQ. Because of this, I released it about a week ago as our first single and its already gotten about 3000 plays.

‘DMV’ is another original composition of mine and in my opinion it perfectly encapsulates what it sounds like when you're from the DC Maryland Virginia area. Its a unique blend of Jazz, Gospel, and R&B and that what makes the our sound so different from people that live in other places. Also I believe it’s this connection that Butcher Brown and I have that made the recording process so seamless. We recorded the whole project in one afternoon with only two or three takes, and I had never played with them before. We all just understand where everyone is coming from.”

The album was recorded at Jellowstone Records in September 2014 and mixed at Montrose Studios in May 2015.

The album release date is August 14, 2015.

SAM REED - “This Is Love”

May 10, 2015

An extraordinary beauty with charm and unmistakable talent, Sam Reed is a force to be reckoned with. For nearly ten years, Sam Reed has been an essential and sought after vocalist in the music scene in and around Richmond, VA.

After connecting with another RVA talent, Devonne Harris (aka DJ Harrison) in 2012, Reed felt compelled to start writing and recording her first solo project through Jellowstone Records: This Is Love. DJ Harrison’s music inspired her, and she began to collaborate with him. She started recording lyrics and vocals over his tracks.

The album starts out with the “Intro” including elements of R & B and Spoken Word. It almost feels like a meditation. Peaceful and rhythmic. Leading into the next few songs, you enter the funkiness. The album is emotional, energized, and raw.

I asked Sam to describe her writing style…

I can be happy, and it’s raining outside, and I will write a song about it. Every day life can inspire me. I am someone who is always deep in thought.

And her voice?

At times I don’t really understand where my voice comes from, but I know that I really just love to sing. So much that I have been on stage and gotten teary eyed. Music just brings something out of me. It can be overwhelming in a good way.

Sam is continuously inspired by her musical family and the people she surrounds herself with.

When asked about her biological family, she describes them as very close. Her father and mother are both from Chester, VA. She has known since the age of three that she wanted to be a singer. She grew up singing in the church choir; spirituality and soul have always been present in her music.

Back to the album…

The guitar line on the fourth track, “Those Words,” is hypnotizing. This song is sexy and enticing, and the musicians backing her powerful vocals are key here. Sam’s love life, romantic and spiritual, is also a big inspiration for her writing, especially on her tracks …”True Value,” “Love Ain’t Free” and “How I’m Gonna Love you.” These songs are just honest. Each song takes you to a different place, a different view of love.

And our interview continues…

Does being in love impact your writing?

I have never been one to write love songs. After my past relationships, I didn’t feel drawn to writing romantic music. I was a single mom and have always felt like my purpose was just to raise my two kids. I was done with love, but now…I am inspired by love, being in love, and by my love for the higher power. For the first time I’m really starting to write about love. And it’s cool; it’s a beautiful thing.

How did you get involved in the Richmond music scene?

They used to call me “church girl.” I met fellow musician, Mark Ingraham, at church, and that’s where I sang. I didn’t even know that the music scene was going on…and everyone in the scene started calling me “church girl.” The DJ Williams Projekt was the first live band I was ever able to see. They were my first music love. I came out to hear them for years before starting to sing. They have been a huge inspiration for me; just to see their music and their following grow over the years.

There are so many musicians in Richmond that are doing their thing. It’s just a music haven. It always has been, but there is something about this time…right now…it’s a very important time for us. As musicians, we are living folklore to a lot of people.

Recording at Jellowstone Studio, it has been incredible just having Corey, Andrew, Keith and Devonne around. They will say things like, “She’s bringing the church back into it.” And church is where I learned the kind of love and passion that comes through music.  Music is church for me.

The entire album is original. It’s a twelve-track album, and she didn’t expect for it to be that way…nine full songs, an intro, an interlude, and an outro. DJ Harrison asked her for several years to come by his studio to create some music. She mentioned being in situations before where it was difficult to click with a producer or other musicians, but her musical connection with DJ Harrison felt right and real.

How would you describe the album?

I think that it encompasses pretty much everything under the Soul genre. We wanted to record an album where not one single song is the same, but it all comes together under a soul umbrella. Rock, blues, R & B, hip hop, and even gospel.

Who is featured on the album?

DJ Harrison, Kelli Strawbridge, Andrew Randazzo, Keith Askey, Corey Fonville, Marcus Tenney, and Josh Reed. It was really important to me to stay within the Jellowstone family to keep the process cohesive and close.

Who are your influences?

Janis Joplin, Jill Scott, Tina Turner. Especially Jill Scott. She is an artist that made me feel comfortable with myself. She made me think of my voice as an instrument.

And as for life, love, happiness…

Each year is better than the last.

With DJ Harrison producing, RVA musicians playing on the tracks, and a voice so authentic and soulful that it cannot be mistaken or denied, Sam Reed’s This Is Love will blaze the trail for other female funk/soul and R&B artists to follow. By infusing the influences of rock, soul, jazz, R&B, and good old southern gospel, Sam creates music that sounds both new and familiar. Her sound is guaranteed to leave a lasting impact on the soul.

Sam Reed played an Album Release show on May 5th at The Camel with Butcher Brown and KINGS. The venue was packed and filled with energy. Her music was backed up by an incredible group of local musicians mostly from the Jellowstone Records family. Sam stunned the crowd with her songs, her voice, and her presence. Her first batch of CDs sold out before the show was over.

Sam’s digital release is planned for May 19, 2015. Stay tuned…this is a woman on the rise!