No B.S. Brass alive and well

In their sophomore album, “Alive in Richmond,” the No B.S. Brass Band ventures into a sophisticated territory few bands in Richmond tend to go. Thoughtfully composed, recorded and mastered, the surgical precision of these songs set a bar that seems hard to clear.

As if the technique of the 11 to 15 musicians involved (several members have joined or left since its inception almost three years ago) wasn’t something to marvel at, the funky vibe surely is. Stefan Dimitriadis (tuba) and Reggie Chapman (bass trombone) hold down the low-end like an anchor, gracefully arpeggiating and bouncing around the chord changes. The rest of the agile ensemble consists of three to four trumpets, four to five tenor trombones and the eclectic Lance Koehler of Minimum Wage Studios fame on drums.

Recorded and mastered in Koehler’s aforementioned basement studio, the organic sound of the band translates wonderfully from horn to headphones, no doubt a testament to the engineer’s ability.

Like No B.S.’s debut album, “Where is Stefan?” the group fronts with an array of audio gems, from the busy drum-and-bass-driven beauty of “Juniper” to the joyfully dark and venturous Mark Ingraham composition, “Lando.” The compositions seem to contain a maturity that only comes with an ensemble whose members are seasoned with one another’s presence. The coagulation throughout the sections adds a cleanliness to the album one might chalk up to studio magic, but as the back cover boasts, “Absolutely no pitch correction or beat correction was used and no animals were harmed in the making of this recording.”

The latter half of the album marks the beginning of a bold attempt at translating the art of kung fu cinematography into a suite for brass band, “Ballad of the Eagle Claw.” Inspired by the ritual of kung fu movie nights when Pace and others gathered to watch old Shaw Brothers films, the six-part epic effectively captures the mysticism and ferocity of the cult art form.

The suite is comprised of three duels between various warriors who weave and improvise, creating a violent atmosphere. Rototoms and wily vibrato are just some of the devices used to build the intensity. Towering chords and thunderous drum-rolls are but a few of the other driving factors that make the ballad such a treat.

While it would be difficult or possibly absurd for a band of Americans steeped in the traditions of funk and New Orleans-style street music to compose an authentic, oriental tribute to the Shaw Brothers, Pace’s interpretations of epic kung fu battle are both insightful and colorful.

While the seriousness of the band is evident throughout most of the album, humor is abundant as well, specifically in Chapman’s “Cinnamon Girl.” Chapman’s opening statement of the bass-line is straight nasty and evokes cheers from his band mates immediately. Throughout the tune, he jives about a woman who funks him right off his feet. A closing harmonica solo adds wonderfully to the bluesy, party ambiance.

Other mood lifters include the faithful interpretation of Rush’s “Tom Sawyer,” and Koehler’s “Ain’t Even Gonna Call Ya,” a somber, up-tempo lament about a girl who has “been acting whack as hell.” The warm chords and R&B-style drumming back up the singing horn players nicely as they plead with the girl, “You need to get your head right/I’m a
people man.”

Indeed, the unity of No B.S. Brass is something to behold. In a city where horn players seem to be dime-a-dozen mercenaries, it’s nice to know there’s a forum where the respect transcends the boundaries of the free-lancing musician.

Grade: A

Download (don’t steal): “Juniper” by Lance Koehler, performed by No B.S. Brass Band.

This article is courtesy of RVAjazz.com.