as i prepare to go slide produce through an infrared scanner, i get the urge to blog about the last few weeks. BIG WORDS is a trio that i formed about two years ago for the purpose of creating a road-sized band to play at a club in Boston...All Asia or something like that (i think it's gone now). its goal shifted to a quiet, acoustic trio for a gig at Biscuit BBQ (also gone now) for Jim Carney's Konceptions series (also gone) sometime last year. then it came back this fall, for the purpose of Jon's dad visiting town, and us needing a place to play for him. this time i booked three gigs in a row, to see what happened if i really focused on the band. The first was at Perch cafe in park slope, (still there!). Bram and Jon rocked out and the music was very very heavy and exciting (at least to me). Next gig - Sputnik. double booked. had to cancel last minute - a drag, but for the best. then came the post-election night gig at Europa. this time, Jordan played with us and again, it rocked. i enjoyed the openness of the music and for the first time, i was really embracing my electric bass playing for jazz. of course, it being the night after election night, nobody came. something about the combination of great music and low turnouts made me antzy. i spent a week calling colleges, and sent out emails and links to about 30 schools in the northeast. maybe we'll get a tour out of it...i don't know. but i hope so. also through antziness, we got together and recorded a 5 song demo in jordan's basement. thanks to jordan's mics, jon's mixing skills and the combined playing of everybody, it sounds ghetto but like a very high class ghetto of the future. just sent that to all the colleges, but maybe some record label will like it and give us an opportunity to record......
MAYBE!!!

By Mark F. Turner

The debut recording, Walls Red, by Brooklyn bassist Josh Myers, affirms that while modern jazz covers a wide spectrum of influences, it's always a positive when young artists develop their own ideas. Like many striving in this challenging and diverse music environment, Myers' playing is panoptic: dabbling in nearly a dozen projects—mainstream, experimental and even Klezmer-rock, as well as regular gigs with notables such as drummer Gerald Cleaver.

These influences become irrelevant because the recording resonates with Myers' own unique perspective. One that involves a progressive quintet—(saxophonists Brian Scherman and Heath Walton, pianist Jonathan Anderson and drummer Jordan Perlson)—delivering music that contains heady improvisation, intricate compositions and a few other surprises.

As a bassist, Myers effectively "supplies the lows" with a deep tone and emotive fret-work but unlike the usual "It's my debut, hear me play" release, the recording's strength lies in his inventive writing. This is heard in the stealthy twists of "Wendell" with Myers' bass fronting a melodious horn arrangement that morphs into multiple tempo changes, undulating voices and abstract solos reaching a crescendo. It all works into a coherent progression of layered and evolving music.

The fascination with "changing ideas" lies at the center of the music. The title track is informed of both the blues and classical music where Anderson's piano travels across both worlds with ease. "Seven Circles" flows through a hip hop backbeat, funky horns, a solitude piano solo, then back to the original vamp now marked with reverberated bass and Perlson's torrent of drums.

The surprises come not only in shifting ideas but also in some clever post-production magic by sound designer Dan Venne. Whether subtle or overt, the use of electronic effects add color and dimension— sampled voice work on "Playin uh," echoing synths on "Rain Stones" and the inquisitive instrument effects on the groovalicious "Lumberjack Jack."

But the litmus test is how the quintet artfully expresses their unity. The harmony between Scherman (alto) and Walton (tenor) and their contrasting solos on "Mouth." Myers' guiding bass and Perlson's scintillating drums on the tranquil tone of "The Big Enough Umbrella." Or "Well," a cinematic jaunt that travels from calm to tempest, threaded by Anderson's engaging piano.

Josh Myers and his quintet are to be commended. Walls Red is a listening experience where the fundamentals of composition and improvisation are balanced with fresh ideas that are creative and thought provoking.

hi there. normally i wouldn't blog, but i was reading the Hans Blix blog and was inspired to blog myself. i think this might be a good way to collect my thoughts, give a bit of myself to all the fans out there who might like to read a blog (dad).

Preparation for the CD release is going well, although self-promotion is not my bag, and i'm definitely lagging on that side of it. isn't there someone else who should be doing this? i don't feel qualified. either way, i put in the orders for the physical CDs this week, i should have them this coming monday or tuesday, so that's very exciting for those of you who like to touch what you listen to. the artwork was done by myself, my brother Dave, and my good friend Jake. also exciting are the liner notes by Mark F. Turner, who also wrote a fantastic review of the album which you can read right here.

so...COME TO THE CD RELEASE PARTY! even if you hate fun, you'll love this party. it's march 7th at the Tea Lounge, and we'll be playing/raging from 9-????????

ok that was it. that was the full extent of my blog. i thought it went ok. i mean, i think it could be better. there's room for growth, i'm not saying it was perfect. not that i was striving to be perfect. i think imperfection is important too.

i'll stop now.