The Collective's new album, It's All in Your Mind, builds on its ability to fuse introspective bop-with-a-beat, up-tempo dance cuts and Latin and African influences. In a lot of ways, the music reflects the diversity of the group's members.' I think we're always trying to express all these different types of things that we've grown up with, whether it was Latin music or whatever,' says saxophonist/multi-instrumentalist and charter member Jay Rodriguez. 'We're always seeming to get parts of all of it in there.' Groove CollectiveFox Theatre, 1135 13th Street, Boulder9 p.m.
- Groove Collective We People Rarely Succeed Unless They Have Fun In What They Are Doing$
- Groove Collective We People Rarely Succeed Unless They Have Fun
Friday, February 23, and Saturday, February 24$15-$16, 303-443-3399Although the players bring many different flavors to the table, it's their ability to surprise each other that has contributed largely to their perseverance and their appeal over the years. 'It seems like we all learn from each other,' Rodriguez says. 'Sometimes they're expecting me to come up with some sort of indigenous Afro-Cuban thing, and then I'll come in with a funk thing.'
Such stylistic diversity has helped the group realize the vibrant potential of real fusion music. The Groove's sound is not the type of muzakal wallpaper that sucked the life out of the jazz-fusion era of the late '70s. It's the kind that can blend native sounds with psychedelic ones and move from ambient noise to disco in the space of one record.' We switch back and forth, so it's been an ongoing process between all of us,' says Rodriguez. 'Sometimes I'm surprised.
Like, Richard Worth will bring in something indigenous-sounding, like kind of Celtic. But somewhere in there, there is a strong relation to all that other indigenous stuff we do.' Groove Collective's method is perhaps best illustrated in 'Skye,' a track from Mind that Worth, a flutist, co-wrote with bassist Jonathan Maron and keyboardist Barney McCall. The composition reflects some of Worth's favorite influences. 'Skye' is kind of Chinese Celtic music,' says Worth.
'But the break in the music is totally influenced by the rock part in Zeppelin's 'Kashmir,' and I also realized that it sounded like Pharoah Sanders.' Worth says he sees the ability of each Groove Collective member to play a variety of different styles as a plus within the jazz tradition. 'So many people nowadays make only one kind of music. When the band breaks up, they don't even play again,' he says. 'That is unusual in the history of music, because if you go back before minstrels, jazz players had to be a lot more varied in what they could play.
You go back to New Orleans - people could play jazz and classical and polite society music and then raunchy music for later in the night. Jazz musicians have always had to play different kinds of music. Groove Collective did a wedding in our early days, and we did Jewish music.' On the new record, Rodriguez helped educate and also expand the band's sound by bringing flutes - an almost essential instrument in the music of his native Colombia - to his composition 'Earth to Earth.' The track's intro sounds like some mid-'70s Earth Wind and Fire-type African instrumental, the kind you might have heard on that band's classic live LP, Gratitude. 'I played some miscellaneous flutes from the country that I was born in,' says Rodriguez.
'You don't really hear these flutes - the flauta de millo - anywhere else. They are the original instruments used in cumbia music from Colombia, from the Caribbean coast. The Afro/indigenous mix created these sounds in this song.' On this trance-inducing cut, Rodriguez interweaves the flutes at the diasporic crossroads at which African and Latin influences meet. 'The first one in the song kind of sounds like a saxophone, kind of whiney. That's the indigenous one. The other flute is a mixture of indigenous and African.
It's called gaitas. It's this long tube with beeswax for a mouthpiece, with a turkey feather. It's very interesting.' The costs involved with this record were far below what was spent on the group's self-titled release, which was put out by Reprise Records and produced by Gary Katz (of Steely Dan fame) in 1994. Since then, Groove Collective has learned a lot about the business and how to market its product. The difference now is that the players have taken more control and direction of their career, which has meant constantly defying those who feel the need to always box their music into neat little categories.At the time of Groove Collective's first release, one of the big industry buzzes was 'acid jazz,' a genre with which the band, for better or worse, became associated.
The Reprise deal was the first in a long list of complications the group has had with labels and the ways in which they have attempted - and often failed - to market the band's music. Although the Collective enjoyed working with a consummate professional like Katz, the label wanted to pigeonhole the group's genre-crossing music. At the time, the label had heightened expectations for the group.' US3 whose crossover hit 'Cantaloop' interpolated Herbie Hancock's 'Cantaloupe Island' was real popular at the time.
I think maybe the label thought we were going to be like US3, which, of course, we were not. We were never acid jazz, if that's what acid jazz was.'
The group found similar constraints with GRP Records, which put out its moderately successful second album, We the People, in 1996 on the new Giant Step Records label, an imprint that arose out of the Giant Step club scene in New York and London. The record had a Billboard R&B-charting single in 'Lift Off,' which featured Native Tongues vet Vinia Mojica (a compatriot of A Tribe Called Quest and De La Soul) and the club cut 'Fly.' (According to Worth, the song 'is the group's 'Stairway to Heaven.' Everywhere we go, people want to hear it.' ) But the success didn't quite reach the expectations of the label or the group. At the time, GRP had more success with light jazz, and it struggled to market Groove Collective's varied styles.Around this time, the label also began delving into different areas of jazz.
It started putting out all of the classic Impulse recordings of heavyweights such as John Coltrane, and by inking a deal with Giant Step Records, it hoped to corner the burgeoning urban-sophisticate market. 'They got excited while we were doing Red Hot and Cool,' says Worth. 'Also, this so-called jazz/hip-hop thing - which never was; it was either bad hip-hop or bad jazz or bad both - all that stuff was going on, and they got excited.' Reflecting back on the experience and on the label's shortcomings, Worth says, 'They knew how to market light jazz, but you couldn't put us there. Our music is literally not allowed on those stations.
They have strict rules on what works on those stations. Anything noisy or weird is not allowed, because it is for elevators and hotel lobbies. So obviously, we couldn't go through those routes.
They just didn't know how to do street marketing. But I think the album was reasonably successful, and it seems a lot of people bought it.' Even though sales of We the People didn't tear off the roof, the group began to get more recognition when it became associated with the Giant Step scene in the early '90s. Giant Step was an ongoing dance-party series put on by promoters Maurice Bernstein and Jonathan Rudnick that had its start in London and made its way to New York City.
The scene was characterized by a mix of DJs, live musicians and MCs, and Groove Collective became the de facto house band. Well-known MCs like Guru, along with stunning sets by Groove Collective, helped put Giant Step on the map. 'The Giant Step scene was a really great thing, because it taught people that they could dance,' says Rodriguez. 'It brought the bridge between DJ and live music back again. Because before, people were just going out dancing to DJs. For me, it was the first time that I saw kids dancing to a kind of live thing.
Groove Collective We People Rarely Succeed Unless They Have Fun In What They Are Doing$
It was a great platform for people to hear Groove Collective.' Currently, Groove Collective records for Shanachie, a label best known for putting out folk, worldbeat and reggae recordings and whose hands-off approach is more to the band's liking.
'They spend a lot less money on the record,' says Worth, 'which is fine with us. We have learned a lot more about how to make records. We don't need big studios and big budgets to make them, and consequently, the sales are more interesting to them, because they can recoup it a lot faster.' In a time when the music industry has consolidated into a few major conglomerates - a trend with great impact on the jazz market, especially - it's made sense for Groove Collective to go the independent route. 'It wasn't until 1999 that the Reprise label recouped its original investment in Groove Collective's debut,' says Worth. 'I mean, that album has sold over 100,000 copies.
The length of time it takes an artist to recoup a label's initial investment has led the majors to drop the guillotine on many of their acts who don't generate the sales but who might have been considered successful in the '70s.' The current state of the industry - and its lack of artist development - has caused Worth to wonder 'if people like Aretha Franklin, if she was just coming up, would be able to get a record deal.' One thing that's helped breathe new life into the band is its loose affiliation with the jam-band scene. And while the group tips more toward Medeski Martin & Wood than it does Phish, it has found inspiration in bands like Widespread Panic, which gets its music heard without relying on traditional record-industry methods. 'You've got people like Widespread, who don't even have a label,' says Worth, 'and they make their own records and get a distribution deal. People in the industry don't notice them because they only sell - I'm guessing - 500,000 copies. But you've got to remember that they are getting $8 off of each of those, so they're making more than a young band who has sold two million but is in debt to the record company for about the same.'
According to Rodriguez, the Collective put on one of its best shows last year, in the wee hours in the morning in Boulder, after the Widespread Panic Red Rocks gig. It was there that Worth began to notice the similarities between the groups' devoted audiences. 'That's why we probably ended up on the end of the jam-band scene,' Worth says. 'Even though I don't like all of the bands in it, I kind of respect them. There are a lot of kids who don't watch TV and who don't listen to the radio. They just don't wanna know, and they've found Widespread and Phish, who aren't on MTV or the radio for the most part, and they love them because it is all about the live shows.'
For Groove Collective, the emphasis has always been on the live shows, because, as Rodriguez puts it, 'It's always nice to see the music looking back at you.' Like the jam bands, the group has built a substantial fan base by relentlessly touring and by the word-of-mouth support of many fans who also tape the shows.
The group is at its best when giving the music directly to the people. All of which fits in well with Worth's summation of the band: 'If there is anything that really defines us, it's that it is universal folk music. And when I say folk music, I'm including dance music in New York, because it's music by the people and for the people, without being low-brow.' Maybe what jazz needs is to loosen up, get down, and not be overly concerned with what is and what is not jazz according to the gospel of Wynton. Now, that would be funky.
Groove Collective ( NPO1149) is proud to have been organising successful community events and initiatives, raising significant funds and supporting local causes for over 12 years.Groove takes pride in being a not-for-profit community enterprise that redistributes funds direct to charitable initiatives. An ethical community facilitating creative collaboration between local artists, charities and community groups to support, promote and publicise local initiatives and events.
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When we talk of Tomorrowland, we do so with such reverence owing to the exceptional fun that festival promises to be, but simply the difficulty of being at that festival dampens our heart with regret. But fret no more; the 11th edition of the Sula Fest is here. Being an event along the same lines, the Sula Fest is scheduled to be held at the Sula Vineyards, on the 3rd and 4th of February 2018. The fest which promises to be an experience where the sun never sets is lined up for attractions through the two days. Some inexplicable reasons to be at the Sula fest: 1.
Vocal Groove CollectiveThe festival welcomes the Austrian band, the Bauchklang, with their commendable five pieces collective. This band is known to play a mix of human beat boxing, mouth percussions and vocal sounds to create an experience which you would have never heard of. The five members of the band are known best for building bridges across the different genres and you get you be a part of this magical transformation at the festival. Gypsy HillThe high octane performances of bands like the Gypsy Hill are the perfect reason to be at the festival this year. The consortium of seven people that was founded by the two DJs from London is promising a performance with an intoxicating mix of blank brass, Mediterranean surf rock, and the ska and amp.
Experience this traditional mix up with the modern sounds through their performance. Ranking RogerAnother one of the major performers at the festival include the Ranking Rogers. Known for their diversity, this band is bound to grip you like no other. And when held in combination with that of the vineyards, their music seems to take you to the heavens. FoodIf there is one thing that does not get highlighted enough and is among the best at the festival, it is the exceptional food. This festival satiates the appetite of the attendees with gourmet meals from around the world. The food from international bests like Soma and Little Italy are just a slight idea of amazing the food at the festival promises to be.
DrinkThe fun of drinking at a vineyard comes alive with the wide variety of brands gearing up in the festival to entertain the guests with their best. Talking about the variety, there will a number of brands other than Sula which will be putting up a varied display of amazing vines, beers and spirits from around the globe. ShopIf you thought it was only wine and music, you were wrong there is much more and by more we mean shopping. You can get your hands on some of the most extraordinary merchandise from some exceptionally cool brands.
In addition to shopping, you can also feast yourself with the foot massages, tarot reading sessions, wine tours and many other fun-filled activities at the festival. VineyardsThe impeccability of this single feature is a good enough reason to be at the festival. The Sula Vineyards are as surmountable gripping as you can imagine them to be. And even the chance to be present here is a good enough reason to attend the festival. CampingOne of the top attractions of the festival is the facility of camping at the vineyards.
The festival is nothing short of spectacular, when the day ends with you sitting under the stars, surrounded by vineyards, with the music of the day still humming hard in your heads. Learn About it AllThe brand ambassador of the festival, the very impressive Cecilia Oldne, believes in the love for wine and therefore the festival will help you gain the knowledge of wine. The tastes, the glasses and the types, learn it all once you visit the festival for yourself 10.
Having Fun is the LawWhat better way to let yourself rejuvenate than by entering into a festival where having fun is mandatory. All the above things accomplished, the festival directs having fun to be one of the main requisite rules and therefore puts in all the effort from their end too. Rest assured fun is one thing which will drive you through the two days. The Two StagesThe options of almost simultaneously running music performances through the two days make sure you are never short of things to do or of things to enjoy.
The two performances arenas, namely the Main Stage and Atmosphere, are heavily lined up with their impeccable performance schedules and a set up to die for. The Like-mindednessThe festival promises to bring you in the company of people who are as like-minded and as free-spirited as any of us.
Since the foundational principles of the fest pester you to have fun and drink to your heart’s content the place becomes nothing less than an all-out club with people looking for the same things, making it the right base for friendships for life. The MixSince the 10th edition of the festival was such a great success and the 11th edition is going to break the ground further more and rise up to the occasion with a devastatingly exciting mix of over 100 Indian and international artists across 25 genres, from 30 countries, all under the single roof of the Sula sky.
The Indian BestThis year’s Sula Fest promises performances from the best of the best, among some of the best acts the audience will witness, Amit Trivedi, the talented Indian composer in all his might will be charming his way into the audiences’ heart and souls, with performances, never heard of. Grape StompingLike any other wine festival, this festival too promises its attendees the distinguished grape stomping sessions. Perfect way to relieve the stress from your normal life, this festival has made the perfect plans to rejuvenate you in as many ways as possible.The combination of all the above-mentioned amazingness has to be out of this world, to understand the magic of it all to be there. With the uniqueness of this festival, you are bound to be taken into the groove, living your dream.
So as the Sula people like to call it Get, Set, Sula Fest. So plan your trip to Nashik today and book for an amazing stay experience.
New Orleans has long been known as fertile grounds for a plethora of musical acts making a name for themselves through late-night Mardi Gras parties and Jazz Fest funk fests. The Crescent City, home to American jazz and its freaky cousin funk, has spurned countless talented acts over the years, from booty shaking pioneers The Meters right on through this month's New Groove of the Month, Brotherhood of Groove. With an insatiable Deep South flare and a ripping guitarist-singer-songwriter in Brandon Tarricone, BOG is true tribute to the Bayou's flavorful funk and soul.Formed in 2001 while Tarricone was finishing his jazz degree from Loyola University in New Orleans, BOG has steadily risen from the Bayou lowlands and onto the national scene, helped in part by a constant, coast to coast touring schedule and several celebrated players. With a now solidified line-up that includes Stewart McKinsey on 8 and 10-string bass, Jon Massing on drums and a powerful horn section led by Geoff Vidal, Sam Kininger and former James Brown saxophonist Jeff Watkins, they are equipped to bring the funk.Over the last four years, the band has had multiple 'big cats,' as Tarricone would say, join in the mix, such as Watkins (member of the James Brown Band for the last 13 years), John Stewart (The Motet), Michael Ray (Phish, Sun Ra), John Ellis (Charlie Hunter Quartet), Dave Grippo (Giant Country Horns, Phish) and countless others. In doing so, Tarricone and his Brotherhood of Groove collective have evolved from jazzy New Orleans band to a funked-out, high energy celebration.Brotherhood of Groove is the brainchild of Boston native Tarricone, who made the move to New Orleans eight years ago to attend Loyola on scholarship to study under jazz greats like Johnny Vidacovich (one of Stanton Moore's drum teachers as well). Getting his musical start on the saxophone, he began at an early age and progressed to a steady repertoire that included heavy doses Grateful Dead and Phish tunes with, 'no understanding of guitar beyond some Bob Dylan chords,' said Tarricone.'
The first guitarist I ever studied with was John Scoffield. I'd had my eyes opened to jazz through him, and of course it opened the doors and allowed me to get my foot in,' continued Tarricone.After a few years at Loyola-where Tarricone laughingly admitted that he was the worst musician in the whole class to start-he formed the band in his senior year and soon Tarricone was playing the teacher.
From the start, the band was focused on more jazz-based textures, sticking with the traditional song structures and strict compositional styles. It was how he'd been taught and where Tarricone and his Loyola classmates were at musically at the time. But it would only be a matter of time before the BOG began to develop their own sound.'
All those original compositions I wrote in college were a reflection of studying jazz in school,' Tarricone said. 'I was concentrating on the rules and regulations as far as what I was studying in school.' But then I was lucky enough to get Michael Ray and John Ellis to get into my energy and work ethic. From then on, I would try to hire heavy weights to play this stuff-they were my teachers,' he continued.Soon enough, Tarricone and his band would be playing five nights a week in small clubs in New Orleans for little or no money, but a reputation would begin to take hold. Musicians and fans alike would begin to take note of the young, funky guitar player and soon it became time to depart the Bayou and tour the country. As Tarricone would admit, 'you can't stay in New Orleans and be successful.' Gradually, Tarricone would incorporate additional heavy hitters that frequented the New Orleans jazz-funk scene and get as many great musicians involved in the Brotherhood of Groove as he could.
He would soon record and play with such respected and well-known players as Sam Kininger (Soulive, Lettuce), Michael Tucker (Pat Metheny), Eric Traub (Dr. John), Steve Bernstein (Sex Mob), Marco Benevento (Benevento-Russo Duo) and Ivan Neville (The Meters). It became almost commonplace for any of these musicians to periodically join the mix, as would Michael Ray, John Ellis and countless others. Through his incessant hard work and musical prowess, Tarricone developed quite a name for himself in New Orleans and beyond, and through it he became someone everyone wanted to play with.Over the last four years, BOG has acquired a much grittier, funk flavored rock appeal then at the time of its inception. In that short time, they've transformed from your run-of-the-mill jazzy New Orleans groove to a high-powered, guitar-driven soulful funk that crosses The Meters sultry smoothness with the power of Warren Haynes' guitar tone and the color of James Brown's horn section. Tarricone, widely regarded as one of the premier guitar players on the scene, is oozing with creativity, from his complex compositions to his soulful vocals and ear-challenging arrang - Jambands.com. 2002 Offbeat Magazine Music Award Winner, Best Emerging Funk/Soul/R&B/Soul Band in New Orleans Offbeat Magazine, New Orleans.BOG debut album “Pocket Full of Funk” was voted in the “Top 10 Louisiana Albums of 2002” Scott Jordan, Gambit Weekly, 12/31/02.Guitarist Brandon Tarricone was voted in the “Top 10 Guitarists of 2001” by the Jambase reader poll.
Www.jambase.com.Nominated for Best Funk Band in New Orleans, alongside Galactic, and Papa Grows Funk at the Big Easy Awards. Gambit Weekly.“This band has great tunes and huge creative energy. I would put this band on any festival stage anywhere in the world and have full confidence in the performance” Michael Ray.“Brandon Tarricone rages the wooded fret board of his lavish Heritage hollow-body as if he needs to wake the world.
Hailing from Uptown New Orleans, the Brotherhood of Groove collective has taken the heat of the Bayou out on the road. Midway thru a sweaty summer tour B.O.G.
Has been torching the West with a revamped lineup, and is releasing a blazing hot new record BOG Style. The first leg of the summer run, a Northwestern swing through mountain towns and West Coast cities, has been scorching jazz and jam fans alike.
Groove Collective We People Rarely Succeed Unless They Have Fun
The updated BOG is oiled and running smoothly on all crunk cylinders.' I started the BOG here in New Orleans in 2001,' says Tarricone. 'I wrote about ten tunes in that first year and we went into the studio for the first album. It was a little more jazzy since I was just finishing my degree in jazz at Loyola, where I studied with all kinds of heavy cats like Johnny V (Vidacovich).' BOG, in its infancy, developed a penchant for relentless touring, sometimes approaching 100 shows in a calendar year. As the reputation grew, so did the writing, and in turn, the playing.
Tarricone was constantly toying with the lineup, tweaking it to his satisfaction as the material became more engaging. Brandon encountered more and more styles and situations that he could adapt to his BOG project.' We started touring heavily for the next two years, and I changed the lineup quite often. Everyone we have had in the band has been a solid player, but as I move on and organize more cats into the Brotherhood of Groove, our shit just keeps getting deeper and deeper. On this last tour we did we had many people tell us every night that we were the best band that had come through town that whole year.' While having a blast on tour, Tarricone began to look at his art differently, and in turn began to hear it differently as well. This called for new material, new cats to play it, and maybe somebody else's ideas mixed into the stew, in terms of arranging and producing as well as playing and writing.'
As we toured heavier and heavier I started writing more, and different types of tunes as well. I started writing rock tunes, and New Orleans street beat tunes, straight funk tunes, acoustic tunes, etc. I have had all of these different influences in my life, and they have started to really come out in my writing. For example in the past I have seen a lot of Phish shows-that has influenced me, but then two weeks later I might be second lining in a new Orleans parade for two weeks of Mardi Gras, and that has influenced me. I also have studied Scofield's style, and Grant Green's style, and Trey's style, and all of these other cats pretty closely, so that has been a big influence in my writing and playing.' Touring as an acoustic folk duo (Front Porch) during some BOG downtime last winter certainly opened Tarricone's eyes and ears to different aspects of performing, listening, and most importantly, singing. Lead vocals were uncharted territory for the most part-when it comes to the Brotherhood blueprint, Brandon has really stepped up his throat game on the new record and recent tour.'
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Part of me really wants to display the Axl Rose/Robert Plant/Frank Sinatra showmanship vibe that only a true front man can bring. It brings a level of excitement and sensuality to the material,' adds Tarricone.Tarricone decided that after the most successful and fulfilling tour of their short career, he should bring this lineup into the studio over Jazzfest to capture the vibe and lay down these newer tracks. The recording of BOG Style was truly a learning experience for the bandleader, and a huge jump forward for the project.
He found a producer and collaborator (Jeff Watkins) with whom he has developed a wonderful working relationship, as well as solidified the new B.O.G. He also lured many jam and jazz stars to come contribute to the new record.' Download free music.
The Brotherhood of Groove is constantly retooling, as the music develops and more and more great musicians get involved. Part of the whole idea behind the Brotherhood is that it is an ever-developing group, which will bring in heavier and heavier cats to play the music, as I write and develop it. The band rehearses a lot, with whatever the lineup is, so that tours are always super tight, horn sections are amazingly precise, and the rhythm section has huge groove pocket,' he explains.Besides bandleader, composer, arranger, guitarist, and vocalist Brandon 'Marlin Brando' Tarricone, the group's main collaborator is saxophonist Jeff Watkins (James Brown Band, 15 years). Watkins produced the BOG Style sessions with Tarricone, and also played sax on four tunes. He tours with B.O.G. Frequently and has helped get the horn arrangements even tighter than the James Brown Band (so he says!).'
I had just moved to New Orleans, and was psyched up about the wealth of talent to discover and work with,' recounts Watkins. 'My friend Rod Glaubman met Brandon while I was on tour with JB, and played me B.O.G.' S first project. I was impressed with the writing and playing, and was looking f - Jambase.com. Studio Albums Include:2004 Release, 'BOG Style' with tracks composed and arranged by Brandon Tarricone. Recorded by Brandon Tarricone (guitar and vocals), Jeff Watkins (tenor sax), Geoff Vidal (tenor Sax), Sam Kininger (Alto Sax), Jon Massing (drums) and Stewart Mckinsey (bass).
'BOG Style' also features artists Ivan Neville from the Neville Brothers (organ), Marco Benevnento from the Duo (organ), Christina Machado (vocals), Steve Bernstein from Sex Mob and Sting (trumpet), Henley Douglas Jr. From Boston Horns (tenor sax), Uganda Roberts from Dr. John (percusion), Michael Pellera (piano) and Brian Jordan from Karl Denson's Tiny Universe (guitar).2001 Release, 'Pocket Full of Funk' with tracks composed and arranged by Brandon Tarricone. Recorded by Brandon Tarricone (guitar), Michael Ray from Kool and the Gang and Sun Ra (trumpet), John Ellis from Charlie Hunter quartet (tenor sax), Michael Pellera (piano), Alan Broome (bass), John Stonbley (bass), and Dan Caro (drums). The Brotherhood of Groove is a high-energy band that has elevated the New Orleans Funk sound to new and exciting levels of creative complexity. The BOGs unique style fuses soulful New Orleans brass band vocals with old school funk, rock, reggae, and modern and traditional jazz. In just four years, the BOG has developed a complex and sensational repertoire that has generated a loyal national fan base.
Their albums, Pocket Full of Funk and BOG Style, the extensive list of collaborating master musicians, and the bands full time coast-to-coast touring have all contributed to their well-deserved success.Rarely in the music world has a bandleader arrived on the scene as talented and focused as guitarist/singer/songwriter Brandon Tarricone. Voted among the top ten guitarists by the 2001 Jambase readers poll, Tarricones creative songwriting and arrangements have attracted some of the countrys best musicians eager to collaborate with him. His complex harmonic chord work, virtuoso fingering and soulful touchcombined with his intense on-stage energymake people rise-up and dance for hours.During the past year, the band has brought in Producer/Sax player Jeff Watkins, known as lead Tenor for the James Brown Band for 14 years, to tighten the sound to the point of perfection. The Rhythm section is led by veteran heavy weight Rob Watson (bass, Tupac, Joe Walker and many other) driving groove, combined with Jon Massings masterful New Orleans style drumming, all of which makes even tame audiences rise and dance. A celebrated horn section led by Geoff Vidal and Sam Kininger (Soulive) includes several saxophones, as well as flute, to create a diverse symphonic jazz sound.The Brotherhoods communal musicianship has allowed the band to collaborate with and incorporate a number of amazing players into their performances during every tour, throughout the U.S. The Brotherhoods unique sound has been enhanced by horn masters: Martin Fierro (Jerry Garcia band, Sly and the Family Stone), Michael Ray (trumpet, Phish/Sun Ra/Kool and the Gang), John Ellis (sax, Charlie Hunter Quartet), Dave Grippo (sax, Trey Anastasio Band, Phish), Henley Douglas, Jr.
(sax, Heavy Metal Horns/Boston Horns), Michael Tucker (sax, Pat Metheny, Head Shaft), Eric Traub (sax, Dr. John), Jason Thor (trombone, Brian Setzer), John Stewart (sax, The Motet) are just a few of the chosen ones who rotate within the Brotherhoods horn section.The band has maintained balance by recording their first album, Pocket Full of Funk, at Ultrasonic Studios, New Orleans, with mastering by Mark Wilder (Miles Davis, Herbie Hancock) at Sony Studios, New York. Released in January 2002, Pocket Full of Funk was voted among the top ten albums of 2002 by Gambit Weekly (January, 2003) and garnered many great reviews across the country.The newest album, BOG Style features an amazing horn section with Jeff Watkins (James Brown Band), Sam Kininger (Soulive), Geoff Vidal, Steve Bernstein (Sex Mob), Henley Douglas Jr, (Boston Horns), and guests Ivan Neville (Neville Brothers), and Marco Benevento (the Duo) among others. Just released, BOG Style has taken the Brotherhood to yet another level of musicianship and foretells the bands likely success as one of the next, major national touring acts. So, join the Brotherhood experience now.Links.