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In its continuing celebration of 60 years of producing and recording Americas finest art form, Blue Note Records has dove into its vaults once again. This time around, Blue Note celebrates not only the music, but also the men behind the music. In addition to Blue Note owners Alfred Lion and Francis Wolff, the man synonymous with Blue Notes behind the scenes sound production was Rudy Van Gelder. Gelder was introduced to Blue Note Records owner Alfred Lion by saxophonist Gil Melle, who was both the graphic artist for many of Blue Note album covers and a frequent session man, in October of 1953. Soon after this fateful meeting, Rudy Van Gelder became Blue Notes #1 sound engineer. In the beginning, Van Gelder recorded music in his parents living room when he had free time from his optometrist business in Hackensack, New Jersey. During the summer of 1959, Van Gelder retired from the fixing eyes trade and focussed full time on the music business. Coinciding with his newfound dedication, Van Gelder also moved to Englewood Cliffs, New Jersey where he would record with some of jazzs greatest artists.
Van Gelders handiwork can be heard on hundreds of Blue Note albums as well as many other labels releases. What made Van Gelder stand out above other engineers was his ability to create a full and robust sound. This was accomplished by the strategic placement of the various instruments within the studio. In comparison to live performances, where the musicians were cramped on small stages, Van Gelder had the luxury of being able to precisely place the sounds where he wanted them. The end result was the music that would eventually become the "Blue Note sound."
Examining Van Gelders work is like flipping through a modern jazz encyclopedia  so many artists and their music has passed through the studios of Van Gelder. Blue Note and Van Gelder have joined up once again and re-mastered some the most memorable recordings from the 1950s and 1960s. These albums are Sonny Rollins Volume 2, Cannonball Adderlys Something Else, Larry Youngs Unity, McCoy Tyners The Real McCoy and Horace Silvers Blowin The Blues Away. In the first five re-mastered albums by Blue Note/Van Gelder, there is an amazing representation of music and musicians. Instead of looking at the recordings session by session, lets look at the players and their instruments who assisted Van Gelder in his quest for musical perfection.
The most symbolic instruments of jazz are the instruments that comprise the brass section, which seem particular to the jazz idiom. This is best exemplified by rock and roll bands of the 1960s such as Blood Sweat and Tears and Chicago. Simply based on the fact that these bands had a horn section, they were considered "jazz-rock". When in actuality, they were rock bands with a horn section.
In these albums, the horn sections, which are also known as the "front line" for they stand in the front of the band, are represented by the trombone, saxophone and trumpet. The saxophone, invented by Belgian Adolphe Sax in the mid 19th Century, seems to be the most popular of these instruments. Over the years, legendary performers such as John Coltrane, Coleman Hawkins and Charlie Bird, have brought the saxophone to extraordinary fame These Van Gelder re-masters feature the work of the great Sonny Rollins, Cannonball Adderly, Joe Henderson and Junior Cook. Both Rollins and Adderly made significant impacts as sidemen for Miles Davis but for these sessions, they are featured as leaders. Joe Henderson, who blows away on The Real McCoy and Unity, was a great Blue Note session man who played on additional classic albums by Horace Silver, Herbie Hancock and Lee Morgan. Junior Cook, the featured saxophonist on Horace Silvers Blowin' The Blues Away, started his career with Dizzy Gillepsie but would spend most of his career as a sideman and only recorded as a leader sporadically. While Cook, Adderly and Rollins remain true to the modern jazz style, the great Joe Henderson shows sign of both the avant-garde and fusion on his playing on Larry Youngs Unity and McCoy Tyners The Real McCoy.
The trumpeters are represented by the great Miles Davis, who makes a rare appearance as a sideman with Cannonball Adderly (Adderly was a member of Davis band at the time); Blue Mitchell, who appears with Horace Silver; and the 20 year old Woody Shaw who contributes 3 compositions to Larry Youngs album. In listening to Davis, you hear the laid back tone that he was developing throughout the 1950s and 1960s. As for Blue Mitchell, he gained popularity with his 1973 funk-rock album Graffiti Blues so it is interesting to hear him solely as a bop soloist. The influence of John Coltrane can be heard all over Woody Shaw especially in his composition "The Moontrane". The sole trombonist of these albums is J.J. Johnson who plays on Sonny Rollins Volume 2. There couldnt be a better representative for Johnson was one of the primary forces responsible for introducing the tenor trombone to modern jazz.
The rhythm sections or the "back line" for these albums are anchored down by some classic combinations. On Horace Silvers session as a leader, he is joined by Louis Hayes and Gene Taylor. Taylor, a journeyman bassist/pianist for the last 40 years, was the bassist of choice for both Silver and trumpeter Blue Mitchell. Similarly, Louis Hayes has remained a sideman most of his years but he has played many of the great players mentioned in these pages such as Horace Silver, Cannonball Adderly, Junior Cook, Woody Shaw and McCoy Tyner.
Although a longtime member of Tyners bands, Louis Hayes did not play on Tyners The Real McCoy. For this session, the ex-Coltrane pianist recruited fellow ex-Coltrane drummer Elvin Jones. In addition, Tyner brought in Miles Davis longtime bassist, Ron Carter. The combination of Tyner, Carter, Jones and Joe Henderson makes for a truly spiritual album.
Elvin Jones and his energetic drum playing was in high demand throughout this era. In addition to the aforementioned Tyner album, Jones also played drums for Larry Young; the lone organist of these Van Gelder re-releases. Young, who made influential fusion recordings with Tony Williams, John McGlauglin and Miles Davis throughout the 1960-1970s, shows early signs of his innovation on Unity. Young brought in Jones to help create the organs answer to Coltranes saxophone playing. Instead of the dominating organ sounds popularized by Jimmy Smith, Young preferred to use the organ as a tool for creating texture. As a result, all of the instruments are equally heard on Unity and there is stress on the overall sound of the album. Not only was Youngs distinctive playing style responsible for this sound, but Van Gelders techniques as well. Interestingly enough, no bassist was used for this recording as Young could assume these responsibilities with the multi-purpose Hammond B-3.
Elvin Jones oldest brother, Hank Jones, can be heard playing the piano on Cannonball Adderlys Something Else and he is joined by the unrelated Sam Jones on bass. The drumming for Cannonballs album is anchored by the high spirited Art Blakey whose drumming has inspired generations of jazz fans. When Blakey wasnt banging away as a sideman, he was leading the way with his Jazz Messengers.
Blakey, along with fellow Jazz Messenger, pianist Horace Silver, also sat in for the all-star session for Sonny Rollins album. Pianist Thelonious Monk shows up for two ballads on the album and Monk and Silver trade solos on the two Monks originals. It is great to hear the two remarkably different but equally innovative playing styles on one session. While Monk played his trademark yet unconventional linear, asymmetrical approach to piano improvisation, Horace Silver showed signs of his well-deserved moniker of "Father of the funk." The youthful Paul Chambers, who spent time playing with Miles Davis, caps of the talent for this special session.
As we can see, these Van Gelder re-masters are a simultaneous celebration of both the musicians and the men who helped along the way. As you listen to these albums and their all-star casts, you come to realize the relationship that developed between art and technology. The musicians on these albums would have sounded great in a small cubicle but thanks to the work of Van Gelder, these recordings are levitated from great to fantastic.
"We are forced to be energetic -you can't fake the funk.". These were the words spoken by Deep Banana Blackouts guitarist Fuzz. His comment derives from his belief that no matter how tired a band member may be, they possess an inherent passion for the funk. Once these groove porters take the stage, very little can stop the band from putting on a high-energy performance. For three nights this weekend at Mount Snows Snow Barn, there will be no artificial vibes occurring. From the opening chords on Thursday night to the closing riffs on Saturday night, Deep Banana Blackout will provide the fans of the 2000 Winter X games with 100% Grade A Funk.
"I think the thing is that our music generates a lot of energy, and even if we were 50 year olds trying up there trying to produce this music, it would carry itself. It comes across as energetic," Fuzz continues, "even if we are not as energetic as we could be, the music pushes us. It is kind of second nature too. One of us has to go on autopilot to get us through the night that is possible. I think we have done it so much."
Fuzz, born James Sangiovanni, is just one component in the overall sound known as Deep Banana Blackout. This Connecticut based octet draws on every type of funk available to the human ears  the ensemble grooves of George Clintons Mothership, the show stopping performances of James Brown and Maceo Parker, the powerful, soulful gospel influence of Chaka Khan or Irma Thomas, the party till you drop New Orleans spirit of the Rebirth Brass Band or Dirty Dozen Brass Band, the headhunting textures of Herbie Hancocks jazz-funk and House of Pains hip-hop dancehall oomph. Fuzz is joined by Jennifer Durkin on vocals, Rob Somerville on tenor and soprano saxophone & vocals, Rob Volo on trombone, guitar & vocals, Benji LeFevre on bass, Cyrus Madan on organ, Johnny Durkin on percussion and Eric Kalb on drums. Together the draw on their collective influences to create one of the hottest live shows to be heard in the northeast.
"There are nights, especially when we are on the road, there is at least on of us that is not putting out the energy that is expected. Since there is so many people in the band, it can be really carried by everybody else. When I am not having a good night, I can really feel it. I always feel like it is really obvious, but people come to me and say You guys kick ass."
Since forming during the Simmer of 1995, Deep Banana Blackout has released two albums (1997s live album Rowdy Duty and their debut CD Live in the Thousand Islands), and has toured endlessly throughout the United States. Every step of the way, thanks to live tapes and word of mouth, Deep Banana Blackout has developed a huge fan base known as the "Funk Mob" who come out night after night to get down and dirty with the band.
In addition to the two Deep Banana Blackout albums, Fuzz recently released a solo album named BGock. His band for this album, known as "On the Corner with Fuzz", originally came together as a jazz trio consisting of Fuzz, drummer Dave Shuman and bassist Marc Balling but it quickly mutated into something much larger. Fuzz comments: "The band is a trio; but as far as what is on the disc, there is a horn arrangement on pretty much every tune, keyboards on just about every tune, there is a lot of percussion and a lot of turntable work." BGock features guest musicians such as part-time Medeski, Martin and Wood member DJ Logic (turntables), Sun Ra and Kool and the Gang alumnus Michael Ray (trumpet), keyboardist Nate Wilson of Percy Hill and Dean Bowman of the Screaming Headless Torsos. The album is also supported by Deep Banana Blackout members Rob Somerville (sax), Rob Volo (trombone), Cyrus Madan (keyboard) and Jen Durkin (vocals). Fuzz quips: "It is all very in-bread". In comparison to the hard driving funk of Deep Banana Blackouts albums and live shows, BGock has a slightly jazzier flare to it. This fact is highlighted by covers of songs by legendary jazz artists like Charlie Parker ("Bloomdido"), Charlie Christian ("Seven Comes Eleven") and Wes Montgomery ("Four On Six"). To complement the jazzy tracks, there is also some "traditional" Deep Banana Blackout songs such as the title track as well as some New Orleans grooves such as "Good For Nothin".
If one thing needs to be made certain, it is that the sounds of both BGock! and Deep Banana Blackout is the sum of many. Fuzz may be the focus of this article, but we cannot forget that he partakes in ensemble projects. With Deep Banana Blackout, his guitar playing and singing is a vital part of their sound but far from the dominating aspect of the band. Jen Durkins voice, the fantastic horn arrangements (including an occasional tuba) and the tight rhythm section are all essential facets of the Deep Banana Blackout phenomenon. The same thing can be said about BGock! Fuzz explains, "We didnt even know what to call the album. I wasnt going to call it Fuzz. The other two guys that I did with were just as much a part of it as I was. I took the reigns on a lot of stuff in planning it, composing it and arranging it. It was the three of us who got together with the original concept so I wanted to include them in as much as possible." Before the creation of the album, Shuman and Balling were in a band called "On the Corner". The band played jazz and fusion, so the association to Miles Davis is most likely accurate. "Since they called themselves "On The Corner" and I am Fuzz, it seamed pretty logical to call it "On the Corner with Fuzz". It made sense. It was the most diplomatic and sensible thing to do."
During the weeks leading up to Deep Banana Blackouts three-night stand at the Snow Barn, the band experienced some well-deserved and rare vacation time. At least that is what their publicist said. In reality, Fuzz as well as the other band members have been pretty busy. "I wish I could actually take a vacation. I think the only way that I could actually take a vacation is to go away." In addition to answering a long list of phone messages, Fuzz has been busy playing with his BGock band as well as playing with DJ Logics Project Logic and another side band known as the Sugar Porn Cops (with members of the Ominous Seapods and Moe). Even though he is busy with these side projects, Fuzz never loses sight of his musical aims. "I try to work on new music for Deep Banana Blackout. There is a lot that needs to be done there. I cant keep my eyes off the ball."
The music from BGock and the music of Deep Banana Blackout are not two separate entities. Besides the fact that there is quite a personnel crossover between the two groups, the songs from BGock make into the Deep Banana Blackout repertoire. As aforementioned, BGock has a jazzy feel to it, but Fuzz can never escape the funk. "I always feel like that everything effects everything else. We (Deep Banana Blackout) actually plays one of the songs from the album  the title track. We play that regularly. The album is considered a jazz album but it is pretty funky too. That is the one song on the album that is straight-ahead funk-rock. It has a P-Funk edge. At this point, the more that some of us do outside the group, we can pull that in and influence the band. That is a good thing because I think we want to be keeping it always fresh for the audience. I like to think whatever we do, whether it be "some of us" or "one of us" or "all of us", it is always going to be good and entertaining for audience."
On stage, Fuzz is quite a sight. Evoking both the musical grooves and visual imagery of George Clintons Funkadelic, one can usually find a shirtless Fuzz laying down vicious riffs with his big hair serving as a beacon of funk joie de vivre. With this look, the initial reaction is that Fuzzs nickname arrived through associations with his hairstyle or the sounds emanating from his guitar. In reality, the nickname came to be when Fuzz was eight years old. "I had been playing street hockey on the block with a couple of kids. On of the kids older brothers, who was 12 or 13, used to hang out and antagonize us. He made up all of these nicknames for us but mine was the one that stuck for life." Fuzz adds, "By the time I got out of high school, there was nobody that was calling me James. Except for my mother." As for playing with a fuzz box or fuzz pedals, Fuzz keeps his guitar antics traditional: "I never used the fuzz sound. I never liked the sound of a distortion box. My distortion comes right from the amp."
Fuzzs youth activities were only a playing hockey. When listening to either a smooth jazz solo on BGock or a pounding chord at a Deep Banana Blackout concert, it is more than obvious that the guitar is his true love. As with any talented musician, Fuzz is a man of influences. Through both Deep Banana Blackout and BGock, it is east to hear that Fuzz derives his playing style from a diversity of inspirations. Here is what Fuzz has to say about some select musicians:
"Wonderful guy. That is the first thing that comes to mind. He is one of nicest people that I have ever met. He is also great to work with. He is there to enjoy the music and have a good time. And what he is doing musically is pretty amazing. He has a great sense of rhythm. He knows exactly what to put in. He has great sense of what fits with the music. He is like having a keyboard player on stage who has great ears that could fall in any place and know where the music is heading. He has good great insight and instinct."
"He is one of the best guitar players of the century. At his worst, he was still flowing with musical ideas. First of all, he had a totally unique style of playing - his approach to playing guitar with his thumb and octaves. Regardless of that, like any other jazz musician, he sense of melodic phrasing and sentencing is just amazing. His solos seems to have a big picture and then little individual pictures. They work as a whole thing."
"I am not as familiar with his style as I would be with Wes Montgomerys only because I never studied him. I did get to work with him though. He is very intense guitar player. I like what he is doing in the sense he is trying to push things in a new direction. His sense of harmony is pretty amazing. He doesnt jus play your usual major and minor triads. He has very complex atonal harmonics. He has great technique. He is like Steve Vai meets Stravinsky."
"I actually got to jam with the Red Hot Chili Peppers because I auditioned for them one time. When they were in one of their "I dont have a guitar player phases." I think they are great. Flea is a superb musician. I will start with that. The other guys are great to. Chad (drummer) is real solid and he has a great backbeat. Getting to play with those guys was pretty amazing. Especially at the time because I was really young. They had real energy. What they are doing for funk is real good. I am not as into what they have done recently with their last two albums as I am with The Uplift Mofo Party Plan, Mothers Milk and Blood Sugar Sex Majik. They took funk to another level. The grooves are great and guitar is great. John Frusciante. I think he was a real unique guitar player. He knew his funk and he head this whole other psychedelic side to him. Anthony Kiedis doesnt blow me away. I think he is great front man and he has great lyrics. I dont think he is much of a vocalist but he has a good vibe. His voce sounds cool for a rap. I guess the problem is that lately he is trying to sing more. I dont think that is what he is cut out for. I think he is much better for a crazy punkish rap kind of thing."
Frank Zappa is thrown in as one of the centurys important composers and artists  Lennon Ellington, Stravinsky. Here is guy that was putting a joke on the world. He was saying that I can do everything. If I want to be goofy and silly at times, I can do that. If I want to be complex, dark and serious, I can do that. He had an amazing sense of orchestration. He had a very satirical side of things too. His compositions were almost schizophrenic "Im here, now Im here, now Im here" He had too many musical ideas at once. He had a hard time containing it all because it wanted to put it all into one composition.
The life of a live band in the northeast is a long and arduous journey. From playing dives to a handful of people to selling out New York Citys Wetland Preserve, Deep Banana Blackout has enjoyed a steady rise from local buzz to regional favorite. Although the big cities tend to be the main draw for Deep Banana Blackout, the band still likes to play near the mountains. Fuzz comments: "I like playing the ski areas, but it used to be different. One of the first times we played at a ski area, lets say the Wobbly Barn (Killington), we played to a bare crowd. Sometimes they are not into what we are doing because some of ski crowds are just there to party. They want to hear familiar covers or they want to hear Top 40. In a club in a city, they go out to just hear the music."
Fuzz believes that the music of Deep Banana Blackout is for everyone. "In a ski town, the people are there to ski. You dont know if they are at the bar to hear music or just go out and party. I like to think that we are a band for both occasions. We are a good band that you can go and check out or simply party to. Which is fine by me. I want everybody to party to our music. As long as they are into the music, I am fine." In recent years, playing the ski areas have been increasingly enjoyable for the band. As they have become more popular, their fans make the journey with the band. As a result, what started off as a gig at a remote bar, turns into a whole gala affair. Fans and musicians alike hit the slopes, enjoy music and party all weekend long. "In a lot ways, playing ski areas is better because our friends and fans come up to make a weekend out of it, " Fuzz adds, "the party never ends."
Even though Deep Banana Blackout is lumped into a very large musical category known as "Jam Music", their music surpasses the genres stereotype. Their music covers a large range of styles that vary from soft and melodic to cacophonous and hard driving (but always funky!). For many 2000 Winter X game fans, who may have penchant for the sounds of Limp Bizkit, Korn or 311, they should not be detracted by the "Jam Band" stereotype, for Deep Banana Blackout can incite any crowd to a dance frenzy. "We have so many different styles which is good because we usually rise to the occasionWe can make our set a little harder rocking or heavy than it would be like, lets say jazzy or Latin. When we are at the X Games, we will probably be geared towards some more of our hard rocking stuff than we would at Jazz Fest."
"I could go all night just rocking out. Here I am talking about Wes (Montgomery) and (Frank) Zappa, two guys that were flowing with musical ideas. That is something I look up to and try to achieve. I like to always, on the spot, to have a new thing to come up with. Ben, our bass player, has gotten really good at latching on to new ideas. I could bust into a riff that sounds like a Rage Against The Machine type thing or a P-Funk thing and he will be right there with me. He will jump on it and we will get on it. That can happen at an given moment  in the middle of a song or in the middle of a solo session." Fuzz adds, "Just as much as I like to the jazz stuff, I was a Black Sabbath fan. I can do all that to. They (the audience) are not going disappointed. Whatever we do, they will happy with it."
If I were you I would take Fuzzs words of wisdom as the gospel and make it over to the Snow Barn. Once the games are over, give BGock or the two Deep Banana Blackout CDs a listen. You can find them at www.deepbananablackout.com.