Dirty Dozen Brass Band

Dirty Dozen Brass Band

The Get Right Band

Wed · February 22, 2017

Doors: 7:00 pm / Show: 8:00 pm

$20.00 - $25.00

Tickets Available at the Door

Dirty Dozen Brass Band
Dirty Dozen Brass Band
To describe how the Dirty Dozen Brass Band has arrived at its 35th Anniversary, trumpet player Gregory Davis employs a tried-and true New Orleans-centric analogy: “It ends up being like a pot of gumbo – you drop in a little okra, drop in a little shrimp, you drop in some crabs. Before you know it, you’ve mixed in all these different ingredients and you’ve got a beautiful soup. That was our approach to music early on and it still is today.”

Baritone sax player Roger Lewis — who, like Davis, has been with the combo since its inception in 1977 — echoes that sentiment: “It’s a big old musical gumbo, and that probably made the difference, separating us from other brass bands out of New Orleans. It put a different twist on the music. We were not trying to change anything, we were just playing the music we wanted to play and not stay in one particular bag.”

An appetite for musicological adventure, a commitment to honor tradition while not being constrained by it, and a healthy sense of humor have brought the world-traveling Dirty Dozen Brass Band to this remarkable juncture in an already storied career. To celebrate its 35th, the band is releasing Twenty Dozen, the septet’s first studio release in six years. The new album, cut at the Music Shed in New Orleans, reunites the band with producer Scott Billington, who helmed DDBB’s first major-label release, Voodoo, in 1989. It’s a resolutely upbeat effort that seamlessly blends R&B, jazz, funk, Afro-Latino grooves, some Caribbean flavor, and even a Rihanna cover. Twenty Dozen mirrors in flow and feel a vibrant DDBB live set. The disc reaches an exuberant peak with a medley of New Orleans staples, including a particularly high-spirited rendering of “When the Saints Go Marching In.” The final track – or, as Lewis puts it, “the after-party” – is an audience encore favorite, the ribald “Dirty Old Man,” with Lewis doing an outstanding job in the title role. Twenty Dozen, says Lewis, is “classic Dirty Dozen. It’s got something for your mind, body, and soul. We’re gonna get you one way or another.”

Twenty Dozen is also very much a group effort, with each of the members – Davis, Lewis, tenor-sax man Kevin Harris, trumpeter Efrem Towns, sousaphonist Kirk Joseph, drummer Terence Higgins and guitarist Jake Eckert — bringing original compositions or arrangement ideas to the sessions. It kicks off with the light-hearted funk of “Tomorrow,” segues into the jazzier “Jook” then heads into the party-hearty island groove of “Best Of All.” Billington suggested DDBB cover Rihanna’s “Don’t Stop the Music,” and the group’s reinterpretation is as ingenious as it is fun. The tough, seventies-style soul of “We Gon’ Roll” supplies the most serious moment, as composer Higgins pays tribute to the indomitable nature of his fellow NOLA residents. As Davis – whose own “Git Up” is a smoking jazz workout — explains, “Just about everybody had a song or something they wanted to contribute. As we started to record the songs and listen to them, each song seemed to fit not just with the character of the individuals who wrote them but the character of the band. We are the Dirty Dozen and it’s the overall character of the band that makes the live show work –and that makes this record work. Had we planned to make a certain kind of record, it might not have come out like that. In letting the guys’ voices speak and come out on their own, the album turned out this way.”

The traditional numbers at the tail end of Twenty Dozen serve as a reminder of how the group, since the beginning, has tried to reinvigorate the standards and build a bridge between old and new. Says Davis, “Over the last few years we have been doing a medley that has included ‘Paul Barbarin’s Second Line,’ ‘E Flat Blues’ and ‘Saints.’ It had been going over so well that we thought maybe we needed to capture the spirit of what we’re doing with this medley and put it on a record. ‘Saints’ is one of the most requested songs we do and you have to face the challenge of playing that song so many times. But once you get that started and see the smiles on people’s faces and they start dancing to it, it makes you want to do it a little bit more. In the studio, I was envisioning different scenes from our audiences. I’d remember the reaction I would get attempting to get people up to dance, to do certain steps and follow me. It made it so much fun to remember the faces, the smiles, the body movements of the people. To get them up, to get them sweating — it’s always a pleasure.” Listening to this new “Saints” rendition on disc has the same effect: it’s impossible to remain in your easy chair. Davis considers this and, laughing, imagines a new opportunity for the band: ““Maybe we need to sell this as a work-out CD.”

While traditional numbers infused with a DDBB flavor have always been crowd-pleasing staples of the group’s repertoire, it’s the Dirty Dozen Brass Band’s willingness to look beyond the New Orleans songbook and find connections amongst a wider range of music that has endeared them to critics, fellow musicians and a multi-generational, global audience. They’ve been embraced enthusiastically by the jam-band followers at Bonnaroo as well as by the devotees who flock to the yearly New Orleans Jazz Fest. Acts like the Black Crowes and Widespread Panic have taken them on tour and artists from Dizzy Gillespie to Elvis Costello to Norah Jones have joined them in the studio. In the wake of Hurricane Katrina, DDBB participated in the From the Big Apple to the Big Easy benefit at New York City’s Madison Square Garden and offered its own response to the aftermath of the disaster with an acclaimed 2006 song-by-song remake of Marvin Gaye’s What’s Going On. Their music has been featured on the HBO series, Treme, named after the New Orleans mid-city neighborhood where the band had formed, and the group performed on screen with Galactic and rapper Juvenile in Season 2. New Orleans remains a wellspring of musical inspiration and DDBB is a living, breathing embodiment of the continued vitality and evolution of the sounds of the city.

But, Davis cautions, “We’ve never been the norm, even though we started out as a traditional New Orleans brass band. In the beginning we weren’t getting work of any kind, so we thought it was okay to explore other music. That allowed us as individuals to bring ourselves into the rehearsals and that’s where we started to experiment. At the time the band started, I was a student at Loyola University and we were all being introduced to other music – to jazz from the twentieth century and so on. It’s impossible to think that you can be exposed to the harmonies that Duke Ellington was making, the rhythms coming from Dizzy Gillespie or the funk being done by James Brown, and then ignore it when you’re playing New Orleans music. New Orleans music is all of that. If we had chosen to just put in the music presented to us then as traditional, it would have stunted our growth. Being more than what we heard is what the band was about. “

DDBB enjoyed the opportunity to look back with the 2011 reissue of it galvanizing 1984 debut, My Feet Can’t Fail Me Now, but the hard-working band has little time for nostalgia. For mainstays like Davis and Lewis, 35 years have passed in the blink of an eye, as Lewis, who also sits in with several other NOLA combos, acknowledges: “Check it out – I’m 70 years old, I’m the oldest dude in the band – I’m the oldest dude in everybody’s band, now that I think about it. I don’t know where the time went. I guess it’s just the music, man, you don’t be thinking about all that. I’ve been in it 35 straight years. The reason why the band stayed together for so long, despite all we’ve gone through, it’s the right chemistry. We’re trying to make it do what it do. If we have this conversation when I’m 80, we’ll still be trying to make it do what it do.”

“As we continue to do live shows,” Davis concludes, “the challenge is still going to be, how am I going to entertain these people that are in front of me tonight? You have to make that happen at the moment, and that’s what we do best.”
The Get Right Band
The Get Right Band
The Get Right Band – An Ass Shaking Good Time

One of Relix Magazine's "On The Verge" picks, THE GET RIGHT BAND is "hip-shaking, earthquaking pure funk fun" (The Alternate Root). Combining catchy, clever songwriting with musical expertise and fearless improvisation, the live show promises to make you shake everything you've got. From funk to rock n' roll to reggae, this is a dance party.

Relix called the band "an ass shaking good time" and Martin Anderson of WNCW radio comments that "The Get Right Band is one of those acts that make Asheville's music scene so vibrant and exciting. They lay down some very cool grooves."

The band is built on the musical brotherhood that guitarist/vocalist Silas Durocher and bassist Jesse Gentry have formed playing music together since middle school. Durocher, who is a trained composer and has been commissioned to write for symphonies and chamber groups, possesses guitar chops that can soothe or rage and a charismatic swagger as a frontman and a singer. "Durocher has an impressive range and rich clarity to his vocals—think a more soulful Dan Auerbach," writes Connect Savannah. Gentry's virtuosic bass playing "catapults from elastic to nasty" (The Mountain Xpress). With the addition of Jian-Claude Mears, a powerful and dynamic drummer, the group's sound has become an unstoppable force.

The Get Right Band has been wowing audiences around the country and the Caribbean with their unparalleled live show since their inception in 2011, playing such legendary festivals and venues as FloydFest (Floyd, VA), Music City Brewers Fest (Nashville, TN), All Go West Fest (Asheville, NC), Steppin' Out (Blacksburg, VA), The 8x10 (Baltimore, MD), The Orange Peel (Asheville, NC), The Pour House (Charleston, SC), The Green Parrot (Key West, FL), Skipper's Smokehouse (Tampa, FL), LiveWire (Savannah, GA), The Beach Bar (St. John, US Virgin Islands), and many more. The band has rocked hard and jammed relentlessly every step of the way.

The band released their hotly anticipated new album, Bass Treble Angel Devil, on September 12, 2014. The hour-long juggernaut of high-energy tunes, bold and witty lyrics, and adventurous production approach has listeners singing along and shaking their booties from track one. The album is gaining traction on college and independent radio stations nationwide and is being lauded for its "infectious, danceable blend of funk, rock, reggae and just plain unique sounds" (Augusta Chronicle).

The Get Right Band's debut CD, Shake, was released in February, 2013. Hittin' The Note Magazine says the disc is "fun, full of energy and excitement, and should be listened to with the volume turned all the way up." The rock n' roll album features stripped down but creatively layered and produced performances of the band's original tunes. It's "groove with rock melodies built on funk attitudes," says The Mountain Xpress. From the seductive blues of "Voodoo Doll" to the dance party vibe of "Chromaticize" to the Caribbean influenced "Touch The Holy," (inspired by the band's Caribbean tours) Shake's "impressive stylistic range manages to all fit within the band's distinctive image" (WNC Magazine). The Grateful Web writes that the disc is a "tasty mix of hip-swinging selections that leaves the listener thirsty for more."

The members of The Get Right Band have played with many of the East Coast's greatest acts, including Laura Reed and Deep Pocket, Woody Wood, Josh Phillips, The Artimus Pyle Band, Scrappy Hamilton (now Truth & Salvage Company), Afromotive, and Royal Trux (Virgin Records), and have shared the stage with national acts such as Galactic, Victor Wooten Band, Mike Dillon Band, Jeff Sipe Trio, Yo Mama's Big Fat Booty Band, Jeff Coffin's Mutet, Larry Keel, and Bobby Lee Rodgers.
Venue Information:
Capital Ale House Music Hall
623 E Main Street
Richmond, VA, 23219
http://capitalalehouse.com/