| DAVID L. BALLOU, trumpet & flugelhorn |
© Jacky Lepage
Dave Ballou is a versatile musician. With his vast
knowledge and love of all things sound related he creates music of many
different influences. As a recording artist for SteepleChase records one can
hear his interest in the jazz vernacular and the concepts of collective
improvisation. Dave's improvisational skills are also well represented as a
member of Mat Maneri's Quintet, Denman Maroney's Fluxations, Michael Formanek's
Northern Exposure and Kevin Norton's Change Dance. His work with Maria
Schneider, Andrew Hill, Dave Leibman and Kenny Wheeler's Large Ensemble in NY
show Dave to be an inspiring soloist, adaptable lead trumpet player and a
supportive section player. Most recently he has joined and recorded with the
bands of Rabih Abou-Kahlil (The Cactus of Knowledge) and Don Preston (Akashic
Ensemble). These ensembles offer an opportunity for Dave to explore the worlds
of world music and ambient sounds. In his work with the Akashic Ensemble, Dave
has begun to explore the possibilities of using electronics to manipulate his
trumpet's sound. Dave has performed Bach's Brandenberg Concerto #2 with the
Bella Musica Orchestra of NY, Larry Austin's Improvisations with the Boston
Modern Orchestra Project, and Gunther Schuller's Journey into Jazz with the
Spokane Symphony and BMOP.
Born April 22, 1963, in Peace Dale, Rhode Island, Dave
was drawn to the trumpet at age 11. He was excited by the sounds of jazz
trumpeters Clifford Brown, Woody Shaw, Maynard Ferguson and the Thad Jones-Mel
Lewis Orchestra. His early studies of the trumpet were with RI trumpeter Julio
Tancredi. Dave began working gigs at the age of 16 playing society gigs in the
mansions of Newport, RI.
After brief study at the University of Rhode Island,
Dave attended the Berklee College of Music. There he studied with Herb Pomeroy,
Greg Hopkins, Jimmy Mosher and Greg Fritze. He graduated in 1986 with a
Bachelor of Music-Magna cum Laude.
Tours with the big bands of Tommy Dorsey (led by Buddy
Morrow) and Woody Herman (led by Frank Tiberi) followed studies at Berklee.
Dave then attended the University of New Hampshire and received a Master's of
Art¼s degree in 1992. At UNH he came under the influence of the jazz great
Clark Terry.
He worked many types of gigs in the Boston area during
and after his studies at UNH. During this time he also studied and performed
with Hal Crook, Jerry Bergonzi and George Garzone. Dave was also a member of
the bands Orange Then Blue and the Either/Orchestra.
In 1994 Dave moved to New York City. Seeking a
community in which he could grow as an artist and be surrounded by like-minded
musicians, Dave settled into Brooklyn and took part in the vibrant scene there.
In NY Dave has become quite busy playing Broadway shows, recording sessions,
many jazz concerts as well as opportunities to perform with some of his heroes:
Joe Lovano, Sheila Jordan, Joe Maneri, Tim Berne, Billy Hart and Dave Liebman.
Dave currently teaches trumpet performance,
improvisation and composition privately. He has been a faculty member of the
Maine Jazz Camp since 1992; was a member of the Banff Center for the Arts Jazz
program from 1999-2000; and Manhattan School of Music's Workshop in Europe for
the years 1996-1997. He has been an Artist in Residence at Georgia State
University and Amherst College.
Dave continues his studies of theory and counterpoint
with Paul Caputo and Joe Maneri. Current trumpet studies are with Vince
Penzarella and Laurie Frink.
Dial E The Either/Orchestra (Accurate, 1987)
While
You Were Out Orange Then Blue (GM,
1994)
Casa Corazon Mili Bermejo (Green Linnet, 1994)
Singularity
Rob Levitt Group (Brownstone, 1994)
Creature of Habit Brian Ales (Intuition, 1996)
In
The G Zone Steve Grover (SGM, 1996)
Jam Session VOL. 5 Wendholt/Anderson/Ballou/Gisbert/Laverne/Drummond (SteepleChase, 1997)
Oceans of time Billy Hart - as co-producer (Arabesque, 1997)
Vocalise Judi Silvano (Blue Note, 1997)
Southwind Satoko Fuji (Leo Lab, 1997)
Dangerous
Place Duke Robillard Bant (Pointblank, 1997)
When Children Smile Steve LaSpina (SteepleChase, 1998)
Purple Ken Schaphorst (Naxos, 1998)
The Window Up Above Tom Varner (New World, 1998)
Swimming Tom Varner (Omnitone, 1999)
Across the Omniverse The
Either/Orchestra (Accurate, 1999)
Amongst Ourselves, David Ballou Quartet (SteepleChase, 1999)
Tenor Tantrums George
Schuller (New World, 1999)
Hold the Elevator Orange then Blue (GM, 1999)
Jo Satoko Fuji (Buzz, 1999)
Large One Peter Herborn (Jazzline,
1999) Beauty Secrets Kenny Werner
(BMG, 2000)
Double Take Satoko Fuji (East Works, 2000)
Volition David Ballou Trio (SteepleChase, 2000)
The Floating World, Dave Ballou Quartet (SteepleChase, 2000)
Sometime Ago Mark Murphy (Highnote,
2000)
Allegresse Maria Schneider (Enja, 2000)
Topaz
Under Moon Jeff Raheb (Topaz, 2000)
On
this day Dave Ballou Quintet (SteepleChase, 2001)
Second Communion Tom Varner (Omnitone, 2001)
The Cactus of Knowledge Rabih
Abou-Kahlil (Enja, 2001)
The Bounce Steve LaSpina (SteepleChase, 2001)
Change
Dance troubled energy, Kevin Norton
Quintet (Barking Hoop, 2002)
The Music of Eric Dolphy Harold Danko (SteepleChase, 2002)
Rothko Dave Ballou Quartet (SteepleChase, 2002)
Fluxations Denman Maroney (New World, 2002)
Andrew Hill - A Beautiful Day (Palmetto, 2002)
SteepleChase Jam Sessions - Volume 5 (SteepleChase, 2003)
Steve LaSpina - Remember When (SteepleChase, 2003)
Donít Go It Alone Daniel Levin Quartet (Riti, 2003)
Here
And How! Cameron Brown and the Hear and
Now(Omnitone/Jazzíhalo, 2003)
Beyond
The Line Dave Liebman Big Band (Omnitone, 2003)
Dancing Foot Dave Ballou Quartet (SteepleChase, 2004)
George Schuller - Jigsaw (482 Music, 2004)
Satoko Fuji - Blueprint (Natsat Japan, 2004)
Michael Musillami - Dachau (Playscape, 2005)
Dave Ballou Quartet - Regards (SteepleChase, 2005)
John Hollenbeck - A Blessing (Omnitone, 2005)
______________________________________________________________________________________________________
Interview with Dave Ballou by Jesse Neumann
Reference and Research in Jazz, E85.1121-001
Dr. David
Schroeder, 16 December 1999
"Some
people think Don Cherry is ëfaking ití. I say, ëfaking what?í"
"If you take a drop of water and drop it into the ocean, what happens to the
drop of water? We are all only a small part of a much larger reality - there is
no separateness. But itís all just a bog joke too! Weíre here, so we make
music."
David Ballou, November 7, 1999
© Jacky Lepage
Dave Ballou makes music from any given situation. He is a fearless
improviser, in the most true sense of the word. His spontaneity refuses the
physical ëlimitationsí of the trumpet; his melodies defy conventional
chromaticism. His improvisations eclipse jazz clichÈs, developing instead
around awareness and communication. He is one of too few musicians today whose
contributions are not simply pre-conceived ëavant-gardeí aesthetics, but
natural and original extensions of the jazz tradition.
I have enjoyed hearing Dave in a variety of formats. He is a valuable addition
both on an ensemble and improvisatory level, to the Maria Schneider Jazz
Orchestra. His trio (with bass and drums) sounds like double that. The ensemble
thoroughly exploits every groove and timbre, while the musicians/compositions
never fall into predictable roles/patterns. Once, at a quartet gig, an
automotive breakdown resulted in an impromptu but extraordinarily fresh and
spirited hour of trumpet/bass duo. And just recently I witnessed a rare but
imaginative treat: a trio of trumpet, tenor/soprano sax, and drums, whose
captivating interplay and sensitivity recalled that of a glorious chamber work.
In all, he is a deeply talented artist whose musicianship is complemented by a
variety of intelligent insights. It was a pleasure and a privilege to interview
him at his house in Brooklyn NY, where he lives with his wife and two dogs.
Dave Ballou was born on April 22, 1963, into a working class family in southern
Rhode Island. His grandfather owned and operated the local grocery store, and
his father was an electrician (as is his younger brother). Daveís first and
foremost musical influence was his older brother, a drummer. However, when in
5th grade and asked to choose an instrument, he quickly realized that mom
wouldnít allow two drummers in the same household. Dave recalls that he made
his second choice, the trumpet, because "I was into ëF-Troopí and I really
identified with Dobbs! "
By the 7th grade, motivated by the desire to join his brotherís cover band, he
began taking lessons. While most of his peers participated in sports, Dave
dedicated his time to the trumpet. He enjoyed listening to trumpet players in
popular bands like Earth Wind & Fire and Kool ën the Gang. Through records
his brother brought home from the high school, Dave was introduced to the
exciting technique of Maynard Ferguson and intrigued by Clifford Brownís
sophistication. A major turning point came when he received a copy of Woody
Shawís Woody Three for his 15th birthday. "Maynard was cool because he could
play high notes, but this [was some] other stuff ... for some reason I knew
that there was something in there I needed to understand."
Dave recalls that (in the light of the conservative nature of his town and
family), Woody Shaw satisfied his need for adolescent rebellion. While most of
his [all male]Catholic high school would rather have seen him on the track
team, Dave played in the school band, and was already developing the idea of
becoming a professional musician. "I had [from my family] instilled in me a
work ethic to make a living and be responsible. I couldnít see any way of doing
that with the high-jump! " He began
studying with the principal of the Rhode Island Philharmonic, Julio Tancridi, a
man who Dave says taught him a tremendous amount about both trumpet and
teaching itself for over 8 years.
Dave enrolled at the University of Rhode Island where he pursued a music
education degree with a specialization in jazz for two years. But without
question, the largest portion of his education was to be gained from a resident
piano trio of older students. After being the "top dog" in high school, this
was the first time Dave had been exposed to improvising musicians, and the
sobering fact that he himself had not been very musical up to this point. The
trio of students he encountered practiced all the time, and after sitting in a
few times Dave realized that even though they were way above his head in terms
of musical sophistication, they were straightforward and helpful in their
criticism toward the young trumpet player. They urged him not to copy styles
and prominent musical figures, but rather to incorporate their feeling into his
own playing. They hipped him to records, and how to listen. They encouraged him
(despite his initial reaction of, "Miles ... what the fuck, he clams every
note! ") to check out Kind Of Blue (from which he
later transcribed everything Miles played) and Four And More/My Funny Valentine
(which, by his own admission, he had no clue as to what was going on!) Once
again, Dave simply had to figure it out, and he carried around a walkman
constantly. All in all, Dave cites the trio as a major influence on his
development at that time. "Those guys were really trying to find a creative
path."
Dave heartily agrees that Miles, perhaps the single most important and obvious
influence on any modern jazz musician - let alone a trumpet player - was his
first real influence. "Miles was the whole reason for trying to get into
this. I would listen [to his band] and follow the lines and try to anticipate
what note was going to come next. For the most part I had no idea about what
was going on, but it was easy to latch onto [his sound] ... I could hear Miles." Needless to say, the resonance of Miles Davis would
deepen exponentially as Daveís own musicianship continued to grow. However,
when asked about the jazz pioneerís varied explorations of style and sound,
Dave surprisingly but not uncharacteristically dodged the proverbial ëphrases
of Milesí debate. "Miles never stopped being Miles. I donít think he ever
consciously changed direction; he played in the bands he was in, and simply
went with what was happening. Itís not important to me to follow the evolution
of Miles, itís just important that he did it."
During this time Dave was also exposed to [via WGBH jazz radio from Boston] a
variety of avant-garde improvisers such as Muhal Richard Abrams, Don Cherry,
and Anthony Braxton. He admits wholeheartedly to complete puzzlement upon first
listening of many of these artists - a confusion that was luckily accompanied
with driving curiosity. "You do everything you can to try to find out what
it is youíre missing ... I had to try to find out how to get there and hear it.
" Dave would later look back on many of
these artists (Prnette, Dewey Redman, Ed Blackwell, Coltrane, and Albert Ayler
amongst others) as the more important influences on his long term development.
They, along with an almost exhausting canon of musicians who bend the notions
of tradition towards the experimental (including Louis Armstrong, Lester Young,
Roy Eldridge, Bird, Dizzy, Fats Navarro, Clifford Brown, Booker Little, Kenny
Dorham, Chet Baker, Freddie Hubbard, Kenny Wheeler, Tom Harell, Joe Maneri,
Dave Liebman, Joe Lovano, et al) exemplify the brilliance of the spontaneous
moment and find the music within it.
After two years and 72 credits, the University of Rhode Island informed Dave
that they were not actually accredited to teach the program he had been
pursuing. He quit school in December 1982 and for the next year worked odd jobs
(including making pizzas and putting bodies in the morgue at a local hospital)
to save up money. Still practicing and studying, Dave was totally convinced of
two thins: he wanted to play and he wanted to get out of Rhode Island. In the
fall of 1983 he enrolled in Berklee. At the time, the electronic/production
side of the music industry had drawn attention away from the schoolís acoustic
instrumental programs. And although they took virtually no credits from U.R.I.,
Dave got to play lead in just about any ensemble he wanted. He got to know
[trumpeters] Herb Pomeroy, Greg Hopkins, Jeff Stout, and studied extensively
with George Garzone (whose band, The Fringe, would provide weekly
entertainment/inspiration) and Tim Hagans (who became Daveís unsuspecting
mentor for years). Dave recalls that had he gone to Boston right out of the
high school, he would not have gained nearly as much from the experience as he
did after two years of theory and ear training. "I played 8 hours a day, was
influenced by [great musicians], and made musical and personal contacts that
remain to this day. "
After Berklee Dave had a short term day gig, before he was picked up to go on
the road with the Tommy Dorsey band. Starting at 4th trumpet, by the end of the
9 month tour he was playing 2nd trumpet/split lead. He then joined Woody
Hermanís Thundering Herd playing 2nd trumpet/split lead for another 9 months.
There he met trumpeters Greg Gisbert ("a natural jazz improviser ") and Tony Kadleck (who he reveres as one of the
greater lead trumpet players around. ("Tony makes all right choices, al the
time. ") After almost two years of "workhorse"
touring, Dave returned to Boston, day-gigging at a grocery store. ("I was
stocking shelves ... I used to practice [the trumpet] in the car on my breaks.") He was then invited to the University of New
Hampshire, where as an assistant to the music program he earned a masters
degree and got to know Clark Terry.
He moved to New York in 1995. Since then he has continued to earn his living as
a trumpet player, doing club dates, Broadway work, as well as a wide variety of
thoroughly inventive and creative jazz projects. He subs regularly in Maria
Schneiderís Jazz Orchestra (a gig to which he was recommended by Hagans, and
which he shares with Gisbert, Kadleck, and another long time mentor Laurie
Frink), has recorded with SteveLaSpina, Orange Then Blue and Tom Varner, leads
his own groups which have included Tony Malaby, Billy Drewes, Matt Maneri, Mark
Helias, Cameron Brown, Mark Dresser, Jeff Williams, Billy Mintz, Randy Peterson
and Tom Rainey. He has released trio and quartet discs under his own name, and
has just completed a European tour with Mike Formanek and Jim Black.
Despite his active role in a circle of master improvisers, Dave is clearly no
stranger to the practical and financial difficulties of his profession. He
makes a living solely as a trumpet player now, studying during the day and
paying the rent with nightly club dates, Broadway work. But the contrast
between his humble and solid work ethic and his brilliant insights into the
geneses and ramifications of all kinds and ways of music are striking. Dave
maintains first and foremost that as a professional musician, "You do what
you have to do. Sometimes I feel sorry for myself that Iím not only playing
ëcreative gigsí, but then I feel very lucky that I can play the trumpet for a
living. Itís a day to day thing. " He
notes that having the horn on his face, and having to perform every night
forces him to remain physically and emotionally prepared. He is also grateful
for to his past aspirations of becoming a [versatile] studio trumpet player,
for they required he learn a wide variety of skills along as well as
improvisation.
As a sideman, Dave admits that due to the broad assortment of jobs he plays, he
sometimes reads the situation wrong. "Iíve been hired for gigs where I
thought they wanted me when they really just wanted a trumpet player, and vice
versa. " Overall he tries to fit into the given ensemble
as best he can, and places a lot of importance on section playing. When playing
lead, he tries to do that ... lead the band, rather than just play 1st on top
of it (a lesson learned from Herb Pomeroy); when in the section he views
improvised solos as simply extensions of the written material. Working in Maria
Schneiderís band for a few years, Dave has gotten to know much of the
repertoire and in his solos tries to draw upon what has happened, while leading
into whatís coming. However, the emphasis is always primarily on ensemble
playing, and fulfilling oneís responsibility to the composition.
When it comes to his own groups, Dave endorses a definite distinction between
composition and improvisation. When hiring a band of improvisers, he gives very
little written direction or oral instructions. Dave avoids assembling ëvalidí
combinations of instruments, but feels instead that combinations of musical
personalities (although sometimes risky - i.e. rehearsals before gigs!) can
elicit the amazing chemistry that great improvisers are constantly striving
for. "I really enjoy putting people together for the first time and watching
them work it out. [Iím working with] great musicians and master improvisers ...
[I want to] let them be great musicians. " Daveís first record, Amongst Ourselves is a true product of his
philosophy. There were no tunes (just titles to fake out a free-music-phobic
producer) and only minimal directions (such as tempo, who should start, etc.)
to steer the record date.
Daveís zeal for pure improvisation is complemented with an equally deep
appreciation for composition. He emphatically believes that despite itís slow,
throughout intellectual processes, great composition is never devoid of emotion
and expression, citing in particular the late work of Beethoven. "He was
like a saint ... he happened to write string quartets. " Dave admits that as a composer he himself has not
yet found all of the procedures he might someday put to use. This pursuit takes
up a great deal of his interest and study time currently, as he is working on
specific which also leave room for improvised interpretation.
When performing, Dave uses striking array of sounds as tools on his musical
palette. He insists that he has been influenced by at least every trumpet player
he has ever heard, learning both what he liked and disliked sonically. Dave
sees the trumpet as a remarkable instrument, and cites among others Herb
Robertson as a leading innovator of the trumpet as a sound generator. "John
cage has shown us that music has come a long way from simply diatonic or even
chromatic notes ", as Dave states. "Weíre
in the 21st century, any note goes anywhere. " At times he even enjoys the squeaky fuzzy sounds of beginning trumpet
students, and can imagine musical moments where they would be appropriate. But
he never stoops to a gimmicky or artificial level. He is a firm believer in the
notion that proper technique and extended technique support each other in an
effort to achieve a truly musical outcome. He insists that contrast, the major
compositional basis of any setting, must be a top consideration, and one must
always have secure fundamentals to depart from/return to. Thus, microtonal
playing demands an accurate ëin-tuneí, making the sound all ugly requires the
ability to bring it back to where it is pretty again. "I must be able to do
anything [on the trumpet] at any time ... thatís why what really leave me open
to improvise and let the spirit of the music do with me whatever it wants. Iím
just a vehicle. "
Daveís unique marriage of tangible musicianship with spiritual concerns is
evidenced perhaps most clearly in his approach to education. In addition to
teaching privately, he has spent two weeks of each of his past few summer
teaching junior high and high school students at the Maine Jazz Camp. He has
found that maintaining flexibility towards each individual student is key.
Beginning improvisers who are nervous about making mistakes need to develop
confidence through their sound, ear, and certain vocabulary on their instrument
before approaching the constantly swelling mountain of information concerning
jazz harmony and theory. He believes that giving the students certain general
criteria to worth within is a far more effective technique than outlining all
the rules that are not to be broken. This allows the teacher and student to
find discipline through freedom. Concerning the current jazz education
industry, Dave feels that there are infinitely more amazing technicians
emerging from various institutions, while infinitely less actual musicians. He
acknowledges that jazz schools need to codify certain criteria, but maintains
that the responsibility extends beyond the easily packaged technique. "This is
a life long pursuit of the highest intention ... [We should be] trying to each
a path of life, how to be an artist, and how to trust your instincts." The
responsibility falls on the students as well, to realize the lifelong
commitment this music entails, and strive to fulfill that vocation rather than
expect to be burniní after four years of college. "School isnít a bad thing
- itís just not the only thing. "
Dave believes that the largest adversary of true improvisation is fear of
letting go. But if we play only from what you know we will always be limited.
If we play instead from what we donít know, we are tapping into a huge pool of
the unconscious. All works of art come from this same spiritual place, an
inspiration outside of our intellectual ego. In this light our opinions are
malleable and irrelevant. Our job as improvising musicians is to remain open to
all sources and treat these inspirations honestly. This is the real nature of
what we are doing. It is a unique way of looking at our existence.
Dave Ballou (trumpet), Tony Malaby (tenor
saxophone), Michael Formanek (bass) and Jeff Williams (drums)
All About Joe/Blakeís Vision/Amongst Ourselves/Phone Queen/Boom Boom/The Great
Matter/7.5/Line/J.W. (Tony Malaby)/Bidu (Tony Malaby)/Skuds
all compositions by Dave Ballou except where mentioned
"Trumpeter Ballouís impressive debut, a collective-improv, one-take sort of
affair, draws cohesion from the resourceful Malaby, no-holds-barred bassist
Formanek and imaginative drummer Jeff Williams. Ballou plays with consistency, nailing crisply articulated
notes from top to bottom."
Down Beat, U.S.A. (01/2000) ***1/2, Ted Panken
"The trumpet playing with the soft tonguing seemed to be aroused by the high
pitch of the snare drum. This CD is tastefully done. For those unfamiliar with
this type of music give it a couple of listenings to fully appreciate. There is
no chord instrument and the music can be both melodious and astringent. As much
as music on this CD may be unfamiliar, this trumpet player is not afraid of the
familiar. His sound is not thin nor too dramatic but full of imagination. He
tells a story with skill. This is music that players play for themselves out of
their need for expression. The uninitiated, however, will enjoy the
communication between these exceptional musicians. I prefer to listen to this
CD in a place where I will be uninterupted and can focus on the sounds. The
leaderís playing is one of the strong points of this CD. He is very talented
technically as well as musically."
Swing Journal, Japan (03/1998), Kiyoshi Tonamy
"The emerge of a trumpet player with a bright future in the free jazz style!
34 year old trumpeter Dave Ballou has a career that one would hardly expect for
a "new" artist. He has been performing with Joe Lovano, Billy Hart, Clark Terry
and others. The pianist Kenny Werner says ënot only a talented trumpet player
but a very good composerí. His compositions are in a free style. The trumpet
player is joined by Tony Malaby on tenor sax. Mr. Malaby is also a talented
free music player. Their unison playing on track(8 reminds me of the music of
Ornette Coleman. This album differs from the recent albums from young jazz
musicians of the 90ís. It has a strong core, depth and confidence not usually
found in young new artists. Dave Ballou is a new artist who has depth and
purpose in his playing as well as the ability to express himself with this
instrument."
Jazz Life, Japan (April 1998), Sei-ichiro Matsunaga
"... But if you get some cats that play well together and try to grow
something from that ... well, then youíre moving in the right direction.
If thatís the case, Dave Ballou and associates certainly have their bearings on
Amongst Ourselves (SteepleChase). The thirtysomething trumpeter is part of a
progressive clique operating in New York right now, and his debut disc finds
him in company who are emphatic enough to make the music sound chillingly
instinctive. The rhythm section of bassist Mike Formanek and drummer Jeff
Williams darts through the snaky terrain of the leaderís pieces, and tenor
saxophonist Tony Malaby displays an uncanny flair for shadowing Ballouís
trumpet lines. This album is the definition of accord.
Ballou can be a sober composer. Many of the pieces here are reflective, in some
cases even grave. That makes it a far cry from Sherman Irbyís (on CD "Big
Mamaís Biscuits" on Blue Note) profound frolic. But the level of grace
exhibited by the trumpeterís quartet creates its own kind of sport. As the
title suggests, the band has the cohesion of kin. The skittish brass phrases
with which Ballou opens ëBoom Boomí have an amusing auspiciousness, and, as the
tune unfolds, camaraderie is well served. When Malaby jumps into action, itís
obvious the pair has spent many a night shoulder to shoulder. Strings of
counterpoint dart by, and, ultimately, the piece feels like aural Braiille: a
gorgeous run-on sentence in which you can feel the texture of each indentation.
The relationship between Don Cherry and Ornette Coleman comes to mind while
listening to ëAmongst Ourselvesí - the congruence between brass and reeds is so
strong that the formality of the writing is offset by the fluency of the
players. Both Ballou and Malaby are judicious expressionists, and each has a
tendency to contour their lines to suit ensemble unity. In many cases,
including the looping phrases that help thicken the start of ëAll About Joeyí
and the bittersweet, long-tone harmonies of ëBlakeís Visioní, they work a
distinct mind-meld on each other."
Jazzizz, U.S.A. (March 2000), Jim Macnie
"... let it be known that trumpeter Dave Ballou is a remarkable new
discovery whose playing falls in the same general orbit of such
forward-thinking men as Tim Hagans and Dave Douglas. (...)
The pianoless quartet heard here plays music that pushes the envelope, with the
influence of the classic Ornette Coleman quartet being an obvious inspiration.
Their concept of time is one that is elastic in nature; drummer Jeff Williams
more than not states the pulse in an indirect manner. Further assurance of
individuality is guaranteed by a program that consists entirely of pieces
written by Ballou and tenor saxophonist Tony Malaby. "The Great Matter" is a
typical piece in that the "head" of the tune is slowly stated by Ballou and
Malaby in rubato fashion, with drummer Jeff Williams providing splashes of
color here and there. Then a series of collective improvisations between the
front line partners develops before a restatement of the lead melody takes us
out. "Line", the longest track here, begins with a poly-rhythmic solo from
Williams to be followed by a fanfare from Ballou and Malaby and searching
improvisations from the former that recall the work of Kenny Wheeler.
For the maiden voyage of an unknown artist, Amongst Ourselves is an audacious
and chancy statement. Nothing about this date smacks of commercial concerns and
while there are many reference points available to the astute listener (some of
which are mentioned above), Ballouís music takes many hearings in order to
digest and process."
Chris
Hovan
REVIEWS > VOLITION (SteepleChase SCCD 31460)
Dave Ballou
(trumpet & flugelhorn), Cameron Brown (bass) and Jeff Williams (drums)
Antonio and Angelica/Wishís/Snagahmit/Light Blue (Thelonious Monk)/Snow on
Cedar/Volition/26-2 (John Coltrane)/Skeptical/Deni Time/Opening Statement
(Booker Little)
all compositions by Dave Ballou except where mentioned
"In
his liner notes to this, the second date as a leader from trumpeter Dave
Ballou, writer MarkGardner sagaciously mentions Tim Hagan, John Swana, and Tom
Williams among the talented crew of trumpeters who emerged during the early
ë90s. Of course Ballou, also fits into this group and each of these four men
have in common the fact that their names are not more widely known. Pushing the
envelope much in the same way that Dave Douglas has been doing now for the past
couple of years, Ballouís Volition is just as daring as his debut set, if not
more so. I mean, how many trumpeters have the courage, let alone the chops, to
front it with just a bassist and drummer? But thatís exactly what happens here,
and with the very capable Cameron Brown and Jeff Williams on the board.
The opening ëAntonio and Angelicaí acts as a fanfare for what follows over the
next hour. Ballou tells his stories in bursts of energy, creating the narrative
as he goes along, but giving it such a reasoned logic that you wonder if he
didnít just pre-plan the entire performance. With a much more open sound than
is the norm, Ballou switches to flugelhorn on ëWishísí and ëSkepticalí, also
throwing in a mute for Monkís ëLight Blueí. His own tribute to Tim Hagans,
ëSnagahmití (spell it backwards to get the joke) bristles with a passion and
brassy sparkle that marks the other side of Ballouís personality.
As for the other members of the team, bassist Cameron Brownís big sound
(remember him as a charter member of the Pullen-Adams Quartet in the ë80s?)
gives this obviously lean ensemble a beefy resonance. Drummer Jeff Williams is
never flashy, but tailors his accompaniment to Ballouís angular statements,
impressively so on the duoís reading of Coltraneís í26-2í. While certainly not
the type of disc for the faint-hearted, Volition will undoubtedly reward more
exploratory listeners and the throngs of Dave Douglas devotees will positively
eat this stuff up."
Chris Hovan
REVIEWS > THE FLOATING WORLD (SteepleChase
SCCD 31486)
Dave
Ballou (trumpet & flugelhorn), George Colligan (piano), Doug Weiss (double
bass) and Darren Beckett (drums)
Over the years the instrument most
identified with jazz has been the trumpet, yet in recent decades few original
trumpeters aside from Dave Douglas have gained much attention. There are some
fine, if not well-known, ones out there, however, including Herb Robertson,
Cuong Vu, Russ Johnson and Dave Ballou. Like Douglas and Coung Vu, Ballou
played in Orange Then Blue in Boston, then moved to the New York area, where
heís currently based.
Ballouís picked up ideas from a variety of trumpeterís, including Miles Davis,
Freddie Hubbard and Robertson, but doesnít sound like anyone else. He has a
full, warm, cultivated tone; plays very well in the lower as well as upper
register; and employs wide intervals relatively frequently. Although modern,
heís a thoughtful melodic improviser.
On Volition, the
trumpeter performs with bassist Cameron Brown and drummer Jeff Williams. Seven
of its 10 tunes are by Ballou, and theyíre varied. "Antonio and Angelica" has a
theme but the improvisation on it isnít based on changes. "Wishís" has a lovely
theme and the solos on it are based on chord changes. "Volition" doesnít have a
theme or a preset foundation for improvisation. Ballou and Williams play John
Coltraneís "26-2" as a duo. Ballou also performs Thelonious Monkís "Light
Blue", on which he does some very attractive muted work. Ballouís other solos
are laudable as well. Heís a sound, knowledgeable and versatile musician who
can improvise impressively in a free context or on complex chord changes. Also
impressive is his inventiveness; heís able to sustain interest consistently
here despite playing with only a bassist and a drummer. Brownís a strong, imaginative
soloist and he and the musical Williams support Ballou superbly.
On The Floating World, Ballou works with pianist George Colligan, bassist Doug
Weiss and drummer Darren Beckett. The disc contains some pretty familiar
material: three standards, Bill Evansí "Time Remembered" and Monkís
"Pannonica". The albumís not that conservative, though, as Ballou takes
liberties with their structures, as on "All the Things You Are." He opens it
and "Memories of You" playing unaccompanied. There are some free-jazz
selections here as well and on them the improvisation is amazingly coherent and
well-sustained. Ballou plays idea-rich, solidly structured solos. Colligan
turns in excellent work. Heís got a light touch but articulates crisply and
plays graceful single-note lines that have a lot of rhythmic variety. On "Don
and Dewey" he turns in fine octave unison work. Weiss and Beckett contribute
quiet but very infectious rhythm section playing. Note also Weissí beautiful
arco solo on the title track.
-Harvey Pekar, Jazz Times, April, 2001
REVIEWS > ON THIS DAY (STEEPLECHASE SCCD
31504)
Dave
Ballou (trumpet & flugelhorn), Tony Malaby (tenor saxophone), Billy Drewes
(alto & soprano saxes), Mike Formanek (double bass) and Tom Rainey (drums)
Ö.he
(Dave Ballou) shifts gears entirely on On This Day, and in the process offers a solid, lasting, and
impressive presence. Ballou and even more so, the SteepleChase label, are known
for modern mainstream Jazz, so I was totally unprepared for, and pleasantly
surprised by, this completely freely improvised set. Yes, let me repeat myself:
This is totally free. There are no melodies, no preconceived structures, and no
discussions by the performers in advance about the music to be made. That in
and of itself is, of course, not a shocking prospect, especially at the turn of
the Twenty-first century, and many groups record freely improvised works, which
are recorded by a number of labels. It is extraordinary, though, when musicians
and labels not accustomed to this style of music produce it in the pure form as
it is found here. Now, it is true that the rhythm section of drummer Tom Rainey
and bassist Michael Formanek have built reputations as versatile players who
are comfortable in avant-garde settings. Nevertheless, this is a bold and
exciting effort, and most importantly, it is one that largely succeeds.
According to Ballouís liners, he let the tape roll, producing two and a
half-hours of music, from which he assembled these tracks. Song titles were
later added. There was no editing or splicing. You might even think this was a
CIMP production, except that the sound is not as natural. Ballou keeps it
interesting with the variety, as combinations of instruments alternate
regularly. Ballouís influences would appear to come from Bobby Bradford and Don
Cherry, his clipped phrases and aggressive thrusts appealingly vibrant. Billy
Drewes seems surprisingly comfortable with the context, both on alto and
soprano, while Tony Malaby, who has participated in adventurous sessions
elsewhere, appears more restrained, less willing to let loose. Tom Rainey is an
absolute powerhouse, a superb drummer who keeps things rolling, while Mike
Formanek is comfortable with the setting. In all, this should come as a shocker
for those listeners who purchase this CD without realizing how much it deviates
from the SteepleChase image. Similarly, those who might think of the label or
the horns as too conservative should be pleasantly surprised by this recording
- Steven Loewy Cadence, February 2002
On This Day reminds me of recordings made by modern jazz players of the
post-hard-bop era in response to free jazz, like the Don Friedman/ Attila
Zoller collaborations in the 60ís. The musicians here sound like they usually
play inside, but for On This Day they eschew preset structures.
Ballou is a fine trumpeter, and his front-line mates Billy Drewes and Tony
Malaby are convincing contributors on alto and tenor, respectively (Drewes also
doubles on soprano). Most of their horn lines are relatively straightforward,
harmonically, but they make full use of the free framework, allowing their
phrasing to go where it will, and there is some excellent interplay. This music
has little in common with that of most contemporary free-thinkers, though
parallels with early Ornette Coleman abound. Bassist Michael Formanek has a big
sound and even bigger ears, and drummer Tom Rainey not only drives, colors and
dramatizes, he also consistently avoids the obvious which seems to keep
everyone on their toes.
Listeners who believe that free playing is only about angst and catharsis
should check out this impressive and engaging outing.
- Duck Baker, JazzTimes, March 2002
CONTACT: 18 Washington Street
Red Bank, NJ 07701
U.S.A.
e-mail: daveb@daveballou.com
website : www.daveballou.com
© Jacky Lepage
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