Label: Sonic Architectures - SA001 • Format: CD Album • Country: US • Genre: Jazz • Style: Space-Age, Fusion, Jazz-Funk
Already Telekinesis - Ben Tyree/BT3 - re: Vision an account? Sign in. By: S. Ben Tyree was also on that record. For a frame of reference, see Noy, Oz. Sometimes, though, such a musician needs a vehicle to achieve this and inTyree created his: a trio named BT3. With Theo Hardin bass and Laurence Qualls drums as the regular rhythm section, Tyree made a record of all original material last year and before the year was up, re:Vision was unleashed to the masses.
Tyree brought in some guest artists, including saxes by V. Tyree himself puts down a badass solo making great use of effects pedals to throw off this singularly funky sound. Tyree keeps his articulations tasteful, prolonging and bending the notes to wring out every drop of soul from the song.
The dexterous, uncompromising and diverse Ben Tyree puts all those lofty adjectives and more on display on Telekinesis - Ben Tyree/BT3 - re: Vision self-released re:Vision. If guitar-driven funked-up fusion is your thing, your attention should be on Tyree, too. By: Ian Patterson Ben Tyree's compositions on re:vision openly embrace a range of styles in a hard-grooving mixture, where the subtleties of the guitarist's playing are revealed upon repeated listening.
Although this is evidently contemporary fusion, Tyree's approach comes from a jazz tradition, stemming from bebop and beyond. It is, however, rock and funk of an altogether more modern hue from which his music takes its wings, the result of a decade honing his sound in New York, surrounded by like-minded musicians. This is essentially a trio outing, with Theo Hardin and Steve Jenkins sharing bass duties, while bustling drummer Lawrence Qualls provides the backbone to the music. A number Telekinesis - Ben Tyree/BT3 - re: Vision guest musicians bring different colors and timbres to three compositions, notably DJ Logic, whose funky urban scratching underpins a simple yet infectious groove on "Because We Can.
Jeffrey Smith's muscular yet melodious attack provides the heart of the tune, paving the way for Tyree's distorted guitar lines; sounding more like a synthesizer struggling to squeeze through a tight spot, Tyree's playing is both economical and emotive. There's a slow, dub-like groove on the atmospheric "Shapeshifter," which is lent much of its interstellar ambience by John Medeski's spacey Hammond B3 brushstrokes.
Tyree's keen rhythmic sense and harmonically interesting chords prop the funky, jazz-rock of "Dizzle McSizzle," while tenor saxophonist Stacy Dillard unleashes a strong, rippling solo, full of funk and soul; his clean, soaring voice contrasts sharply with Tyree's fuzz-toned lines, and both spare nothing. The guitarist's skidding, tumbling lines sound, however, freshly minted.
A more meditative side to Tyree's trio is So Tired - Bobby Timmons - Soul Time on "The Search," the minimalism and introspection at the beginning emanating from Tyree's light touch on his strings, and Qualls' cymbals, which resonate like distant waves.
The music gradually swells, with loudly rumbling drums, hissing cymbals and Tyree's fuzz-edged fluidity combining like gathering storm clouds. Tyree's songwriting is Telekinesis - Ben Tyree/BT3 - re: Vision the fore on the final two tracks. Here, Tyree breaks ranks to deliver an energized solo full of purpose, signing off the tune, and a fine album, in spectacular fashion. By: Rick Landers Jazz guitarist Ben Tyree epitomizes the new generation of jazz artists with his eclectic mix of styles, featuring hard percussive funk armed with arrested guitar riffs, giving his performances fitful spurts, as well as more traditional seamless melodic reveries that broaden his sonic reach.
Tyree earned his jazz stripes in clubs, as well as in the more traditional academic surrounds of the Duke Ellington School of the Arts in Washington, D. Inthe group would receive four more music award nominations, including Best Urban Contemporary Instrumentalist.
Moving to New York City inBen continued to refine his jazz concepts on the guitar and make a name for himself by appearing at some of the top jazz clubs in town, including The Iridium, The Apollo, The Blue Note and Lincoln Center.
In between he would make excursions back to D. Jeffrey Smith. Where did your music journey begin and when did you begin to be pulled in by the magnet of jazz guitar? I was always exposed to a variety of musical genres through my family, and somehow had an insatiable curiosity and interest in all music.
As a child, I remember seeing electric guitarists on TV and hearing them on the radio and knew that was Telekinesis - Ben Tyree/BT3 - re: Vision me. The sounds they made. Their command of an audience and the whole image of it was what initially captivated me. My parents were also very encouraging and supportive of me having my own record collection, most of which I still have.
I was way into classical music as a child, so I started Telekinesis - Ben Tyree/BT3 - re: Vision piano and violin through a weekly music and arts program that the public schools had at the time.
After my mother took me to see Frank Zappa, my first concert, when I was seven or eight, I knew I needed to ardently lobby for a guitar. My first failed attempt was at the age of 3 or 4, making a guitar out of a piece of cardboard and rubber bands, then my father finally bought me a real one when I was From then on I played and played. I formed a band that played original music where I would also sing, and we eventually began performing at bars and making money by the time I was I was addicted to music and this eventually brought me to jazz while in high school.
Long story short, I studied in school and on my own, any style that touched my heart and that I could feel in my body. I remember many playing jazz cuts, and more and more I could feel myself swinging, personally and musically. These were all the guys Kool Roc Bass - Lo-Fidelity Allstars - How To Operate With A Blown Mind began to study in earnest.
These artists have probably informed my own style more so than any of the guitarists that influenced me. So, my music tends to include elements of jazz, classical, rock, funk and hip hop and the new CD reflects all of that. Rick: Growing up in the D. Ben: When I was coming up, there was no Internet, so my interests were fed through hanging out at jazz and blues clubs, listening to the radio and exchanging cassette tapes with peers and teachers.
I was exposed to a lot of great music at a very young age. As far as local artists, there The Modulor - Untitled only a few that really grabbed me early on, like I would go see my guitar teacher Tom Newman, who would make us mix tapes of all the jazz guitar Telekinesis - Ben Tyree/BT3 - re: Vision , at clubs when I was a teenager and he was playing all these different styles and using a bunch of cool effects.
That was a huge influence on me. I wanted to do what he was doing. Rick: Are you formally trained in music theory and jazz or are you self-taught? Ben: Both. You know I went to a performing arts high school, the Duke Ellington School of the Arts, where I studied jazz and classical guitar very seriously. Then I continued those studies at Howard University. During and since, I studied and continue to study a lot on my own.
Rick: BT3 sounds like a lot of the songs are driven by the percussion style, with the guitar licks responding in a way that fuses them together. Do you consider percussion to be the Telekinesis - Ben Tyree/BT3 - re: Vision of the music or do you develop a song by changing or reworking tunes until you get a good groove going? Ben: Well, I consider myself a percussionist at heart.
I think every musician should as well. My music is very rhythmic and I have always felt a great affinity and connectivity with drummers. The drummer for BT3, Lawrence Qualls, is very sensitive and empathetic to my style of composing and playing.
He really locks well with what I do and gets inside the music. When I play, I generally try to establish a connection with the drummer first. So, one could say that the BT3 material is largely percussion Telekinesis - Ben Tyree/BT3 - re: Vision , however all the guitar parts come to me first, then I write the baselines and bring both to Lawrence.
Mostly, I write all the pieces and then we just work them out in rehearsal. As my style of guitar playing is inherently very rhythmic and percussive, it can be very stimulating for drummers to work out their own ideas within the context of my work. Well, at least I like to think so. Telekinesis - Ben Tyree/BT3 - re: Vision Are you an exclusive Stratocaster player or do you play around with other guitars? What does the Stratocaster offer up? First of all, I only practice on an acoustic guitar and think that this is the best way to truly connect with the essence of the instrument.
I also played a Les Paul for a long time, and before that various different hollow bodies strung with 12 or gauge Mabel - Procol Harum - A Whiter Shade Of Pale = 青い影. The sound I get from the Strat is what turns me on right now. The range of tone I can get from this instrument really appeals to me. It just sounds so round and delicious.
Rick: Why did you move to New York and what do you prefer about the music scene there compared to Washington, D. Ben: I always wanted to live in New York ever since I was a young kid. I always felt like I was in the center of the universe when in New York. As a teenager, I would drive to New York as much as I could and just hang out. Most of the people I went to high school with ended Lets Take It Nice And Easy - Various - All That Country there too.
I could safely Telekinesis - Ben Tyree/BT3 - re: Vision that the majority of all the people I have ever known in my life now live in New York. Everyone up there trying to make their own way in music and the arts is aware of this, and ideally able to exchange this energy and use it to grow. Rick: Some musicians love jazz and are purists, while some decide to do rock gigs because there tends to Cripple Creek - Cyril Stinnett - Salty River Reel more work opportunities Telekinesis - Ben Tyree/BT3 - re: Vision probably a bit more money to be had, so they can keep their jazz alive more by playing rock.
Luck has much to do with it, but in my experience luck favors those who are prepared. You know, I play with some artists Yo-De-Lo - The Bevis Frond - What Did For The Dinosaurs play mostly rock music and I really enjoy it.
I see this as a journey and music is the vehicle. Jazz has played a huge role, as has rock music. The idea of keeping something alive by doing something different is a phenomenon that intrigues me. To keep the music dynamic and alive, I must engage it from as many angles as possible.
By this logic, one could assume that by becoming an electrician, which is a highly respectable vocation, they can help keep their art alive. Possibly, in many cases, this is legitimate, however I believe my path is in the process of engaging the art form non-dogmatically and very dynamically, thus revealing a path and career that works in service of the music.
Sorry to be so verbose, but this is something I think about often. I find that to be an extremely stimulating question and, as far as I am concerned, my answer is open to complete revision.
New York can be great for some and a nightmare for others. It has literally been both for me, but mostly the former as of late.
What mix of revenue streams do you Telekinesis - Ben Tyree/BT3 - re: Vision musicians need to consider to be able to survive and still thrive as a musician?
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