big_ol_nasty_getdown

Thursday, September 19th, 2019

Main Stage

The Big Ol' Nasty Getdown

Keys: Simon George

Guitar: John Paul Miller (Booty Band)

Guitar: Bobby Easton (Delta Nove)

Bass: John Heintz

Percussion/Vibes: Mike Dillon (Mike Dillon Band)

Trombone: Derrick Johnson (Booty Band)

Bari Sax: Greg Hollowell

Drums: Alvin Ford Jr. (Dumpstaphunk/Trombone Shorty)

Male Vocals: Rev. Desmond D'Angelo

Henry Roland: Henry and the Invisibles

AND MORE TBA!

W / April B and the Cool
Cover:$20 adv - $25 dos
Doors:8:30pm
Show:9:30pm

The idea for The Big Ol’ Nasty Getdown came to John Heintz
during a Late Night Super Jam at a music festival in 2007. He
was on tour with The Lee Boys, a funk, gospel and soul group
from Florida, when inspiration struck. “On the last night of the
festival, there was a jam session,” he recalls. “Members of
Galactic, Papa Grows Funk, The Dirty Dozen Brass Band and
other acts started improvising and the energy from the crowd, and
the interactions between the players, created a live, unrehearsed
vibe that carried the music to unexpected places. I began thinking,
‘What if that same sense of camaraderie and excitement could be
created in the studio?’ It would lead to something really special.”
Heintz began presenting the idea to the musicians he’d been
meeting on the road. “Everybody seemed interested, but
touring schedules being what they are, it was an uphill battle. I
asked Derrick Johnson and John Paul Miller from Yo’
Mama’s Big Fat Booty Band if they’d help me organize the
initial session and after they came on board, we started calling
every musician we knew.

The first Big Ol’ Nasty Getdown took place in a house on
Royal Street in the French Quarter of New Orleans in
December 2007. Heintz with the help of JP and Derrick,
assembled a free-floating ensemble that included 35 musicians from 17 bands,
including The Lee Boys,
Yo Mama’s Big Fat Booty Band, Dirty Dozen Brass Band,
Galactic and Dumpstapunk, as well as Garry “Starchild”
Shider and Belita Woods from P. Funk. The eight day session
was unplanned and unrehearsed. People came and went. Bar-
b-cue smoked in the backyard, songs were written in the living
room and tracks were recorded all over the house, as the
inspiration flowed. Hand held recorders, iPhones and video
equipment captured the songs taking shape. Towards the end of the
week, they decamped to The Music Shed and cut six tracks.
Keyboard player Frank Mapstone, who was also a producer
with diverse experience in the studio environment,
clicked with Heintz and soon became an essential partner in the
project. A second free for all session was held at George
Clinton’s studio in Tallahassee two weeks later, with the man
himself contributing vocals to several tunes. The result was
released as Big Ol’ Nasty Getdown Volume 1.

“The press received it incredibly well and we got great feedback
from the fans,” Heintz says. The album’s success led to another get
together and the recording of BONG, Volume II.

The sessions for Volume II were cut at a cabin in the woods outside
of Asheville, NC. “We used the same blueprint,” Heintz explains.
“We assembled, created a sense of camaraderie in the house and let
it fly. It yielded a lot of tracks pretty quickly. We went to a studio
down the road and started recording what we were putting down in
the house.” Mapstone says the production moved faster the second
time around. “We realized the jamming and hanging out could be
done in the studio. We made the studio our home.”

This time, more than 50 musicians participated. “We were
jamming around the clock for a couple of days,” Heintz says.
“People who were playing in town came to the sessions after their
shows. We went way into the night, with song after song being
written. Once the instrumental beds were created and tracked,
I asked myself, ‘If we could have anyone we want on
this track, who would it be?’ Most of the time, I got them, but
there were no guarantees. I went with whoever was best for the
track. There was lots of ebb and flow in the studio, in the jams and
in the production. We’ve already started assembling the tracks
for Volume III and IV. Folks from War, Red Hot Chili
Peppers, 311, Jane’s Addiction and other bands joined us at
The Foo Fighter’s Studio 606. We cut the tracks using the hand
wired, Neve 8028 mixing board Grohl bought from Sound City
in Van Nuys. It was used to make albums by Nirvana,
Rage Against the Machine, Fleetwood Mac,Tom Petty, Elvis
Costello, Artic Monkeys and Nine Inch Nails”

On Volume II the cast includes Vernon Reid (Living Color,)
Speech (Arrested Development,) Larry Dunn (Earth, Wind and
Fire,) Fred Wesley (James Brown, Horny Horns) Karl Denson
(The Rolling Stones, Tiny Universe,) Michael Ray and Clifford
Adams (Kool and the Gang,) RonKat Spearman (Katdelic,
Parliament-Funkadelic,) Alvin Ford Jr. (Dumpstaphunk,) Norwood
Fisher, Angelo Moore and Walter Kibby II (Fishbone,) Rev.
Desmond D’Angelo (The Soular System) and Ivan Neville
(Dumpstaphunk, The Funky Meters), to name just a few.

The music is funk, with threads of soul, R&B, jazz and gospel
woven into the sonic tapestry. “Mantra,” the first single, rides
Norwood Fisher’s big, Bootsy-like bass line, pumped up by blasts
of brass, the wha wha guitar of Tori Ruffin (The Time) and
anchored by the inexorable snare of Jeffry Suttles (Taylor Dayne).
Speech assures us that the funk will drill us like a dentist, while
Kendra Foster invites us to, “scream it out and let it flow.”

Taylor Dayne guests on “Dream,” a simmering soul ballad with
Ivan Neville on organ. “Groovy Nasty” is a P-Funk style rave up,
featuring Mudvayne’s Ryan Martine throwing down a popping
bass rhythm to compliment RonKat Spearman’s vocal and a
swinging horn section. Mike Dillon’s vibes take the lead on “Past,
Present, Future,” a jazzy instrumental with impressive asides from
the guitar of Leo Nocentelli (Meters), the trombone of Fred Wesley
and the sax of Greg Hollowell.

“As the project progresses, we’re seeing an evolution on each
album, even from song to song,” Heintz says. “We stay open
to the flow of the music. If the groove moves in a different
direction, we go with it and follow the creative vibe in the
room. In the festival world, musicians will spontaneously sit in
with other bands on stage and gather for late night jams. At
our sessions, we catch those moments and put them out into
the world.”

April B and the Cool:

April B. & The Cool is a soulful concoction of heavy and light and rock and funk and jazz and folk and everything in between. We mean hypnotic; we mean casting a spell over an audience that will leave them on their feet cheering or stunned into rapturous silence. We mean “cool,” like April B. and her kickass band.” Vincent Harris, Greenville Journal

“Expressive vocals and impressive guitar work are just part of what makes April B. & the Cool special. Drawing from hip-hop, soul, rhythm and blues, funk, rock, soul, jazz and reggae, April Bennett puts it all together in sultry and alluring fashion. The band features players familiar to Asheville audiences — members of The Marcus King Band, Yo Mama’s Big Fat Booty Band often turn up — but Bennett is the undisputed star of the show.” – Bill Kopp, Mountain XpressAbout:

“There’s no way to pigeonhole Asheville’s April B. & The Cool. What I heard pouring off the Taproom Stage crossed genres that include R&B, hip hop, soul, jazz, reggae and rock. It’s alternative everything. Led by multi-instrumentalist April Bennett and a rotating stable of talented area musicians including guitarist JP Miller and trombonist Derrick Johnson, both from Asheville’s Yo Mama’s Big Fat Booty Band, bassist John Durham and drummer Joshua “Forte” Joyner; April B. & The Cool had us dancing to jazz, a heady genre normally reserved for older hipsters sipping vodka tonics in cramped dark clubs. Didn’t think that was possible, but April’s stunning, sensuous voice and expert guitar licks gave us no other choice.”

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