Playing rock, jazz, folk or pop; electric or upright; Ron Brendle's warm organic bass tone calls forth the sounds of the great bass players of our time.
Ron started LoNote to distribute his own recordings. It is also home to fine composers like Keith Davis and Maryanne De Prophetis.
Brendle is a monster bassist, whether using the bow or playing with his fingers. While the trio can take things far out, get complex or build a solid groove, the common theme is that the Ron Brendle Trio consistently offers outstanding, unpredictable music.
Bassist Ron Brendle's Hypermobility is an interesting recording. At times it features a lyricism reminiscent of the late Bill Evans, while at other times, the kind of collective improvisation made popular by the ECM label in the 1970s and 1980s. In fact, when tenor saxophonist David Lail joins the trio the music takes on the quality of Keith Jarrett's excursions with Dewey Redman in the early 1970s.
Ron Brendle, first-call bassist in the Charlotte, North Carolina area, has leveraged his work with pianist Frank Kimbrough of the Jazz Composers Collective, among other groups, into a first-class CD featuring a couple of his compositions, as well as Brendle’s arrangements of others’ tunes as adventurous as his own.
Jazz Improv Magazine
New World Order
Parking Lot People
Bunky Moon is a group of accomplished musicians exploring the boundaries of improvisational music within the framework of classic rock songs. Fearless and with reckless abandon, they add new twists to familiar tunes and take you on an unexpected journey.
For those seeking new and inventive jazz, Big Octave would be a great place to start. They effectively draw influences from all walks of life, such as the Eastern-European influenced tune “New Roz” and have no problem reaching for new sounds. If you are looking to spice up your current jazz collection, Big Octave is the one for you.
Jazz Improv Magazine
Lost Dogs is a quartet founded by bass player Ron Brendle, with the unusual instrumental grouping of two saxophones, bass, and drums. The modern material includes representatives from different stages in the development of that jazz category. Without a piano present, Brendle takes on a greater responsibility for carrying the session, both for providing the rhythmic foundation and as a soloist.
The set ends with a rumbling and somewhat psychedelic reenactment of Jimi Hendrix's "Manic Depression," with Brendle getting sounds from the bass that perhaps the instrument wasn't supposed to be capable of producing. With this album, Brendle continues his successful quest to present modern jazz in unique and interesting formats accessible to all jazz fans.
RON BRENDLE & MIKE HOLSTEIN
There have been two bass players in big bands, and in some small bands, but as a duo...well, you've got to do some research. Dave Holland did one about 30 years ago, and it was a painfully free affair. Charlotte's Ron Brendle and Mike Holstein's Rhizome hits all the right spots, making it more like a summit between guitarists in the sense that the feeling of swing is always present. Together, they do everything you can with a bass, from slapping ("Smoke Signals") to strumming ("Sardegna") to bending ("Soapbox") to bowing ("Rhizome"). The music is original and fresh in feel,with some lyricism and reflection on "When I Was There" and the hip jive of "Loose Interpretaton" serving as highlights. Going from the funky snap of "Topochico" to the passionate aria of "Whisper" is a formidable task handled well by the four hands available here. Rhizome is lots of fretless fun provided for your ears.
Autumn is one of those low key albums that starts off in the background, but then keeps tapping you on the shoulder, not allowing you to let it drift into the background. The playing is of very high order without showing off; both men know exactly what they are doing both individually and together as a team.
While I am typically drawn to music with a bit more snap, the choice of tunes and how they were played really won me over. It became very easy to get lost in the effortlessness of Kimbrough’s ideas as they flowed seamlessly into each other. Sometimes this can be tiring, not allowing the listener a chance to “breathe”, but Kimbrough knows how to build a solo, varying dynamics and phrase lengths. The bass solos sound more like role reversals than a typical all action stops bass solo, as Kimbrough delicately fades and Brendle comes up, taking the lead.
There is perhaps room for one “up” tune to break the contemplative mood that creates a certain intensity for the album’s full (and short) thirty-six minutes. Then again, to do that might have seemed garish and just too crude, like willfully throwing a rock into a perfectly flat lake that is reflecting the land and sky behind it.
Jazz Improv ® Magazine’s
New York Jazz Guide & Directory
CD Review: The Jordan Klemons Trio's New Road
The nearly nine-minute title track cruises slowly through sparse soundscapes until Klemons unleashes his psychedelic side in twists and turns. Drums set "Plip" into frantic elasticity before settling down into the guitar's spacy exploration as it builds toward a crescendo.
The band gets more playful as the eight-track (seven original), 53-minute album goes on, finding exploratory ground that allows each member to find his groove and express his personality.
Maryanne de Prophetis
A supple and expressive mezzo which winds itself through the most intimate twists and turns of the refined harmonies, freely exploring the open zones between composition and improvisation, manifesting itself warmly and sincerely, unpretentiously, without sharpness or shrillness.
All About Jazz, Italy