Johnnie Valentino

Stingy Brim
AUDIOPHILE AUDITION

Propelled by a feeling of New Orleans' second-line backbeat rhythms, but wouldn't be mistaken for traditional jazz by any means.
Johnnie Valentino - Stingy Brim - OmniTone 15212, 54:18 ****:

(Johnnie Valentino, guitar/mandolin; Mick Rossi, B-3/harmonium/ percussion; Mark Ferber, drums/percussion; Bob Sheppard, clarinet/tenor sax; Randy Jones, tuba)

Composer/arranger/guitarist/mandolinist Johnnie Valentino has a good sense of humor about most of life, and central to his life are his Italian-American background and the traditions of jazz. In one of his previous CDs - Eight Shorts in Search of David Lynch - he employed tuba. He realized that last year was the 100th anniversary of the demise of the tuba as the low-end bass line in early jazz (replaced by the double bass - although it continued to be used on recordings until the advent of electrical recording in 1925 because it cut thru the deficiencies of acoustic recording in the low end). So he put together this tuba/clarinet/B-3 quintet, and wrote ten tunes which are propelled by a feeling of New Orleans' second-line backbeat rhythms, but which wouldn't be mistaken for traditional jazz by any means.

The hat with the stingy brim just seems to go with the tuba, according to Valentino. It reminds him of the Philly community in which he grew up, and in which such a hat was required attire for men. He also feels the sound of the tuba playing the bass line can't help but make you happy. With tune titles such as the album's title song, Dog Eggs, and Stone Balloons, it becomes clear that a little of the comedic is part of Valentino's musical style. Another unusual instrumental addition to the quintet is the reed harmonium, alternating with the B-3 on some of the tunes, such as Coyote Cowboy. The instrument reminds Valentino of Italian roots music on accordion and clarinet, but also carries hints of hymn accompaniment in the early Wild West, and even a Kurt Weill-sort of cabaret tone.

This is great stuff - basically melodic and optimistic-sounding, but venturing into some highly individual and fairly deep grooves. After absorbing it a bit - especially on a speaker system capable of handling those lowest frequencies properly - you may wish there was a way to at least temporarily substitute tuba for double bass on many of your favorite jazz recordings just to hear how it might sound!

TrackList: Stingy Brim, Dog Eggs, Oyster Bay, 4M, Return, Stone Balloons, Where When & How, Coyote Cowboy, Off Balance, All Monk's Children
- John Henry

Stingy Brim
ALL ABOUT JAZZ
By Budd Kopman

Omnitone strikes again with Stingy Brim, a release that is billed as commemorating the one hundredth anniversary of the death of the tuba as the bassline instrument, when it was replaced by the string bass. This album is very cool, hip, funny and just unpredictable enough to keep you glued to your chair, unless, that is, you are dancing to the various rhythms that Mark Ferber lays down.

The music here is not a re-creation of the New Orleans sound or even a modern update of that sound, but rather an evocation of the feel of that music's rhythm given a hard left inside-out turn. It's an interesting comparison with Lucian Ban's very fine tuba-related release, The Tuba Project (CIMP, 2006), which, though also not literal, is much more traditional overall.

A tuba-organ quintet is certainly unorthodox. Randy Jones' tuba is in the middle of things supplementing the bass, but also adding counterpoint while Mick Rossi's very, very deep organ grooves (with left-hand, not foot, bass lines) drive the music, aided by Ferber's outstanding drumming. Bob Shepard's clarinet has a feel of the old-time sound a lot of the time, but his tenor sax doesn't. Finally, Johnny Valentino's quirky guitar lines, usually with the FX of a detuning on a Lexicon H3000, fly over and around everything.

The opening title tune is a microcosm of the record. Starting with what sounds like a real New Orleans rhythm on drums, it mutates quickly to an old organ riff and then a straight, deep walking bass organ accompaniment to Valentino's guitar. The opening riff also infuses the rest of the record in many unexpected ways, tying the wide-ranging tracks together.

From there Valentino moves to “Dog Eggs,” which sounds very old and new simultaneously; the tuba actually plays the bass line, with Rossi adding an eerie harmonium. Jones plays a solo that breaks from any tradition, and Sheppard pulls off a clarinet solo that also manages to fuse the feel of the new and the old.

Rossi collaborated with Valentino on “Return” and “Off Balance,” and anyone familiar with his other work will recognize his eclecticism and why he and Valentino the soundshaper get along so well musically. As the two pieces explore many different sounds and their combinations, Jones is given a chance to really show what the tuba can do.

The music of “Stone Balloons” somehow very clearly evokes an image of the title—which is a strange thing itself—and Sheppard lets loose on clarinet, with low harmonium notes supporting mutated guitar sounds. And if you like Dire Straits, give a listen to “Where When & How” for a jazzy version of their deep sound.

Valentino is that engaging musician whose deep, humorous and exploratory sides create challenging but accessible music, brought to life here by a top-notch band. A total winner from any angle, even from under a stingy brim.

"Stingy Brim" (OmniTone)
TUCSON CITIZEN
Grade: A
By Chuck Graham

Listening to this record is like looking at a sprawling mural full of emotional swirls, with everything spread out so it is impossible to experience one thing without feeling it run over into something else. Refusing to smile is not an option.
Johnny Valentino is a Los Angeles guitarist out of Philadelphia, with that big city attitude of using humor as armor. If you can make the other guy laugh, he isn't as likely to slug you.
The album title, it says in the liner notes, refers to the similarities between the tuba and hats with narrow brims (like the one on the CD cover).
"The stingy brim hat is a fine hat but it has comedy in it, and that's like the tuba," Valentino says.
The album's 10 original tracks written and composed by Valentino are equally engaging, with tubist Randy Jones playing every bass note. Yet there is no heavy marching band-type sound here. Jones moves deftly as those dancing hippos in "Fantasia." Valentino has a fascinating ability to make abstract and atonal musical effects appealing. Each track captures several moods, some swinging, some shimmering. Some with melodies, some with essences, some with a theatrical sense that defies description.
The whole project plays more like a symphony in 10 parts, worthy of actually sitting and listening to straight through. Then pressing "repeat" and listening again. If you think jazz that's modern, or postmodern, or whatever is unlistenable . . . give this a spin to fluff up your ears with fresh new sounds.

JAZZ GUITAR LIFE
Aug 06'

I must say that I have been pleasantly surprised as of late to have received some interesting CD’s that feature Jazz Guitar in a less than traditional fashion. Instead of purely guitaristic blowing sessions, I have come across a number of leaders who have embraced the abilities of the guitar in a more compositional and ensemble design creating exceptional soundscapes and appealing tunes.

Case in point is the latest CD from guitarist Johnnie Valentino titled “Stingy Brim”. “Stingy Brim” not only features the delightfully eclectic writing and playing talents of Valentino, but also “rights the wrong” by returning the Tuba to its place of honor as “…keeper of the bass line in Jazz.” While this may seem like an “odd” instrument to include in an electric setting it surprisingly works well and adds
character to the tunes that may otherwise sound less than whole with a regular bass. Just check out “Coyote Cowboy”, “All Monk’s Children” or the free for all tune “Off Balance” to hear the effectiveness of sound that the Tuba produces. Really catchy stuff.

And speaking of catchy, you have just got to check out Valentino’s playing style which falls somewhere between Marc Ribot, John Zorn and Joe Diorio. I mention these three players specifically because they each have a stylistic component that shows up, consciously or not, in Valentino’s playing. The Ribot/Zorn reference refers to Valentino’s quirky outside playing and compositional approach that while not as wild as say a Dom Minasi stills finds it’s way left of center musically.

As to the Joe Diorio reference, well let’s just say that there are more than a few moments when Valentino plays some very sophisticated and intervallically challenging lines. A great tune to use as an example of all this would be “Oyster Boy”, one of my favorites on this CD.

Valentino uses a slightly distorted guitar tone to wrench some long lines and a cool sounding intervallic lick from his guitar neck. Definitely a head-turner with the tuba providing a funky bass line that along with Mark Ferber’s solid drumming takes this tune one step closer to the dance floor. A very fun number indeed.

Valentino also plays some very hip lines on the tune “4M2” as he deftly solos over Mick Rossi’s B3 walking bass and Randy Jones’ tuba playing with Bob Sheppard taking over line duties in a well-defined tenor sax exploration of the changes. And for more of the same great playing, take a listen to “Dog Eggs”, where Valentino takes a more traditional approach before veering in a slightly “off” direction. This cat can really play.

He can also compose as well. In fact, a majority of the ten tunes on the CD, all composed by Johnnie Valentino, could be made into wonderful film scores or dramatic TV music. “Return”, a tune co-composed by Valentino and organist Mick Rossi, could definitely find its way onto the big screen with its atmospheric drone and moody melody. And a tune like “Dog Eggs” could easily be mistaken for an Ennio Moriconne track, especially with the principal sound of the tuba adding its unique color variation and Bob Sheppard’s expressive clarinet playing. Mick Rossi’s use of the Harmonium also adds a variable of color that helps with the soundscape. In fact, writer Frank Tafuri describes Johnnie Valentino as a “sound designer” in the liner notes to the CD. I think the term “sound designer” really fits Valentino’s musical persona and one listen to “Where, When & How”, “Return” or any of the other tunes on this CD should qualify that thought.

I must admit that at first I was not expecting much from this CD. I had no idea who Johnnie Valentino was, I really wasn’t a fan of the tuba sound, and I’m not an admirer of hats. But I do enjoy fine guitar playing, great writing, and first-rate musicians, and I got that in spades with this CD. It was a very surprising addition to my personal music collection and I recommend this CD to anyone who likes exceptional music that is a tad left of ordinary…hats optional.

Stingy Brim
JAZZTIMES August 2006
Guitaristry

Stingy Brim's cover states that guitarist Johnnie Valentino wanted the album to pay tribute to the bygone days of the tuba's role as the keeper of the bass line in jazz. With that description, and a CD title coming from an old style of hat, one might tink this album would fit comfortably next to your eon Redbone collection.

But with all respect to the man in the white suit, don't you believe it.

Valentino, whose discography includes an intruiging entry called Eight Shorts in Search of David Lynch, has created another captivating work that combines an organ trio with clarinet, tenor sax and tuba that straddles its role as the bass with melodic duties. Sometimes, the combinatio of timbres or rhythms recalls old-time jazz, but Valentino's writing could only come from a current era. "Oyster Bay" begins with a New Orleans groove, but the group switches to a rich, brooding drone when Bob Sheppard takes a tenor solo. "Return" and "Off Balance" both cowritten by Valentino and organist Mick Rossi, stray into free territory, with Rossi adding harmonium to the latter in an effort to evoke an accordion run. "Coyote Cowboy" sustains a western drone for eight minutes, getting the most out of Randy Jones' tuba.

Although Valentino takes a fair share of solos, he mostly keeps the spotlight on his collaborators - the sign of a good leader and a good session.

CD Title: Stingy Brim
Record Label: OmniTone
Style: Free Jazz / Avante Garde
JAZZREVIEW
By Edward Kane

Los Angeles based guitarist, Johnnie Valentino, has put together an eclectic quintet on his new OmniTone release, Stingy Brim. The use of Randy Jones on tuba in lieu of a bassist is an important part of the album's overall sound, but no less distinctive are Mick Rossi on B3 as well as harmonium and Bob Sheppard on clarinet in addition to tenor. Valentino throws in a little mandolin in addition to his six string, and Mark Ferber rounds out the group on drums and percussion.

Sometimes looking backwards is necessary to moving forward, and Valentino makes interesting use of some instruments from the music's past on this modern sounding disc. The intention seems to be to draw on the traditions of New Orleans, but the sound also owes quite a bit to Henry Threadgill's recent ensembles; the title cut, with its busy rhythms and the prominent tuba recalls Threadgill's Zooid in particular. Valentino's arrangements are much more streamlined, however, the grooves more forward and the compositions a bit hookier than Threadgill's tend to be.

The drunken sounding "Dog Eggs" features some nice clarinet from Sheppard and an angular take on the blues from the guitarist in his solo. Rossi is the star of the date, especially when given the chance to wail the Hammond organ. Jones' tuba lays a steady foundation throughout and Ferber's sticks seem to be in constant motion throughout the course of the date. Though the group tends to be a little meandering in its improvisations, there is plenty of meat to work on here.

CADENCE
July 2006
Hodgepodge & Shorties

Talented guitarist/mandolinist and idiosyncratic composer Johnnie Valentino struts his stuff with a really quirky instrumental mix (Valentino, g, mand; Mick Rossi, org, harmonium, perc; Mark Ferver, d, perc; Bob Seppard, cl, ts; Randy Jones, tba) on Stingy Brim (Omnitone 15212). V's processed guitar mixes with Rossi to create a shimmering, almostotherworldly effect that contrasts both with Jones' rotund tuba and the angular post-Bop themes (Stingy Brim/Dog Eggs/Oyster Bay/4M2/Return/Stone Balloons/ Where,When & How/Coyote Cowboy/Off Balance/All Monks Children. 54:28. September 27 & 28, 2004, Los Angeles, CA). The disc is charming overall ad sounds particularly good on slinky numbers like "Dog Eggs," the funky "Oyster Bay" (with sterling work from Sheppard), and the Threadgill-ish "Coyote Cowboy". Only the spaced-out stuff like "Return" doesn't work to my ears; but this is an intruiguing disc, one that gets its hooks into you.

Stingy Brim (OmniTone ***)
PHILADELPHIA INQUIRER
By Karl Stark

Guitarist Johnny Valentino reestablishes his Philly credentials by identifying with a loser: the tuba.

The South Philly-raised Valentino, who emigrated to L.A. in the mid-1980s to write music for television and the movies, here commemorates the 100th anniversary of the tuba's toppling by the string bass as the main pulse keeper in jazz.

But while Valentino looks back to an earlier time, his quintet moves forward by imagining what modern jazz would sound like with a tuba, a clarinet and a harmonium as stand-in for the accordion.

The result on "Return" with organist Mick Rossi is an unusual and often meditative affair. The session borrows some solidity from classical music and exudes a cerebral vibe at times. But the conception is unique and even humorous and holds much potential for adventure. "Coyote Cowboy," with Bob Sheppard on clarinet, takes off on a pleasant groove from drummer Mark Ferber that would work in the old neighborhood.

Stingy Brim
NEW YORK MAGAZINE
By Martin Johnson

On almost every jazz recording, there’s an 800-pound gorilla named “the tradition” on the bandstand. Most cats bow down. But not Johnnie Valentino. The 48-year-old guitarist, who pays his bills by composing for movies and animated television, drops a disc every few years that slays the beast, then goes out for a smoke. Stingy Brim is his ode to tuba as bass-line jazz, a style that faded before Dixieland peaked 90 years ago. His quintet chortles and huffs their way through his ten concise tunes with insolent solos and wry surprises. If you’re lucky, you’ll catch Valentino on the outskirts of the L.A. jazz scene; unless that’s your hang, you’d better catch him on this disc.

EJAZZNEWS
By Glenn Astarita

The premise behind this session is rooted within the 100th anniversary of the tuba’s demise in traditional jazz circles. Of course the bass has since evolved into the primary tool in jazz rhythmic foundations, but guitarist Johnny Valentino, with the assistance of tubaist Randy Jones, revitalizes days of yore with a contemporary slant. Consequently, the tuba has resurfaced over the years, largely within modern jazz improvisational circles.

Meanwhile, Valentino’s brainchild offers a potpourri of foot-stomping jazz-funk, tinged with a New Orleans vibe. Here, Mick Rossi’s spicy Hammond B3 organ lines complement his occasional use of the antiquated, harmonium. And it’s a groove-laden jaunt awash with pumping grooves and buoyant second-line pulses. Valentino’s edgy electric guitar phrasings steer a loose gait filled with memorable hooks and syncopated backbeats. Otherwise, the band delves into free-form avant-garde territory during the final two tracks. In sum, this outing beckons repeated listens. Simply stated, it grows on you.

ALL ABOUT JAZZ
By Jim Santella

The tuba makes a comeback on Johnnie Valentino’s modern mainstream jazz adventure, Stingy Brim. His program of original compositions features a creative quintet with nonstandard instrumental voices: guitar, tuba, organ, drums, and clarinet or tenor saxophone. Together, they create a whirlwind of saucy jazz with a contemporary flavor that travels no specific timeline. Slight echoes from the distant past mingle with a little of today and a considerable amount of tomorrow’s music, as Valentino’s progressive outlook casts a broad shadow.

The guitarist, from South Philadelphia, paid his dues on the East Coast jazz scene before relocating to Los Angeles. He’s remained prolific as both a composer and performer, drawing consistently from a palette of new ideas for several decades.

”Stone Balloons” features Bob Sheppard’s fluid clarinet in a rollicking affair that dances over Randy Jones’ twinkle-toes tuba. At Valentino’s urging, the quintet moves gingerly, recalling the dramatic textures from our more adventurous classical composers. Monk runs through a considerable portion of the program as well, and the leader ensures that his music is never pigeonholed toward any specific area. He’s progressive and exciting, and his music gives jazz a thrilling flavor. ”Off Balance” opens with a mysterious conversation between tuba and the rest of the band. It’s one-sided, since the tuba holds its own under all circumstances. The harmonium adds a chilling presence as the piece wanders slowly through misty fields of tall grass. His quirky “All Monk’s Children” invites a favorable comparison to like-minded progressive jazz outfits, but Valentino’s organization has no peer. ”What, When & How” features Sheppard’s laid-back tenor in a rush of eclectic moods, while “Coyote Cowboy” drives straight ahead in a fiery display of guitar passion. Valentino communicates through his Stingy Briminstrument with the emotional fervor of an inspired preacher on Sunday morning. His band responds in kind with glad feelings all around. Stingy brim? Maybe, but this highly recommended session isn’t stingy, and it's brimming with excitement.

Stingy Brim
ALL ABOUT JAZZ- Italy
By Vincenzo Rozzero

La tuba o contrabbasso a fiato, lo strumento più grave della famiglia degli ottoni, ingombrante e tecnicamente rigido, ha svolto un ruolo fondamentale, all’inizio del secolo scorso, nell’affermarsi delle prime jazz band essendone stato un metronomo infallibile e gioioso nello stesso tempo.

Con l’avvento del contrabbasso a corde, la tuba ha un subito un lungo periodo di oblio ed è solo con i laboratori sonori targati Miles Davis, Gil Evans e Stan Kenton negli anni ’50, con la riscoperta da parte di musicisti illuminati come Henry Threadgill o Lester Bowie negli anni ’90, o con l’ondata di nuovi specialisti capitanata dal francese Michel Godard, che questo strumento un po’ buffo e goffo è ritornato agli splendori di un tempo.

Johnnie Valentino, chitarrista e compositore di Filadelfia da anni personaggio di spicco della effervescente scena musicale della West Coast, arriva a dedicare addirittura un intero CD allo strumento in questione, commemorando i cento anni dalla sua messa in pensione come time keeper delle prime jazz band.

Niente di filologico, nessun revival tradizionalista ma semplicemente l’idea di inserire l’arcaico “ottone“ in un contesto contemporaneo e creativo, esplorandone le possibilità ritmiche e timbriche. A tal proposito Valentino allestisce un quintetto tuba-clarinetto-organo piuttosto inusuale ma assolutamente funzionale al progettualità espressiva prevista.

Se tuba e clarinetto rimandano inesorabilmente ad un’idea pionieristica di jazz, ad un’atmosfera da sagra paesana, l’organo, declinato nelle sue molteplici potenzialità timbriche, irrobustisce ed ingrassa il sound complessivo, ora accendendosi di colori gospel ora lasciando scie quasi psichedeliche. E la c hitarra di Valentino? Si muove per l’intero percorso narrativo come un perfetto anfitrione con gli ospiti: disponibile e gentile, sicura nell’indicare il percorso, inappuntabile nello stimolare la conversazione, imprevedibile quanto basta per evitare la routine.

Così a brani dal groove irresistibile e dai connotati decisamente funky succedono liberi dialoghi improvvisativi, mentre atmosfere sacrali con tanto di harmonium convivono con blues rarefatti e dalla scansione ritmica nebulosa.

Quando tradizione e modernità, sacro e profano, sberleffo e rispetto trovano un punto d’incontro nella freschezza delle idee e nell’eclettismo compositivo.

Musicisti: Johnnie Valentino (chitarra, mandolino); Mick Rossi(hammond B3, harmonium, percussioni); Mark Ferber (batteria, percussioni); Bob Sheppard (clarinetto, sax tenore);Randy Jones (tuba).

ALL ABOUT JAZZ
By Michael P. Gladstone

Guitarist/composer Johnnie Valentino beings his South Philly musical background spliced in with a N'awlins turn-of-the-century ambiance on this ambitious guitar-organ-sax album with a few asterisks attached. The inspiration was the 100th anniversary of the end of the use of a tuba, which became phased out by acoustic bass. In order to restore the music to the instrumentation of 1906, Valentino brings the urgency of today's rhythms and compositions into an ensemble that consists of clarinet/tenor sax, guitar/mandolin, tuba and harmonium (taking the place of the accordion), drums and percussion.

So how does this concept work in reality? This really isn't an organ-centered album, although Mick Rossi is featured on several numbers, These pieces (ten by Valentino, two co-written) begin in a late-night, half-tempo kind of after hours club genre with Bob Sheppard making the strongest appearances. Valentino has a metallic and just-this-side-of-John Scofield edgy quality to his playing which also makes me consider Kurt Rosenwinkel as an influence.

”Oyster Bay” is the closest to a bebop riff, highlighting Randy Jones' tuba. I remember tuba player Ray Draper, in the late-'50s Jackie McLean group, fitting into that hard bop setting scene very effectively. On “Oyster Bay” Jones plays the tuba very obviously with larger smears of notes. Not knowing if this is satire or not, I remain unmoved. “4AM” is not so much a late-night ballad but as close as Valentino & Co. get to applying an bit of outside jazz.

Each listener will have a different reaction to this album. OmniTone lives up to its envelope-pushing quality while still retaining an Old World flavor. Do you want to compare the concept to John McNeil's East Coast Cool, in the way it mashes styles together? Most trad jazz fans will probably welcome part but not all of the album. Looking back at the title of Valentino's recorded debut, Eight Shorts In Search of David Lynch (Tone Science 2004), I'm inclined to believe that he is definitely an “idea man.”

Stingy Brim (Omnitone 15212)
DOWNTOWN MUSIC GALLERY-NY

This is Mr. Valentino's second swell disc for Omnitone and it features Johnnie on guitar & mandolin, Mick Rossi on Hammond organ & harmonium, Bob Sheppard on clarinet & tenor sax, Randy Jones on tuba and Mark Ferber on drums. I was pleasantly surprised to hear Johnnie Valentino debut disc on Omnitone last year, since I know little about him before this, except that he has old disc out on Nine Winds, that I never heard. Johnnie was born & raised in Philly, but has been living in L.A. since the mid-eighties, doing a good deal of soundtrack work. Valentino's quintet here has unique instrumentation, guitar, reeds, organ, tuba (doing the bass parts) and drums. Opening with the title track which swings hard with the organ and guitar grooving together as the tuba plays those fast bass-lines. Johnnie is a gifted guitarist and has written great groove-infested songs here, with a number of inspired solos from the guitar and organ, as well as fine solos from the tenor sax and tuba. I dig the spacious and cerebral "Return", which features some haunting harmonium, organ, acoustic guitar, free-floating tuba and sublime mallet-work. The oddly titled, "Stone Balloons", features some mighty fine clarinet, and warm harmonies for the harmonium, tuba and guitar, as well as some of that mysterious Frisell-like echoplex guitar near the end. Another thing that sets this disc apart is that each piece creates a different mood or tells another short story. Local drummer, Mark Ferber, is a perfect choice as he does a wonderful job of working the ever shifting dynamics of each piece. Another splendid discovery from our good friend Frank Tafuri at Omniton.

Stingy Brim
ALL ABOUT JAZZ
By Mark F. Turner

Appearances can be deceiving. After glancing at the front cover of Stingy Brim and reading some of the information in the package, you may think this is just a typical organ/guitar combo. But what becomes apparent when you listen is that this is some very modern jazz—unique compositions and great sounding music. Johnny Valentino, a Los Angeles-based guitarist, composer and sound designer, commemorates what he states as the “100 anniversary of the tuba’s demise as the keeper of the bass line in jazz.”

The music does indeed feature the tuba as the bass instrument, but as part of a multi-textured quintet with strings (guitar, mandolin), keyboards (Hammond B3, harmonium), horns (saxophone, clarinet) and percussion. This musical mix of contours is shaped, manipulated and performed by artists who know the genre and understand how to create music that is listenable, creative and fun.

Valentino is a serious guitarist with abundant chops and an openness to technical experimentation, making use of colorful loop-based effects on the atmospheric “Stone Balloons.” The title song is a swinging, upbeat piece where his multi-layered solo contrasts with the sounds of a grinding B3, the tuba's throaty growl, and colorful drum work.

The music on Stingy Brim encompasses a smart group aesthetic as the band covers everything with style and attitude (like a stingy brim hat). Whether doing a N'awleans stomp on “Dog Eggs,” engaging in free jazz exploits on “4M2,” or dabbling in sound collages on “Off Balance,” these players combine composition and group improvisation on this memorable recording.

Stingy Brim - Omnitone
ejazznews.com
By George W. Carroll/The Musicians' Ombudsman

This is a very ambitious & animated CD project dealing with instrumental areas that ''man has hardly dared yet to explore.'' I refer to Johnnie Valentino's New disc, & the creative interplay one hears between Randy Jone's tuba bass lines, & Mike Rossi's hard driving B3. The liner notes on the CD itself sum up the character of the project succinctly as it states...''This unchained, funky, toe-tapping tuba-organ quintet, full of catchy, irresistibly grooving tunes.'' All in all Johnnie & his group catch a highly individualistic style, with an array of gloriously fluid techniques expressed by the sidemen, and a seemingly endless flow of viable & linear harmonic & musical ideas.

ALL ABOUT JAZZ
By Dan McClenaghan

It takes a bit of nerve and some swagger, one would guess, to wear a Stingy Brim hat, one of those straw bowler types with a very limited brim overhang. But guitarist Johnnie Valentine does exactly that. It also takes a bit a nerve to bring the tuba into a jazz ensemble these days. Back in the early years of jazz, the tuba and the string bass fought it out for control of the music's bottom end, and the string bass won. But the tuba refuses to fade away. The late Lester Bowie used that beefy, if relatively unsupple, brass throb marvelously in his Brass Fantasy ensemble. Bowie had the swagger; but then so does Valentino.

Funky, with a New Orleans vibe, Stingy Brim has a touch of humor (the tuba seems to encourage whismy in the collective sound), but this set is a lot more than a good time roll. A good deal of depth, edginess and a perversely modern lean—given the inclusion of harmonium, clarinet and tuba—inserts itself into this set of ten Valentino originals (two tunes are co-written with keyboardist Mick Rossi). Listen to the dark-toned “4AM,” with Valentino's guitar stinging into the deep tuba grooves while Mick Rossi's B3 blows a cold storm around them.

Valentino has crafted an interesting group sound. I've referred to the tuba as “relatively unsupple,” this in terms of comparison to the string bass; but Randy Jones is a deft and, yes, supple practitioner of that big swirl of brass with the big fat dish at its end. And Bob Sheppard, on clarinet and tenor sax, sounds particularly inspired from start to finish, doing more than his share to add a forward lean to the mix.

8 Shorts in Search of David Lynch
Johnnie Valentino | Tone Science
By Rex Butters

Guitarist Johnnie Valentino lists “sound designer” on his resume, and
his Eight Shorts in Search of David Lynch demonstrates the craft.
Valentino designs “sound beds,” manipulated found sound environments
with which the improvisers interact. Each captures a mood, with ambient
dream world synergies seeping in, a la Lynch. The worlds spun by these
musicians materialize before the mind’s eye, each an original sound
vignette.

Large throbbing tones, with processed spider guitar running on snare
webs, open “Ambiguity.” Erik Friedlander’s expressive cello anchors the
swirling metallic signals and Valentino’s jumpy tumbling guitar line.
Mike Sarin’s mallets strike swift and crisp out of thick electronic
pulses. An industrial loop and sirens remind the listener of
Valentino’s love of Varese on “Exploration.” Randy Jones’ tuba and Russ
Johnson’s muted trumpet join the metallic sounds scraping and humming
around them with Valentino’s distortion disguised guitar buzzing
through channels. Occasional titanic bass drum thump recalls Noh play
music.

Naked exotica permeates “Under Current,” with resonating tabla samples
and floating wordless vocals interacting with Vinny Golia’s protean
flute improvisations. Valentino plays acoustic, possibly mandolin or
shamisen, with a bright string instrument sample circulating the
channels. “Components” buzzes and hums with in amorphous metallic echo, acoustic guitar notes occasionally turning backward on themselves.
Johnson’s trumpet warms the spaceways with Mick Rossi supportive on
piano.

Golia returns to a low flute playing with whales, electronic echo, and
a tape of himself on the moving “Unveiled.” Johnson pierces the dream sounds with trumpet flash on “Concrete Irrationality.” Oozing and trickling electronic distortions blow through with Sarin, giving the
robot a pulse.

Eight Shorts in Search of David Lynch
ToneScience TS 7002
JAZZ WEEKLY
By Ken Waxman

Sort of a modern day Thomas Alva Edison, Los Angeles-based guitarist
Johnnie Valentino takes a practical approach to the somewhat esoteric
concept of sound design. True to the functional philosophy of the
Wizard of Melo Park, Valentino mostly uses manipulated sounds in his
day job, scoring and providing sonic textures for animated TV shows and
feature films.

This CD is another matter, however. It’s a high art application of his
collection of found sounds far removed from the tone designs he
provides for sci-fi and children’s products such as Alvin & The
Chipmunks, The New Archies or Wonder Boys. It proves that a musician
with ingenuity can compartmentalize his creations, using some for art
and others for commerce.

An Easterner like Edison, Valentino has been operating like this for
years. A Philadelphia native, he studied privately with Dennis Sandole,
John Coltrane’s teacher, as well as taking composition at Rutgers
University while doing local club dates, recording sessions for Philly
World Records and gigs in Atlantic City. In L.A. since 1984, he’s
recorded with top improvisers like guitarist Pat Martino, trumpeter
Wadada Leo Smith and multi-reedist Vinny Golia, the last of whom is
featured on three tracks here.

Essentially, EIGHT SHORTS is made up of the musicians playing live in
the studio using Valentino-created abstract sound beds as springboards
for improvisations. As can be expected from the title and his
background, the results are cinematic, but mostly in an experimental
un-Hollywood fashion, all the way down to titles. As the guitarist
says, “If you don’t like the names of the tracks, make up your own”.

Especially memorable is a track like “Unveiled”, a duet for Golia’s
flute and Valentino’s guitar, seemingly suspended bird-like over
raunchy thunderclouds and bubbling forest streams. In between fripple
manipulations and offbeat chording, the soundscape brings up growls,
yelps and other potential wild animal tones and a coda of dripping
water.

Other CD helpmates include such certified New York downtowners as
cellist Erik Friedlander, known for his work with John Zorn; drummer
Mike Sarin, who has been part of bands led by bassist Mark Helias and
pianist Myra Melford; and trumpeter Russ Johnson, co-leader of The
Other Quartet. Then there’s pianist and percussionist Mick Rossi, who
employers have included trumpeter Dave Douglas, composer Philip Glass
[!] and soft-rockers Hall & Oates [!!].

Rossi’s dual skills are put to good use in pieces like “Vessel”, where
wheezing background textures, sometimes extended with muezzin-like
cries and what could be rooster crows feature non-specific pitchsliding
brass tones. Moving between keyboard timbres and stopped internal piano
action, the pianist gives Valentino additional accents on which he can
prop his metallic finger picking and scattered amp loops, scattering
and shattering fluttering found sounds.

Friedlander’s contributions encompass legit glissandi and song-like
spiccato episodes. The soul of modesty, Sarin mostly confines himself
to scattered cracks and knocks and off-centre rambling beats, while
Golia’s buzzing bass clarinet, provides alternating swelling and
wavering backdrops for low-key pianisms mixed with discursive side band
tones.

Johnson offers plunger work seemingly unfazed by pulsating waveforms
of droning buzzes and corkscrew mutations at one point, or screeches
out brassy triplets over pedal point tuba sounds– from Randy Jones –
cymbal splatters and uncommon bounces from Sarin elsewhere. This
whirling brass line gives Valentino a context in which to display
rock-style guitar reverb.

Picturesque can only go so far with shorts, whether they are cinematic
or sonic, as other tracks show. As well, a couple of tunes could have
been left on the cutting room floor.

Especially unfortunate are the two – or is it one? – which feature
wordless vocals from Elissa Lala. While vocal sounds almost mesh with
eastern-inflected flute textures and sampled tabla sounds on one track,
the other tune is virtually engulfed in shapeshifting sidebands that
resonate with thunderous wave and seagull sounds. Low-frequency piano
chords and chromatic trumpet lines may gently complement one another as does the whispering vocalese, but when finger-style guitar is added to
the mix the result is too syrupy. Middle-of-the-road orchestral fluff
featuring Earl Klughish guitar licks may work for a romantic love scene
on screen, but this audio-only output is too cloying when compared to
the advanced sound work Valentino exhibits elsewhere.

Perhaps these shorts won’t find David Lynch. Perhaps they shouldn’t.
Most of the way through this CD however, the guitarist has produced
intelligent, practical, sound designs with that can be appreciated as
is, without visuals.

8 Shorts in Search of David Lynch
DOWNTOWN MUSIC GALLERY