Preview: Big Sound Equals Big Fun
**Update 4/18/16 - Big Fun has had to cancel their scheduled appearances for this week. They were intended to appear as part of a panel discussion Monday, April 18 at 7 pm at the AADL, celebrating the 40th anniversary of Eclipse Jazz, and the music of Miles Davis as a prelude to the screening of the film Miles Ahead at the Michigan Theater. They were also scheduled to perform at the Necto in a special pre-screening reception on Thursday, April 21 at approximately 6 pm. This piece has been edited to reflect the cancellation of these performances.**
The baby boomer generation discovered jazz in the late sixties primarily because rock bands of the day incorporated elements like horn sections, the Hammond B-3 organ, hand percussion, Eastern Indian instruments, and funky rhythms into popular music.
Miles Davis became the pivot point in the contemporary jazz of the day, conversely influenced by Jimi Hendrix, James Brown, and Sly Stone. To reach a wider audience, Davis employed fresh-thinking younger musicians to create groundbreaking jazz fusion music that revolutionized how people thought about jazz; to its detriment for some, but ear opening for many others.
The local band Big Fun is now reintroducing this music to the boomers, and giving young listeners a taste of what this style of jazz still represents. Though a scene in the jazz rock music still very much exists and is technologically evolving, Big Fun stays true to the original concept.
Named after a Miles Davis album of the same name, Big Fun runs the gamut of the music the famed trumpeter created from the late sixties up to the mid-to-late seventies. They are recreating those period pieces from recordings like In A Silent Way, A Tribute To Jack Johnson, the quintessential Bitches Brew, and On The Corner.
Increasing their footprint slowly but surely over the past three years, Big Fun was born out of a concept from music instructors at the University of Michigan who saw a need for this kind of jazz filling a void. Trumpeter Mark Kirschenmann and keyboardist Steven Rush sport plenty of credentials as instructors and performers, but thought it was time to team up and give the public music that influenced their thinking as young players.
Kirschenmann has directed the U-M Creative Arts Orchestra for close to a decade. His electronically driven horn sound employs all the modern laptop, digital pedal, and looped sounds possible, but without losing the soul of his instrument. His style is much more earthy than alien, although deep labyrinth excursions are not beyond his purview. He has also been heard with E3Q featuring his wife, the innovative cellist Katri Ervamaa and percussionist Mike Gould, and with the Jon Hassell-influenced ensemble Electrosonic.
Steven Rush is one of our most ambitious local musical heroes. He directs the Digital Music Program at U-M, leads the band Quartex for Sunday evening worship services at the Canterbury House, and presents various electronic and world music sessions. Deeply into Eastern Indian vocal and percussion, he is equally influenced by Brian Eno, Sun Ra, Robert Ashley, Cecil Taylor, Phillip Glass, the Art Ensemble of Chicago, Morton Subotnick, John Coltrane and Blue Gene Tyranny. His personality is as freewheeling as his imagination.
Big Fun has performed at the Canterbury House, appeared during the 2015 Edgefest at the Kerrytown Concert House and recently at Encore Records. They also played the recently renovated Residential College in the famed Keene East Quad Amphitheatre, the building where Kirschenmann teaches regularly. It is also the venue where Eclipse Jazz used to host their legendary “Bright Moments” series of innovative creative improvised concerts.
As a witness to the East Quad performance, it’s easy to say Big Fun pulls no punches regarding the authenticity of the music they are portraying. With healthy doses of improvisation, Kirschenmann and Rush stretch out the music without breaking it. Electric bass guitarist Tim Flood pushes with band with ostinato pulses and a powerful persona that belies his smaller, slight build – he is at the center of driving this locomotive.
Brothers Jeremy and Jonathan Edwards do not so much work in tandem as much as they fulfill crucial roles. Electric guitarist Jonathan has the John McLaughlin sound of the era down to a science. He fills in cracks and enhances the overall sound portrait. Drummer Jeremy can be serene and understated, whip up a whirlwind, play deep pocket grooves or anything in between. Tenor or soprano saxophonist Patrick Booth and hand percussionist Dan Piccolo fill roles held in the Davis bands by David Liebman and Steve Grossman, or ex-Ann Arborite the late Jumma Santos and Badal Roy respectively. Their ethnic underpinnings are as important as Ravi Shankar’s contributions to The Beatles.
Michael G. Nastos is a veteran radio broadcaster, local music journalist, and event promoter/producer. He is on the Board of Directors for the Michigan Jazz Festival, votes in the annual Detroit Music Awards and Down Beat Magazine, NPR Music and El Intruso Critics Polls, and writes monthly for Hot House Magazine in New York City.