Tim Turvey Ensemble
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Tim Turvey Ensemble

Brantford, Ontario, Canada | SELF

Brantford, Ontario, Canada | SELF
Band Jazz Reggae


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"Turvey hits the right notes"

Artist: Tim Turvey Ensemble
Album: Clatter In a Quiet House
Label: Your Personal Records

Playing engaging contemporary jazz can often be quite the balancing act for a band leader and group of musicians, but Tim Turvey and his Ensemble have hit that sweet spot on their first time out.

Not only does this Brantford collective display chops worthy of being heard in renowned clubs on virtually any jazz circuit, Clatter In a Quiet House is presented with a savvy that can elude some of the genre’s more prominent names.

Although percussionist and arranger Turvey leads his cohorts through a set of tunes that imparts nods to fusion, bop, traditional folk and even free-form jazz, overall cohesion with an eye on the groove remains paramount.

Even when guitarist Matt Mosionier injects a blazing solo into tunes, like album opener Dreams of Czimbalom, the band rejoins him in stride, avoiding any frantic fusion territory.

Despite mixing a remarkable range of styles, Turvey and his bandmates never abandon the listener with forays into “jam band” noodling oblivion. The resulting compositions provide plenty for unseasoned listeners to discover while at the same time giving jazz aficionados more than enough to chew on.

Collective and solo talents are on display in Clatter In a Quiet House, like the loungey La Paz being led into a reggae segue smoothly by bassist Johnny Kerr. In Pulse sees the group’s sax player, Jonas Berkeley, squawk like the Hawk and get down with some more dulcet tones in the same tune.

Local talent extends to the Ensemble’s guests, as violinist extraordinaire Tobias Yaremczuk assists in firing up the Eastern, gypsy band intensity of Antal Kocze, Turvey’s ode to the “King of the Gypsies.”

Guest pianist Mike Alonzo’s nimble fingers invigorate the light barrelhouse boogie aspects of Somniferum while not sounding out of place during the song’s ska flourishes. Trumpeter Kevin “Doobie” Williams and baritone sax player Karl Langton offer welcome help on the album, as well.

You shouldn’t seek out the Tim Turvey Ensemble just because they hail from Brantford. You should seek them out because they have released a fine jazz-centric album that offers a pleasant and engaging listen throughout.

Clatter In A Quiet House is available at The Beat Goes On and at www.turvey.ca.

Artist: Black Eyed Peas
Album: The Beginning
Label: Interscope
Rating: 2.5 out of 5

Despite giving their latest batch of tunes a title as promising as The Beginning, the Black Eyed Peas’ dance party power seems to be on the decline.

The followup to the Peas’ career-defining album The E.N.D. expands on the 2009 multi-platinum formula of infusing hefty Euro-club techno beats into a slick and bubbly R&B sound.

While those slick beats alone may suffice for a lot of Peas fans, The Beginning is rife with simplistic repetition and rehashed styling. The letdown begins with lead single The Time (Dirty Bit), as its foundation is the chorus lifted from Dirty Dancing’s (I’ve Had) The Time of My Life, warmed over with beat segues and crudely spliced vocals.

Lots of hooks are laid out in the new tracks, but the Peas sound short on ideas, as the album is devoid of any of their customary frenzied sing-song moments.

Key member and producer will.i.am relies quite heavily on auto-tuning the crap out of vocals in an abundance of dumb rhymes that turns the Peas’ once charming pseudo-swagger down right embarrassing at points.

For instance, in the fluttering synthy bounce of XOXOXO, the Peas take turns singing lines like: “I be waitin’ on the phone for your text yo, I wanna stay connected like Lego. You’re the gas to my car you’re my petro. You and me go back, retro.”

Elsewhere, over the clap-beat buzz of Do It Like This, Fergie adds “1, 2, 3 to the fo, coming to your hood like a scud misso.”

Notwithstanding the flashes of head bopping fun in tracks like the new jack shuffle of Light Up the Night and the soaring vibe in Someday, The Beginning is a pack of bubble-gum urban pop that loses a lot of its “guilty pleasure” flavour after just one listen. - Robb McKay - Brant News


By Brian Gall:
A dazzling jazz drummer first, for sure, Tim Turvey is also an up-and-coming multi-instrumentalist and composer with an aptitude for recording his own work.

In this brief four-song debut EP, the Brantford, Ontario native demonstrates sharp, thundering skills on his primary instruments as a percussionist. The piano, clarinet, bass and guitar work is all his doing as well.

As well as being an independent musician, Turvey is a member of Ragaffaire, a Hamilton-based group playing music of Northern India & Hindustani origins. He is also a member of the indie rock group No Orchestra and the free improv In Orbit Trio. Other projects include partnerships with the Association of Improving Musicians Toronto, AIM Calgary and the Kitchener-Waterloo Improvisers Collective.

Although jazz fusion fans will eat Autodidactic up, a particular style is not easily identifiable in this roughly 15-minute project. Turvey could be mistaken for Cecil Taylor during the menacing keyboard attacks of "Improv For Thirteen." Piano and clarinet hiccup, starting and stopping in a meandering march. Quiet and loud, strange, chunky beats erupt after nearly five minutes of the EP's most daring moments.

"Strict Nine" is Turvey's answer to Paul Desmond's "Take Five." A swinging highlight of the CD, it is driven by the drone of the clarinet, leading into a bold bop chorus.

The smooth, drum-free "In Pulse" continues the instrumental theme through to the end track. It is a peaceful conclusion to a release full of creatively bent modern jazz, pumped full of life by a pilot of percussive pathways. - All ABout Jazz

"Tim Turvey Band, Powerful & Energetic"

By: Glen Silverthorn
A standing room only crowd of happy patrons packed the McLauchlin House a week ago Saturday. An atmosphere of excitement filled the room as all eyes and ears were glued to the stage where the dynamic and powerful Tim Turvey Ensemble were displaying its talents. Supurb drummer Tim Turvey was demonstrating his technique on the kit as the band performed an up-tempo piece with jazz flavour.
During the evening, many of the tunes would often contain not only speed changes but time or style changes as well. Because of the tightness of the band, these changes provided a definitive rhythmic percussion that had many of the customers moving arms, feet and bodies and other listening intently. Changes in volume during and at the end also revealed the expert musicianship of the players and vocalists.
Keyboardist Mike Alonzo was featured many times on solo passages, which were interspersed by great improvisational riffs on the guitar by Nick Bastian. Veteran musician Jonny Kerr, whom I’ve seen in the past on drums and guitar, demonstrated his expertise on the bass, an instrument on which he has been proficient for many years. As I arrived, the band was featuring Jonas Berkeley who is a master of improvisation on the saxophone. Later in the evening, Quintessential baritone saxophonist Karl Langton joined the group for a few tunes. The duet horn work with Jonas was outstanding.
Tim’s bands, whether they be trios, quartets, or larger ensembles, will usually perform in the jazz vein but may be exploring or experimenting with new sounds as his highly talented friends show their creativity. Tim himself is very adept at hand drumming on his set as well and will incorporate this skill along with the traditional sticks, mallets and brushes on the kit. With the various groups that Tim has assembled, he has presented concerts in a myriad of styles, including jazz, ska, reggae, funk, groove, experimental, punk rock and improvised music.
- Osprey/Sun Media

"New CD tops for Turvey"

06/08/09 - by: Sal Bommarito

Local jazz innovator Tim Turvey succeeds in fusing art and music in his latest CD release of experimental and original compositions.

The self-titled work has the hallmarks of Turvey's previous project, Autodidactic, in which he plays every instrument featured, with several trendsetting elements added for good measure.

Already known for combining a myriad of styles, including ska, reggae and funk, the "full-tilt" percussionist takes improvisational jazz to previously unexplored heights by adding classical strains to the mix.

From the debut of the czimbalon, an eastern European string instrument played with a little hammer, to a "conversation" between two saxophones on the fifth track, the 34-year-old artist lets his creativity run rampant. Above all else, freedom of expression is at the core of Turvey's ingenuity.
"It's good to keep things loose for the creativity to flow," he says in explaining how the musical synthesis happens both in the studio and on stage.
"Each performer does something a little different with the music. It's important to open up that door. I usually tell musicians who have never played with me, 'Show up and trust me.'"
The spontaneity evolves from people's comfort level, says Turvey, a multi-instrumentalist who can play drums, piano and guitar.

"I have a rule when we play: no shoes allowed. We try to make it a comfortable space. When people remove their shoes, they become instantly comfortable."

Certainly, instrumental extemporization, exemplified by his high-energy and hard-driving drum rhythms, has become his trademark. The new CD, slated for release tonight at Brantford Arts Block in the downtown, has it in spades.
"There are so many talented people out there you can watch. You can tell that they've had a lot of practice at what they do. That's different than watching people play with true emotion, with true passion, who are letting out raw emotions."

Most nights, Turvey likes to set the pace, and the new CD is certainly no exception.
"Being the band leader, you have to let it out if you want the people playing with you to let it out, too." And let it out they do.

Heart-pounding percussion is the driving force throughout most of the album, which features contributions from Turvey's accomplished bandmates and several special guests.

Jonny Kerr (bass), Jonas Berkley (sax) and Matt Mosionier (guitar) leave their marks on many of the tracks, as do contributors Kevin Williams (trumpet), Karl Langton (sax) of Quintessential, Tobias Yaremczuk (violin) and Mike Alonso (piano).

Improvisation, which Turvey explains is different than "speaking your instrument," is plentiful throughout the CD, especially on the no-holds-barred final track.

However, the musician goes to painstaking lengths to ensure authenticity of his art during the composition and production phases.
"I wrote it all out and recorded it on a digital recorder so everyone could listen to how the different parts are supposed to sound."

Executive producer Brian Gall, and well-known music producer Glen Marshall of Vibe Wrangler Studio in Hamilton, paved the way for Turvey's vision to take shape.
"(Vibe Wrangler) was fantastic. They create an environment that's perfect for recording. We had visited a number of studios when their name came up. We decided to visit them and we were there five minutes when we realized it was the place."

Turvey explains that it was important to capture the band's true sound on the CD, which, amazingly, was recorded over a long weekend.
"We wanted to use vintage equipment. We used a ribbon mic when we were recording. It creates a sound that's much warmer than high-tech equipment."

Turvey says the CD was produced "live" in the studio, which means that the songs were recorded in real-time versus recording different tracks and overlaying them later. He did, however, "put piano over most of the songs."

"It went so smooth," said Turvey. "To put so much effort into your
songs, and to have it go that way, is ultimately very rewarding."

It's only fitting that Turvey, who also dabbles in metal sculpture -he took a half-gutted piano and created a "giant bug" out it -is launching his new CD at Brantford Arts Block, a non-profit community arts organization on Dalhousie Street.

The former Sheridan College art student has been a longtime supporter of the local cultural scene.

"I thought it was a good middle ground for the launch. Some people don't like to go to concerts, some don't like bars. This is a more comfortable location. I also want to help support what they are doing. I'm proud of (executive director) Josh (Bean) for what he's accomplished. He had a vision and he stuck with it."

The CD's abstract art album cover is the work of New York City artist Milan Jilka, a former Brantford resident who attended Pauline Johnson Collegiate with Turvey.

Anyone who purchases the CD will be provided with a Web link and password to download nine tracks, along with a bonus track.

Fans also will be able to download different versions of two of the songs on the CD. A PDF version of the CD cover can be printed off and folded using origami technique. - Sun Media

"Tim Turvey Record Release"

07/08/09 - by: Cheryl Storneli

The sweet sounds of jazz filled the white and green walls of the Arts Block at the Tim Turvey Ensemble’s CD release party last night.

With a packed house and thick air, the crowd was anxiously awaiting the music that was to come.

After a few words to the audience from Turvey - “we don’t strive for perfection, we only hope to have fun,” - the night began with a Herbie Hancock tune to get the band warmed up.

As they followed the tune of the song and got into the feel of the night, I took a moment to look around the Arts Block. The minute I had walked through the door, I noticed that the atmosphere completely changed at night. Littered across the room was a wonderful blend of people, older, younger, casual, sophisticated - I’d never seen a variety like this in Brantford before. With the Peace & Diversity mural still on display, it added an artsy, undeniable cultural feel to the entire tonight.

Turning back to the band that had settled in and worked out the kinks, they flowed easily into the first song of the night, off the new album Clatter in a Quiet House , a working title according to Turvey.

Song by song, the ensemble was thoroughly enjoyable to hear as the night flowed together seamlessly. Throughout each song additional instruments from the ensemble would add an entirely new dynamic that complimented the song perfectly.

Standing out to me would have to be the songs We Met at a Funeral and Antel Kocze which Turvey noted as “a tribute to the king of the gypsys. From violin to trumpet to the accordion, no two songs were alike or dull.

The crowd appeared to be enthralled and focused on the band as Turvey moved with the melody of the music from behind the drums, never sitting still.

Fingers flew across chords, people danced across the floor as the talent on stage was so incredible, and it was hard to break away from the daze you’d easily fall into. I still wonder how they managed to have so much talent in a single band.

When you close your eyes and listen, jazz music will often paint pictures in your mind. The beauty and uniqueness of jazz, to me, is that there are often no lyrics. Your mind is completely free to think, wander or be inspired. Each note, each melody, each instrument, work together to simply feed your mind what it needs to create something out of the song. Now, I understand why artists paint to jazz and classical music.

Who is Tim Turvey?

“I don’t actually know what started me into music,” said Turvey. “I suppose it could have been the desire to express raw emotion and angst through music.”

Buying his first set of drums when he was 14, from a farmer for $40, the musically-fluent artist aspired to play punk rock. For a while Turvey did explore the genre in the local punk rock band, Drunk n’ Anger.

“That’s the problem in today’s society. We’re too focused on names and categories and trying to identify ourselves with them,” said Turvey. “No matter how you look at it there are only 12 notes, it’s about the way you arrange them.”

For the current album with the working title Clatter in a Quiet House , the nine songs were written over the course of a full year, consisting of a variety of styles from personal influences. The album took three, 12-hour days to record at Vibe Wrangler Studios, with an extra day for mixing and mastering.

“I wrote all the music, handed it to the band, and they just played it. I’m very comfortable with them,” said Turvey.

Comfort is key for the jazz musician as he ensures the music is able to flow where it wants to.

“You have to let the music dictate its direction. It’s like a big nose, it’s going to sniff its way to where it’s going to go,” said Turvey. “I am 100 per cent happy with this album.”

Agreeing with Turvey was saxophone player, Jonas Berkeley: “Of the 12 albums I’ve been a part of, this is the one I’m most happy with.” - brantford.com


Clatter in a Quiet House



"A Felini experiment gone right!"
Says Jaymz Bee of Canada's #1 Jazz Station.

Tim Turvey has the ability to lead his group from behind the drums and thrust others into marvelous improvising directions. A dazzling drummer first for sure, this multi-instrumentalist and eclectic composer is a Canadian Keeper.

He has toured the Country, won over audiences at festivals, collaborated with a long list of Canadian talent and opened for an impressive collection of performers.

His latest accomplishment “Clatter in a Quiet House” has attracted much attention. The record was created in the April Full Moon of 2009, at Vibewrangler Studios in Hamilton, Ontario with Juno Nominated Producer, Glen Marshall and Michael Keire.

Generous airplay across the Country has put this release on rotation and in the National Charts. This led the Ensemble to becoming a regular stop on the Fm91 Jazz Safari.

The band’s explosion of sound is exciting rooms everywhere. Revelers bounce to the seriously deep grooves that underpin a raw energy experience that lasts. They will take you on a Jazzed up, Funked out, Reggae, Dance, Punk, tour of sound and style. “the Soundtrack to Lunacy”