The Meldavians

The Meldavians represent the coming together of three major talents all out of North Carolina: vocalist and acoustic guitarist Melissa Reaves, guitarist Scott Sawyer and keyboardist Dave Fox. All of them have already made their mark as leaders, and have toured and recorded with major acts. Fox and Sawyer are also area music educators, and Reaves and Fox can compose. We already know a thing or two about Fox, who collaborated with Bruce Eisenbeil on one of my favorite whack jazz discs of 2009.
Collectively, there’s no kind of music these three haven’t mastered: rock, soul, blues, funk, jazz, folk, experimental and even classical. By extension, The Meldavians — nominally a rock band — goes in whatever direction that feels good to them. That’s the charm and allure of their newly-released debut album made with the help of guest bass players, drummer and percussionists, called Farewell Arigemon.
As good as Fox and Sawyer make as musicians, a good rock band needs a good frontperson, and Reaves fits the bill just dandy. She’s got enough sass, enough swagger and enough passion to keep us entertained no matter the material, and with that material (mostly written by either Fox or Reaves) being so wide-ranging, it’s her vocal that ties it all together and gives this record coherency. She can deliver a ballad like “I Remember You” with convincing sincerity and just as assuredly, turn around and belt out a burning blues rocker such as “You Better Never Mess Around.”
Elsewhere, the repertoire pivots from the Little Feat boogie of “Have I Told You?” and the Professor Longhair second line of “A Lot Less Philosophy” to the butt-shakin’ funk of “Dance Of The Milleners,” and the hard rockin’ “New Rock Song.” “Farewell Arigemon” has jazzy prog tendencies and “The Burning Of Oliste’s Palace” even ventures into whack jazz territory, or whack something. In any case, I like the gumption they show in delving into challenging, improvisational material and put it in the middle of a rock album.
All this diversity would mean little if they didn’t have the aptitude to do it right. They have it, and more importantly, they seem to mix it up for the right reasons: for the love of music of all stripes. The members Meldavians like to fancy themselves as being from some faraway planet, but aliens never made music so firmly grounded into so many earthly music forms.
Farewell Arigemon was self released last January. Visit The Meldavians’ website for more info.

- Something Else

CD Review: The Meldavians' Farewell Arigemon
by Grant Britt
BigDog Applewood; Release date: Jan. 1, 2012

Don't be misled by the offbeat title. This regional release is a raucous, hard-rockin' window rattler. Greensboro's Dave Fox is best known as a classical and free-form jazz pianist. His day job is teaching classical music at Greensboro College. But for his latest endeavor, as his musical alter ego Dr. Drave, he's invented a land called Meldavia, where the natives are able to fly under their own power. Aided by fellow Meldavians Scott Sawyer on guitar and Melissa Reaves on vocals, he's ventured into low-down blues-rock territory as a score to accompany the book he's written on the adventures of the flying Meldavians.

Boone's Reaves is the centerpiece of this ensemble. The force of her muscular, in-your-face vocals pins you against the wall. "Turn Back the Hands of Time" sounds like it was ripped raw and bleeding from Janis Joplin's throat. Despite the lofty title, most of the material is nasty, funk-laced, bluesy rock. "On The Lawn" has a Funky Meters-inspired New Orleans second line feel. "Eleven Hundred Years" feels like Marsha Ball fronted by Teresa James. "You Better Never Mess Around" channels Shemekia Copeland for some low-down nasty blues punctuated by Scott Sawyers' Albert Collins impersonation. You get a taste of Fox's esoteric side on the "Burning Of Olistes' Palace," a dreamy slice of wah-wah pedal-infused electronica with handfuls of Fox's tinkly piano sprinkled over the top.

The only problem here is gonna be marketing. The current title makes it sound like a lofty jazz project or a prog rock piece of electronica. It'd be a tragedy if this stuff didn't get exposed to the blues audience. It's top-drawer blues worthy of a national audience, one of the best efforts to come out of these parts in a long time. Pick up a copy and help spread the word — these Meldavians really have figured out how to fly.
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- Creative Loafing, Charlotte, NC

Many masterpieces have resulted from a theme; just take a listen to “Sgt. Pepper” or “Dark Side of the Moon.” Following a concept doesn’t always work though, and more often than not, artists who do produce lackluster material.

The Meldavians’ attempt at an album inspired by a story, “Farewell Arigemon,” doesn’t quite fit in the first category, but it’s nowhere close to being in the second.

Three of North Carolina’s virtuoso musicians, jazz pianist Dave Fox and blues guitarist Scott Sawyer, both of the Piedmont, and vocalist, guitarist and Boone rock ’n’ roll diva Melissa Reaves comprise The Meldavians. The group was recently formed to bring life to a project written, created and composed by Fox. “Farewell Arigemon” was released on Jan. 1.

Fox conceived “Farewell Arigemon” for Reaves, who he has performed with occasionally over the last 15 years. In addition to the 10 tracks prepared for her, Reaves brought two of her own originals to the album. Joined by Sawyer and a several supporting musicians, The Meldavians began their existence in 2011.

The Meldavians, the name and the music, could easily be interpreted as combination of Melissa and Dave, but it’s also a representation something of Fox’s imagination. According to him, Meldavia is a country founded by a race of people forced to leave their homeland of Arigemon. Both of these places are located on Teronus, a planet in a distant galaxy.

The information Fox gives about the Meldavian people is vague and insufficient for understanding what exactly is going on with them on “Farewell Arigemon.” His book, “The Illustrated Tales of Meldavia, Vol I: The Summer of Isnon,” available separately from “Farewell Arigemon,” may provide some enlightenment. With it, perhaps, listeners may be able to connect the story and the music.

Honestly, knowing the specifics isn’t important. Whatever happened to the Meldavians, when generalized, is a story of emotion (love, in particular), nostalgia and change; it’s a human tale. The background information provided by Fox’s imagination elicited a brilliant product, whether it’s interpreted as a concept or not.

“Farewell Arigemon,” for the most part, is a jazz-blues-rock album, but is certainly not limited to that description. The styles intersect, run parallel, converge and are often infused with experimental and progressive elements, as well as funk and gospel and others. All the songs have a distinct formula, yet when combined, make a coherent whole.

The songwriting is exceptional, as Fox wrote well for Reaves. It’s as if he knew exactly what lyrics and music would best showcase her amazing ability to convert emotion into song. Reaves asserts “You Better Never Mess Around” over Sawyer’s sexy blues guitar. She takes the tell-it-like-it-is route when she asks for a little more lovin’ and “A Lot Less Philosophy,” a song channeling New Orleans’ Dr. John. “I Remember You” is soaked in sentiment, and the questioning “Have You Ever Made a Movie” fully engages the listener with its provocative lyrics.

Reaves is a vocal powerhouse throughout “Farewell Arigemon,” and the best moment comes in her own “Turn Back the Hands of Time.” Reaves has often been compared to Janis Joplin in the past, and this song most certainly elevates her to this position, if not higher. As with the rest of the album, she receives expert backing from Fox and Sawyer, who fuse blues and jazz flawlessly.

If Fox’s outlandish story about people from another planet can bring about an album as full and intelligent as “Farewell Arigemon,” then the guy should definitely write more stories. Either that, or musicians as immensely talented and creative as Fox, Reaves and Sawyer should hang out more often.

For more information on The Meldavians, visit http://www.meldavians.comhttp://www.meldavians.com.
Home » Columns » Album Reviews » The Meldavians

- Mountain Times

Artist: The Meldavians
Album: Farewell Arigemon
Review by Rhonda Readence

Melissa Reaves, Dave Fox and Scott Sawyer are the trio of talented musicians from Greensboro, NC that make up the band The Meldavians. Coupling jazzy blues rock with tripped out jams, their album Farewell Arigemon is a fascinating and entertaining journey into the heart of music. Boasting a crystal clear sound, the lead-in track is titled “Who Is The Better.” Elements of jazz and blues make this piece an excellent introduction to The Meldavians. Melissa’s vocals are raw and seductive. The instrumentation is flawless and the sound is phenomenal. Hooked yet? Take a listen to the second song.

“On The Lawn” has a funky edge to it that screams of attitude. The Meldavians break into a bit of a jam in this one and the vocals are smooth as silk. This band has a knack for coupling the funk of jazz with the sultriness of blues and giving it their own unique twist with the ability to simply let it flow. One gets the impression that impromptu jamming is a way of life for this collective and a live performance would be a treat.

“1100 Years” highlight the bluesy vibe and honky tonk piano that make this song a true classic. Melissa’s vocals are out of this world and the entire composition of this piece is just killer. Slowing things down a bit, “Have You Ever Made A Movie” contains some elegant piano playing and touching lyrics that offer a sense of melancholy and nostalgia. The Meldavians do slow and soft just as well as they do jazzy blues. The melody of this track is gracefully sweet and will become a fan favorite.

The Meldavians have given us a lot of blues, a bit of jazz and the certainty that this band can indeed jam when they want to. “You Better Never Mess Around On Me” is a perfect example of blues with attitude. The vocals emulate the late great Janis Joplin and the instrumentation is smooth and flawless. The guitar work is stellar and this piece is The Meldavians at their shining best. “New Rock Song” is none other than a classic toe-tapping-get-up-and-dance number with wailing guitars and screaming vocals that again sound remarkably like Janis with a twist.

The truly standout and artistic piece on Farewell Arigemon is “The Burning Of Olistes’ Palace,” a truly tripped out and intricate composition that will bend the mind into whole new shapes. The sound quality is absolutely stunning and the creativity that flows through this song is inspiring. You will hear something new each time you listen to this one, and it will always be a surprise. Exceptional artistry.

“Turn Back The Hands of Time” is the quintessential slow blues track, complete with graceful piano playing and smoky vocals. Is Janis really dead? Is this what she would have sounded like had she not OD’d? We think so. Melissa is doing a wonderful job channeling the very essence of Miss Joplin, except Melissa’s voice is stronger and cleaner. “Dance of the Milleners” changes the pace completely with a strong funk feel and a staccato vocal cadence. This is perhaps not the sound we have come to know and love from The Meldavians, but there is no denying the talent that allows this band to change pace so smoothly and effortlessly.

“I Remember You” is a slow ballad that will tug at the heart. Touching softly on nostalgia and melancholy, this piece will send chills racing along the spine and down the arms. Lyrically, this track will bring back memories that have been on the shelf too long. Blow the dust off and remember, to the beautiful guitar-driven tune of The Meldavians. The closing track, “Farewell Arigemon,” is also the album’s title track and perhaps the most powerful offering on the album. Brimming with creativity and emotion, this is an excellent choice to close the album with. The Meldavians have proven that they are exceptional musicians with a brilliant flare for artistry and performance. Each song on this album will be sure to illicit emotion. Couple this with the undisputed skill laid forth and you’ve got a winner from beginning to end.

Review by Rhonda Readence
Rating: 5 Stars (out of 5)
- Review You

“The Meldavians debut cd “Farewell Arigemon” is an eclectic and saucy mix of Jazz , rock and rhythm and blues that makes the listener feel as if they have just stepped into some other worldly honky tonk where rules were made to be broken. Led by Dave Fox on keyboards and with Scott Sawyer on guitar, and Melissa Reaves contributing her distinctive vocal range, “Farewell Arigemon” takes you on a musical road to parts unknown that show you a melodic landscape that only a boundary-less trio could design. Get in--- the drive will be worth it.”- Kim Thore- All Access Magazine, Los Angeles - Kim Thore, All-Access Music

Dedication Suite
Umbrella Recordings
2005
Dave Fox & Eugene Chadbourne
the Foxbourne Chronicles
Assembled Sound
2006
These two new releases on Ian Davis’ Umbrella imprint blur the boundaries dividing improvisation and composition. The Foxbourne Chrponicles veers between transcendental beauty and hilarity (typical of anything involving Eugene Chadbourne.) The major portion of this disc is devoted to Fox’s “Sonata for Piano and Banjo (Quasi-Improvised)”. It’s a four movement structure on paper, and out of conventional order to boot, as Fox commits the unforgiveable sin of putting his Rondo before his funeral march – for shame! The music goes some way toward redemption, as it’s a lot of fun throughout, alternating passages of obvious planning, like the opening exercises on single notes and dyads, with folky/jazzy sections of zany improve. I love the page turns and the spoken word fragments, delivered simultaneously in Chadbourne’s empty-hipster drawl and Fox’s quasi-academic leconicism. The disc’s varied repertoire sustains interest, highlighted by Chadbourne’s almost frightening dismantling of Bill Evans “Time Remembered.” Fox and Chadbourne share a love for whimsical irreverence that serves their partnership well.
Fox’s playing is restrained but intense in a way that Chadbourne’s is not, timbral exploration abounding as he spends as much time inside the piano as at the keyboard. This is certainly the case with his solo offering, Dedication Suite. From the very opening gestures, full of space and somehow comfortably solitary, Fox elicits an unbelievable series of multivalently fluctuating overtones, rendering the concert grand liquidly percussive, tam-tam fashion, invoking John Cage’s orientalism and Sorabji’s opulence in one breath. Cage’s shadow certainly looms large over “Dedication #1” most notably his early prepared piano works, but Fox augments the sound with layers of taps, rattles, knocks and rhythmic scrapes, his textures even more “chromatic” than Cage’s; the switch to a louder jazz-inflected rhetoric midstream is more refreshing given what precedes and succeeds it. Fox’s sense of harmony is no less inventive than his ear for timbre, and the two other pieces in the dedication series demonstrate a witty and innovative approach to motivic and scalar development. “Tocotta” in particular is harmonically fresh, beginning decidedly in D major without a chord having ever been sounded, branching out in chromatically and technically facile ways that would make the masters of the genre proud. Both discs are well recorded, and while Fox’s solo effort is a bit dry for my taste, any more echo would muddy details that shouldn’t be obscured. Umbrella keeps dropping strong releases that fall, if uneasily, into the pan-idiomatic bag, and both sets are worth repeat listenings.
- Signal to Noise magazine, 2006

Chosen by allaboutjazz.com for their New and Noteworthy section in the December issue
Dave Fox
Dedication Suite
Umbrella Recordings
2005
Dave Fox goes it alone during this solo piano exposition. The album comprises nine pieces that are engineered upon intersecting improvisations, shocking dynamics and slanted rhythmic effects. He alternates between prepared piano type implementations, free-jazz workouts and flurrying crescendos. In some instances, Fox gets into grooves where he seems to be having conversations with himself via left-hand, right-hand contrasts and probing thought-processes. It's a rather heady sequence of events and demands the listeners' utmost concentration.
- Allaboutjazz.com, 2006

Home Again
Label:
Konnex

Web:
http://www.konnex-records.de/

Personnel:
Dave Fox, keyboard; Bruce Eisenbeil, guitar; Pat Lawrence, bass; Jon Marc Ryan Dale, percussion.

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By Pico

Dave Fox teaches piano courses at Greensboro College in North Carolina, but the stuff he's puttin' down with his combo The Dave Fox Group couldn't be any more opposite of what you'd find in a classroom setting. It simply has too much panache for formal academic study.

The DFG, consisting of Fox on various keyboards, Jon Marc Ryan Dale on drums and Pat Lawrence on bass, make music that doesn't bend for convention. Heck, it doesn't bend for anything. It's free-form jazz that finds kinship with Cecil Taylor, Paul Bley and just about anybody who's recorded for ESP-Disk. They compose their songs collectively on the spot, most likely as the tape is rolling.

Underneath all that chaos, Fox & Co. are playing close attention to tonal colorings and ever-shifting moods. Fox himself uses Fender Rhodes, Hohner Clavinet, Hammond B-3 and a Yamaha Grand Piano in ways that they were never used before, making the sound a little louder, a little more aggressive and a lot more unpredictable...making it almost like a keyboard-based version of Bruce Eisenbeil's Totem.

For the DFG's third release Home Again, they did in fact bring in Eisenbeil to add his one-of-a-kind guitar to the mix, and the results are blessedly explosive. Whenever the Master Timbralist is added to the equation, the whole dynamics of the music changes; Eisenbeil is one of the few guitarists today, like Bill Frisell, who's capable of doing that consistently.

Fox (and the rest of the band) adapts his own style to counter, accentuate and bob and weave with Eisenbeil. He prefers to make his mark more subtly, often providing shadings and textures that sometimes set direction and often is the guy holding everything together.

Highlights can be found everywhere. "The Well Prepared Suitcase" starts as a study in minimalism but climaxes with a dual between Fox's rootless grand piano and Eisenbeil's string plucks and scrapes. The epic "An Encounter With A Street Troll" goes down so many alleys and finds an adventure in each one. The kinetic, unhinged "Of All The Tapas Bars In The World..." and the sweet, tonal but still unencumbered "Home Again, For Now," are my personal faves

Fox has been selling Home Again on his own, but he's recently found a distributor, the German label Konnex Records, so hopefully this bold, brash CD will be easier to obtain. In the meantime, just follow the link below for obtaining one of the more interesting, inspiring and energetic whack jazz records to come across this desk since, well, the one by Totem.

If there's one this to learn from this record, it's this: not all college professors are the meek, bookish types. Then again, Home Again is not a class.

It's a clinic.

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THE DAVE FOX GROUP FEATURING BRUCE EISENBEIL - Home Again
By Massimo Ricci

- mASSIMO RICCI

Cadence, August 2004
By Frank Rubolino

Guitar and Keyboards form an interlocked bond on [Dave Fox Group, Gatewalk], where the Dave Fox Group skips unencumbered through a program of original material. Fox lays down a freelanced foundation on keyboards, and Collings spins off rounds of improvised commentary while bassist Menestres and percussionist Davis develop an impressive unstructured backdrop. Although keyboard/guitar bands typically lean in the Fusion direction, that is certainly not the case here. This group plays wide open, aggressive, and highly innovative Jazz rarely heard with this instrumentation. Fox’s approach on keyboards places the music squarely in the creative improvised sector and is anything but a compromise to popularity. He produces a plethora of diverse keyboard sounds; his attack is fully liberated, and his solos are well-designed, spontaneous outpourings.

Fox does introduce some discipline into the equation, typically as initial road markers for the band’s undefined journeys. “Gatewalk,” for example, begins with a specified theme but immediately curves off the road onto unpaved, open terrain. Conversely, “Bran Flakes” takes a fully unstructured developmental route to unpredictable destinations without ever looking at a road map. Menestres and Davis go off on tangents with regularity, spicing the action with irregular drumbeats and divergent bass patterns. They keep the sessionin an unbalanced mode, permitting Collings and Fox to become explorers of their newfound territory. Collings is particularly innovative on guitar; he sings out with ringing improvisations to mesh precisely with Fox’s probing articulation. This cooks on all burners; the artists individually take risks yet their collective voices come together as a unified yet abstract equation. This is the quartet’s first release, but these guys are poised for a leap into the big-time.

- Cadence