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Ben Williams: The Effect of Sound

Daniel Lehner By

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It's continuously perplexing that Ben Williams did not set out on playing the bass first. Forced to pick the most attractive string instrument amongst the cellos and violins, the 7th grade aspiring guitarist ended up picking the instrument that he, now in his upper twenties, is in massively high demand for and is unsettlingly proficient in. Williams' accolades hit a high peak in 2009 after his win at the untouchably prestigious Thelonious Monk Jazz Competition and he currently counts unique and high-level players like pianist Jacky Terrasson, saxophonist Marcus Strickland, vibraphonist Stefon Harris, and now iconic guitarist Pat Metheny, as band mates.

However, forever the humble and gracious proprietor of music, the D.C. native has tucked his big win neatly under his arm and has continued to create and collaborate with his musical peers to great success. He released his first record as a leader, State of Art (Concord, 2011), to strong critical acclaim and the functioning band for that music, Sound Effect, has been massaging and extrapolating sounds and strong figures of improvisatory musical interplay from that music ever since. It's in this sense that Williams' unintentional arrival at the bass as a youth might not actually be that surprising. Between his intent to put the sound of his band before himself and his questing, non-discriminatory musical spirit and drive, it would seem that whatever instrument Williams had picked, he would have been bound for success.

All About Jazz: The most recent project you've been playing with is the Sound Effect band, which has a lot different, diverse and talented musicians (like saxophonist Jaleel Shaw, trumpeter Etienne Charles and pianist Gerald Clayton). What led you to pick those musicians and that particular arrangement of instruments in particular?

Ben Williams: I worked with all those guys before in various musical situations. Me and [drummer] Jamire Williams both played with Jacky Terrasson's trio, I was working with Marcus Strickland's trio/quartet, also with Etienne's band, and so on and so forth. I am truly a fan of each of the guys in the band and we have an effortless chemistry on the bandstand. We are likeminded in many ways in that we all are very groove-conscious, unselfish players who are into all kinds of music. As far as the instrumentation I like the sound of a frontline with guitar (in addition to the saxophone) because it's such a versatile instrument with its ability to play single line melodies and chords. For me, the more possibilities texture-wise, the better.

AAJ: At Winter Jazzfest, the band played everything from originals to Woody Shaw to Michael Jackson. Is the diversity of sounds specific to the Sound Effect band or more an extension of what you'd want a band to do anyway?

BW: Most of the band's material was written/arranged before I actually formed the group but the way they guys interpret the music is what really gives it an identity. As you can guess from the diversity of repertoire, my musical influence ranges from jazz to hip-hop to classical to R&B, and the guys really know to negotiate all those different styles into something coherent. There are not many musicians out there that can truly represent such a broad spectrum without sounding contrived.

AAJ: When you were recording State of Art, what musical aspects of yourself and/or your musical compatriots did you want to show off in particular?

BW: I didn't really think much about showcasing anything in particular. I really just wanted to make a beautiful record that represents me. The music is what's always most important to me, even above my bass playing. I definitely wasn't interesting in making a "bass-centric" album. My main concern was putting together a collection of great tunes that would take the listener on a musical journey. If anything, I wanted to showcase how well we play together.

AAJ: Are there any future plans for a sophomore effort and/or a new band under your name?

BW: Yes I do plan to record sometime next year for the second album. The band is doing a string of dates for the fall 2012/ spring 2013, so I'll be using that time to work out the new material.

AAJ: What, if at all, was your exposure to Pat's music before the Unity Band project? Were there any records or tunes you'd heard before that you'd really dug?

BW: I was definitely a fan of Pat's music before I got the opportunity to play with him. (ECM, 1976), Question & Answer (Nonesuch, 1989), and Trio Live (Warner Bros., 2000) were some of my favorite records. I really dug his compositions; from the most simple to the most complex, they all have memorable melodies and strong thematic material.

AAJ: Pat came into contact with you via bassist Christian McBride. What led you to be on this record in particular?

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