Bryan Beller – Thanks In Advance

A very mature second effort from noted bassist/composer Bryan Beller, “Thanks In Advance” features meaty and memorable melodies and stellar group performances. While most solo albums by bassists showcase the artist as the lead voice, here the compositions are the star, with Bryan’s prodigeous bass chops evident throughout. And the material is definitely substantial. The influence of the works of Frank Zappa and associates is certainly apparent in the harmonic and rhythmic diversity of these compositions, and the arrangements as well. Not to say this record lacks originality: Beller melds elements of rock, post-modern jazz, trad-jazz, gospel, East-Bay funk, Jaco, and more into a sound all his own. For the bassist, Beller demonstrates the full range of possibilities for the role: composer, arranger, producer, section player, and (bad-ass) soloist. He’s even the label head for Onion Boy Records… Every boy does indeed have the chance to one day be president – at least of his own record company.

“Thanks In Advance” is a transitional record in many ways. Aside from marking Beller’s move from rookie artist to journeyman, there is evidence of deeper growth behind the grooves. Recorded in both California and Nashville, TN, Bryan’s new home, “Thanks…” reflects some value shifts, and a heightened awareness of the interaction of artist and surrounding culture. One key factor was the unexpected death of a close friend; another was Beller’s pending marriage to a former schoolmate, musician and artist Kira Small. The title is a direct acknowledgement of Beller’s fresh outlook on life, the opportunities available in each moment, and gratitude for whatever life brings.

An optimistic and diverse recording, “Thanks In Advance” is also a technical success. Beautifully recorded and precisely mixed, all the elements are carefully nestled in their appropriate settings like precious jewels. Lots of let-me-hear-that-again moments found here, and repeated listenings are rewarded with fresh discoveries. Nothing on this record qualifies as filler, so I’ll touch on some highlights:

Track 1: Snooze Bar – Half-time groove, with a bold guitar melody (in the hands of Chris Cottros) and tone reminiscent of Jeff Beck’s “Blow By Blow” album or vintage Roy Buchannon. An inviting entry and long buildup pay off in simmering peaks with gospel undertones. Ends with crescendoing sound of digital alarm clock, which segues into…

Track 2: Casual Lie Day – Acoustic piano theme (Jody Nardone) duplicates alarm clock rhythm. Carlton-esque melody, changes, and guitar phrasing (Chris Cottros again). Lovely pizzicato string theme on second verse, a la Sting’s Englishman in New York. The bridge features horns in a Brecker Brothers/Steely Dan style – gospel-tinged, classy, and bold. Beller’s work is tasty throughout, solid and subtle, but watch for the well-placed fill at the 4:22 mark. Slick, but only a tune-up for his airy fretless solo at 4:47, a melodic and warm transition to the horn-driven climax.

Track 5: Blind Sideways – Tasty swing feel here, great interplay between the guitar melody and rhythm section at the top, followed by guitar/Rhodes pairing for the main melodic theme. The guitar tone (played by Rick Musallam) here is dark and dense, almost kazoo-like in a boutique sense of the word (it was good enough for Hendrix…). Bass solo over broken-down backing and sparse keyboard accompaniment (Jeff Babko) a la Max Middleton. Beller builds a beauty of a solo, harmonically engaging and elegant yet without clutter. He can flat fly within context and without extraneous chops-flexing – and he always seems to get out well before listener-fatigue can set in.

Track 6: Life Story – An all-bass piece, beautifully composed and orchestrated, with a suggestion of the modality of early Stanley Clarke. An extension of the role of bass as compositional and orchestral tool – some of the sounds Beller creates here did not exist before…

Track 7: Cave Dweller – Griff Peters’ guitar takes the melody, reminiscent of Jeff Beck’s “Guitar Shop” period without slipping into emulation. This is a guitar/bass/drums power trio number, with a detuned 500-pound gorilla of a group riff for a chorus. The loose and whimsical verses alternate with monolithic, crushing unison choruses. Griff’s guitar solo drips fuzz from its fangs, and gives the impression of being performed in one very acrobatic take.

Track 9: Love Terror Adrenaline/Break Through – An asbstract-fusion intro segues to a frantic scatter-brained fuzz-guitar ostenato. The main theme features a descending chord progression over Erskine-esque hi-hat/sidestick pattern (played by Marco Minnemann). A unison riff acts as the chorus, while the middle verse suggests Hitchcock and Zappa at the same time – guitar is doubled with marimba. Time stops mid-song to break into a superb quote of the Beatles’ ‘She’s So Heavy’, first guitar-only, then full group. The guitar solo by Mike Keneally soars and threatens, then the ‘She’s So Heavy’ progression returns with harmony guitar leads. Unison-riff chorus again, though Beller’s bassline goes its own way this time. Fast cut to mezzo-piano fretless bass melody over an accoustic piano descending-cord motif. Compositionally outstanding, as are the arrangement and performances.

10: Thanks In Advance – Opening with a single-note guitar theme, suggestive of “Guitar Shop”-era Jeff Beck, followed by a verse with elegant guitar melody in a half-time signature with chorused guitar, Rhodes, bass, and drum accompaniment. Beller really stretches out mid-song, tastefully building a rich web of a bass solo, climbing and diving, inventive and evasive, with chordal passages and daring leaps. Jeff Babko’s gospel-tinged Hammond/Leslie organ solo follows, rootsy and satisfying. Dissonance disrupts this pastoral setting, segueing into:

11: From Nothing – Scheila Gonzalez’s tenor sax takes the head here, over a cacauphonous post-modern jazz-rock rave-up. Nearly free-form at times, with many instruments wailing away over relentless ostenato bass and bashing drums (Joe Travers). Above it all are droning sustained guitars and bell-like synthesizers, the finale degenerating into even looser forms and longer tones. Just when post-climax tranquility seems imminent, with root-and-fifth consonance prevailing, a pulse of digital noise swells up alone to an abrupt ending.

“Thanks In Advance” is a rich and mulit-faceted record, while also succeeding as pure entertainment. Beller, as in his literary contributions to another bass publication and his own website, seeks to educate while he entertains. You can choose to just enjoy the ride, but some deeper lessons are available to the curious. Like his label’s namesake, there are many layers to this particular bassist.

Purchase “Thanks In Advance” Here!

Kirk Eberhard,
Managing Editor