Two years ago I had my first encounter with Brother Joscephus and the Love Revival Revolution Orchestra at BB Kings. I was amazed at the high energy, rich arrangements, delightful show and sheer joy in the music Completely hooked, I took home their first recording and discovered what I’d call “necessary music.” This is brilliantly orchestrated, generous, gorgeous heartfelt music from the depths of the soul that speaks to you and rocks you and moves you. It’s music you want to listen to (and dance to) again and again.
So on the eve before the 10th anniversary of 9/11 when I knew I needed an experience so celebratory, so uplifting, so joyful, that it would shake off all the memory and loss and sadness in the air around us, I grabbed two good friends and headed to the Hiro Ballroom for another shot of the Revolution.
It’s hard to describe a Brother Joscephus show to someone who’s never seen one. An 11- piece orchestra playing a unique blend of modern New Orleans jazz, funk, soul, gospel, rock, big band set in tight gorgeous arrangements. A real show with the premise that we are all attendees at a secular revival—with Brother Joscephus and the Right Reverend Dean Dawg and Seoul Sistah # 1 and celestial gospel choir and orchestra all dressed in white leading the attendees to ever higher moments of musical and dance ecstasy.
On that particular evening the set included New Orleans style favorites from the band’s sophisticated and brilliantly imagined first cd such as “Bury Me in New Orleans”, funky sounds like “The Righteous Road” and a personal favorite “Make Love to Your Woman”—a “nitty gritty” song with lyrics that manage to be dirty, sexy, hot and truly respectful all at the same time. Plus shiny new numbers like “Baby Sho’ Can Cook”—a Louis Jordan influenced big band number with the double entendre lyrics reminiscent of old school “sex as food” songs from the 1930s and 40s.
A new favorite “Doin’ What We Can” features the Reverend Dean Dawg on vocals–it’s a song that tells the story of a man who lost everything in Katrina and in losing all found his community. The Chicago blues opening transitions to a traditional New Orleans strut that somehow makes that story sound like the best thing that could ever happen–and made me want to find that connection and share with everyone. You wouldn’t think a band so soulful, so original, and so sophisticated could emerge from the crucible of a cruise ship environment but that’s exactly where the duo behind BroJo’s divine music and lyrics forged their connection.
As a songwriter David Mendelsohn (aka Brother Joscephus) had always been prolific but it wasn’t until he found his comfort zone as a singer that he started writing songs that clicked. “I had a 900 song request list working as a lounge singer on cruise ships and had to have a command of a huge range of styles. I found out that what appealed to me most vocally was the old blues and soul–Ray Charles, Otis Redding.” Meanwhile Dean Fransen (the Right Reverend Dean Dawg), the musical director on the cruises, became what Mendelsohn describes as his “musical soul mate,” ultimately providing the sophisticated arrangements for the ensemble. Fransen studied cultural anthropology and music and saw a world very few of us encounter. “I’ve been to all 50 states, 80 countries, and traveled the world for 27 years. I didn’t get news from radio—I got it by being there.”
The idea of telling stories and transforming something they find in the world through lyric and song is deeply embedded in Brojo’s origins. “Dean and I had been collaborating for a while but the ‘aha moment’ really came when my niece was born.” At that point, as Mendelsohn tells it, he wrote the BroJo signature song “A Child Shall Lead.”
“The theme of the song is the foundation of what Brojo is all about,” says Mendelsohn. “Being a jerk isn’t something that comes naturally, it’s something that is learned… we need to get back to the innocence and acceptance of a child to see the world with wonder and joy.”
Suddenly Mendelsohn saw the whole vision of the show –the opening number, the gospel choir, everyone in white and a big horn section. And about nine months later in late 2007, the Love Revival was born with a first public performance at the Bitter End.
Since that time the LRRO has engaged over 100 talented musicians up and down the East Coast. Some perform occasionally and others consistently, but all get into the raucous, joyous righteous spirit. As saxophone player Geoff Vidal (Gospel Spice) tells it, “In a band you want the music to be really challenging and Dean’s arrangements really are. But it’s also a great group of people. It’s a testament to David’s skill as a band leader that he’s kept the show and vision going.”
If it were only great music (or even great musicians) that would never be enough. The infectious spirit of the performers overwhelms the stage and spills over into the audience. As Fransen describes, “It is a party. That community, power and strength translates and radiates from us, but it can’t be contained.”
Kevin L, a regular BroJo fan who attended the Hiro Ballroom show, testifies: “I’ve been coming for two years and I keep coming back because of the energy they give and the great show. It’s happy music that will carry you through the sad times both emotionally and mentally.” And this from newly minted revolutionary Jess: “It was really cool to see the diverse group of people who showed up to have fun with it. It’s as stimulating as a Broadway show.”
In a cynical often difficult time Brother Joscephus and the Love Revival Revolution Orchestra delivers sincere music that’s uplifting and fun and energetic and a show that can move you to dance to sing and feel good about life again. So if you are someone who loves live band music for its own sake or never goes to concerts and are just looking for a joyful experience, BroJo has something to grab you. Fransen again…“It all comes back to the song—that’s where the truth lives…”
Brother Joscephus and The Love Revival Revolution Orchestra returns to Hiro Ballroom at the Maritime Hotel in New York Tuesday Oct 18, opening for Kermit Ruffins at the CMJ Music Marathon. The band has also launched a Kickstarter campaign to finance their new studio album. “We’re a grassroots organization, we don’t have a label…we’re doing the Revolution on our own.” says Mendelsohn. Let me just say when that Revolution comes, I’m in.
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