Their format is reminiscent of a Big Band, yet their sound is firmly rooted in the more recent dance music of funk, reggae, and soul. From left to right on stage, you will find keyboards, electric guitar, acoustic guitar, and a horn section comprised of trombone, tenor saxophone, and trumpet. Keeping the groove locked are the bass and drums in the back. With such a setup, the synergy is a study in aural layering. The Burn surely subscribes to the P-Funk school of thought that a lot of people are needed in order to truly groove. And yet, with so much happening on stage, The Burn exercises restraint, patience, and control usually seen in bands much older.

The glue to the outfit is Jordan Berger, primary vocalist and acoustic guitarist. Berger is responsible for the pith of the songwriting, as well as coordinating all the elements that contributes to The Burn's synergistic output. To coordinate this ensemble is assuredly no easy task, yet through astoundingly tight horn charts, sharp changes, and laser precise syncopation and accents, chaos is kept to a minimum while the groove endures.

The Burn took the stage for only the second time in their short history at Harper's Ferry on Monday, October 7. The Burn, one of four bands on the bill, amassed a respectable crowd, especially for a Monday night. The band took the stage quietly, almost timidly. Each musician seemed highly individual, and the combination looked haphazard. The bassist came in shirt and tie, while the saxophonist preferred a black tank top. With a nod exchanged between the two guitarists, the music started, and all haphazardness became a thing of visual concern. From those first tight phrases, a steady migration of groove pilgrims amassed at the front of the stage. By the end of their set, The Burn had a sizable crowd dancing and smiling, adding to the synergy. The groove, after all, is infectious.

In addition to tight songwriting and arrangements, The Burn features some highly capable horn soloists. Both saxophone and trumpet took turns with solos, and both were crowd pleasers. Not to be left out, "our trombonist Harrison" laid down his instrument and assumed lead vocals on The Burn's rendition of "Waiting in Vain." His vocal lead, combined with Berger's harmonies, added yet another layer to the already thick amalgam of groove.

At the conclusion of the reggae medley The Burn switched quickly into a latin-tinged tune called Tomcat 51, and effectively double-timed all the dancers' footsteps. Even with this leap in musical energy, there was no discernable change in the visual dispositions of the band on stage. While they may have been excited about playing, fully dedicated to creating sounds of groove, dance, and party, their stage presence indicated otherwise. Perhaps it was the realization that in their second gig, they were playing a stage that once showcased the likes of Maceo Parker, Cabaret Diosa, and just two days before, the Dirty Dozen Brass Band. If you were to close your eyes, it would matter not, but to hear the music, one would expect a more physically animated band on stage. It was also a strange thing to see members of the horn section wander offstage mid-song to talk with people or enjoy a quick cigarette.

One of the most striking features of The Burn was that they were not afraid to improvise as a group. The Burn, mostly under Berger's direction, extended a section and trailed off into uncharted territory, a risky and bold move on their parts that I thought paid off. All being professional students of music, they are quite adept at listening. This alone sets them up for success as an eight-piece outfit; listening is one of the most essential skills of a musician, as well as one of the most overlooked. The fact that each member of The Burn can listen to everyone else is their key to synergy, their key to the groove, and the reason why they can hold chaos at bay, even in a full-group, eight-way improvisation.

The Burn, unfortunately, was plagued with the common maladies of Harper's Ferry: the sound up front was a bit muddy, and certain instruments were too low in the mix. Keyboards were inaudible except when everyone else cut out, and I had trouble hearing the drums through the PA at all. The overall volume level was surprisingly quiet by Harper's standards, but that did not prevent the musical faithful from having a good time.

The Burn performs again on October 17 at Emily's, and will not be going away any time soon. With time and experience, these eight young musicians have much room to hone their sound, fine-tune their live show, and squeeze even more out of their music than the sum of their parts.

-David Taus