A chance to listen to some great music locally, and thanks to a recent Facebook post by guitarist John Scofield (photo with Ed Cherry at JFK Airport) that was the nudge I needed to see what The Sidedoor Jazz Club (located in Old Lyme, Connecticut) is all about*. Born in New Haven, Connecticut, New Yorker Ed Cherry (among his many music associations) is known for his decade long work with trumpeter Dizzy Gillespie. I think Cherry’s sound is somewhat like Grant Green with a playing style akin to Wes Montgomery.
The two sets by the trio of Ed Cherry – guitar, Chris Beck – drums and Matt Bianchi – organ included works by Thelonius Monk, Wayne Shorter, George and Ira Gershwin (Summertime), Duke Ellington, Duke Pearson and others, including a gorgeous interpretation of the Heyman/Sour/Eyton/Green standard Body and Soul (one of the best known versions is the 1939 recording by tenor saxophonist Coleman Hawkins).
The trio played a number of selections from Cherry’s latest album It’s All Good including Edda and Cristo Redentor.
The music varied from spirited to soulful, and blues to smooth and with the warmth of (here’s hoping!) an early Spring sunny day. There was a great chemistry between Cherry, Bianchi and Beck whether it was a nod to take a solo, a swell from the organ or syncopated fill on the drums. At a few points the microphone was close enough to Cherry to hear brief moments of humming like Oscar Peterson, echoing his guitar melody and phrasing. It was a very enjoyable evening of great music.
Ed Cherry’s Website: http://edcherrymusic.com/
Record label for It’s All Good: http://www.posi-tone.com/itsallgood/itsallgood.html
Ed Cherry’s Selected discography: Solo: It’s All Good (2012), The Spirits Speak (2001) , A Second Look (1997), First take (1996). With: Hamiett Bluiett – With Eyes Wide Open, Mark Weinstein – Three Deuces, Paquito D’Rivera – Havana Cafe, Dizzy Gillespie – Live in Montreaux 1980, Dizzy Gillespie – Live at Royal Festival Hall, Dizzy Gillespie – Live at Blues Alley, Jon Faddis – Hornucopia, Henry Threadgill – Makin’…A Move, Jared Gold – Supersonic
Here’s a late 2012 WGBO recording of Duke Pearson’s Cristo Redentor by the same trio that played last night:
* – The Sidedoor Jazz Club is part of the Old Lyme Inn (http://thesidedoorjazz.com/) and is laid out a bit like a smaller and narrower version of The Blue Note Jazz Club (in Greenwich Village). The acoustics and sound system are quite good, most of the seating is clustered a bit like a dumbbell (seats near the bar at the far end of the space and near the entry with minimal seating in the middle in front of the performers). If seeing the musicians with a clear stage-front view is important to you, it’s best to get there early for good seats (there can occasionally be a large party of dinner guests with reserved seats ahead of you), but the space is intimate enough that seeing the artists and hearing the music is generally good no matter where your seat is. I appreciate that the house PA system is kept at a very tasteful volume level—easy on the ears. Desserts and cocktails are served and are reasonably priced.
Stick Men: https://www.facebook.com/stickmenofficial
Tony Levin: http://www.papabear.com/
Pat Mastelotto: http://patmastelotto.com/
Markus Reuter: http://www.markusreuter.com/
Stick Men dot Net will take you to: http://iapetus-store.com/album/deep
I’m not often prone to numerical connections, but it occurred to me last night on the long quiet drive home from the woods of northwestern Connecticut that here I was in year 13 of this century and it has been (almost to the day) 31 years since I had last seen Tony Levin on stage in Syracuse, New York with the 1982 incarnation of King Crimson (Fripp, Bruford, Belew and Levin) in support of their incredible return album Discipline. Although Tony Levin might disagree, to my eyes his energy and spirit hasn’t aged a day in those 31 years. Last night’s concert in Norfolk, Connecticut was an incredible display of musicianship, sound and an intimate connection between the musicians and the audience (especially in a small hall like Infinity with great acoustics, sound system and a beautifully restored historic building).
In one way or another this trio of Tony Levin, Pat Mastelotto and Markus Reuter all have a connection to King Crimson (and Robert Fripp) in various incarnations and ongoing KC ProjeKcts, but Stick Men while embracing KC’s influential work, have continued to develop their own voices in progressive rock including vital relationships with other bands, artists in addition each members respective solo work.
The Bows Come Out!
The set list last night was largely from their new album DEEP (all but two tracks) in addition to some real treats. Tony Levin made a special point to express appreciation to the audience for being so receptive to the new material, rather than insisting on hearing only the old (including many King Crimson favorites)–in effect progressive rock music…PROGRESSES. One thing that I wanted to see after listening intensively to DEEP is just how much of the melodies each instrument would take, and I was surprised to see that many sections that I thought were coming from Reuter’s Touch Guitar turned out to be melody exchanges between Reuter and Levin (the Chapman Stick being an extremely versatile instrument—not just for the bass line). Here are the tracks (along with some brief notes…not on every track, and nothing that I can write will do justice to the intensity and clarity of the sound last night–something to be experienced first-hand!):
1) Nude Ascending Staircase: As is the beginning of the album DEEP, this performance set the tone for the entire night, a seriously raucous (and fun) sound with deep visceral notes from Levin’s stick.
3) Crack In The Sky
4) Breathless (from Robert Fripp’s 1979 solo album Exposure): This Fripp album is incredible, and it’s still as vital as when I first placed the LP on my turntable in 1979. This was an absolutely shredding performance of this piece. Markus Reuter’s faithful interpretation of Fripp’s work (searing guitar) was just chilling. The trio seriously cooked on this.
6) Infinity Improv (free improvisation): Tony Levin noted that they record each of their performances (and I had noticed some stage and ambient microphones on stage before the show) in the hopes that some of the improvisations and recordings could lead to future releases.
7) Horatio: Thunderous!
8) Whale Watch: Tony Levin noted that despite his many years of having played the Chapman Stick, he was still learning more about what the instrument could do (and its often unpredictable results). He noted that some nights Whale Watch could turn out differently, depending on whether the instrument needed to be wrestled to the ground (I’m paraphrasing). It’s the story of being on a whale watch, from the start of an ocean journey to spotting, pursuit and arrival to see a whale up-close.
9) Industry (from the 1984 King Crimson album Three of a Perfect Pair): The growl and electronic percussion.
Pat is A-blur
10) Hide The Trees: The growing tension, exchange and release in this piece is deliciously enticing.
11) Open, Pt. 3 (from Stick Men’s 2012 improvisation-based album Open)
12) Larks’ Tongues in Aspic, Part 2 (from the 1973 King Crimson album Larks’ Tongue in Aspic): It was exciting to hear this piece live again, as it was in the concert in 1982 (and previous KC concerts that I had attended)—also, on the heals of the recent 40th anniversary release of the re-mastered album.
Tony Levin playfully taking a stage photo for the ongoing Crimson Chronicles
13) Encore: A Stick Men arrangement of Stravinsky’s Firebird: Let’s hope that this ends up on a future live album—a forceful and experimental rendition of Stravinsky’s 1910 work.
After the Encore
It was a real treat to observe the persona of each musician on-stage: Tony Levin’s classic broad stance and kinetically expressive movements (resulting in many blurry photos!), Markus Reuter’s calm scanning of the crowd as he switched from touch-fingering his guitar to using it in a more conventional guitar-stance, and Pat Mastelotto’s highly expressive performance on percussion and electronic devices—and just when I thought that he had no more tricks in the bag, out he’d pull even more paraphernalia, including a bow!
At one point during the night Tony Levin noted that King Crimson was still alive, not broken-up, yet (somewhat comically) Levin noted that Robert Fripp had recently attended a Stick Men show (and paid for his ticket, despite a guest pass) and in response to a question about when a King Crimson tour might occur again, Fripp responded “Pain.” I think Mr. Fripp has moved on, and is enjoying his semi-retirement and over-seeing of the re-mastering and re-releasing of their massive archive of concerts and other recordings.
If you’re within striking distance of a Stick Men show—please go see them! They’re appearing at the Iridium Jazz Club this Friday (March 29) and Saturday (March 30) nights in New York City. I’m sure they’ll be on the road again soon. Bravo and thank you to the Stick Men! Oh, and buy their new album DEEP–see also this great review of the album by my friend over at Horse Bits: http://horsebits-jrc.blogspot.com/2012/11/deep-by-stick-men.html
Note: Click on any photo to see an enlarged version. Please contact me if there are any factual errors in what I have written above. I have many other high resolution photos of the show, and if you chose to copy or repost any of the photos, please credit me “wajobu.com”. You can’t see them, but the photos ARE watermarked.