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.
CD: RareNoiseRecords RNR027: 70:39
Album samples: http://www.rarenoiserecords.com/jukebox/mole/wtm/
Also available at: http://darla.com/
Mole Productions at Facebook: https://www.facebook.com/MoleProductions
Tracks: 1) PB; 2) Stones; 3) Trees And The Old New Ones; 4) Flour Tortilla Variation; 5) What’s The Meaning; 6) Greenland; 7) Grass; 8) Grubenid
Spirited, funky, and at times reflective is the vibe of the debut album What’s The Meaning from the Mexican, Argentinean and American contemporary jazz quartet known as MOLE. Originally started as a duo about eight years ago, Mark Aanderud (on piano and composer, from Mexico) and Hernan Hecht (on drums, from Argentina) sought out New York guitarist David Gilmore for his diverse recording credits and touring experience with Wayne Shorter, Steve Coleman’s Five Elements and others, as well as Jorge “Luri” Molina (on bass, also from Mexico).
Mark Aanderud and Hernan Hecht
So, the music? Think food…GOOD food…Mōl-eh! The album starts quietly and mysteriously with PB. The individual ingredients are being prepared for what will become a great meal. PB develops as the quartet gradually mixes together, an exchange of themes and solos. In Stones, the drums take a powerful lead and the solos gather around. With each track the intensity of the album grows, although there are some pauses along the way. The most delightful is Trees And The Old New Ones. It has some calming shades of Metheny and Mays’ 1981 album As Falls Wichita, So Falls Wichita Falls (September Fifteenth in particular). Bowed bass and cello (played by Dorota Barova) almost mournfully open the piece. The woven piano and guitar themes echo each other throughout along with skilful and gentle percussion.
Flour Tortilla Variation has a driving drum, piano and bass opening. Solos are traded and echoed between guitar and piano, including a closing guitar solo reminiscent of Al Di Meola’s expressive work. Brooding and syncopated is the feeling at the start of the title track, What’s The Meaning? Initially, a gentle piano and drum exploration between Aanderud and Hecht (think Bill Bruford’s Earthworks), which then weaves in Gilmore’s guitar to explore with piano interludes, and builds to a closing solo by Gilmore with chops reminiscent of Carlos Santana. Hecht and Molina lay down an upbeat foundation on Greenland for Aanderud and Gilmore to vamp and solo over—it’s a spirited romp.
Grass is a languid piano and bass pulse with a repeated piano and guitar theme and is one last pause before the last track; Grubenid gets its funk on. This is a great piece with plucky shades of Stanley Clarke. After the guitar and bass opening vamp it stomps and Aanderud and Gilmore carry the somewhat off-key main melody. Gilmore then leads the rhythm with a growling and energetic solo and Aanderud responds. Guitar and piano return to the original theme before the rhythm section fades.
Let’s hope MOLE does some touring to support this album—they’re cookin’!
This is a solicited review.