The Sheryl Bailey Three

Live @ The Fat Cat

Editor’s note: This review is a lot later than it should be, since this CD was released on September 1. But that’s a whole different story…

Live @ The Fat Cat, the latest CD from the impossibly talented trio of Sheryl Bailey (guitar), Gary Versace (Hammond B3 organ) and Ian Froman (drums), was recorded last November in one of New York City’s top jazz clubs and displays the Sheryl Bailey 3 at its finest.

Things kick off with Cedar’s Mood, a tribute to jazz giant Cedar Walton. It’s a playful piece, with part of the fun for the listener being the task of sorting out “who’s who?” The interplay between Sheryl’s guitar and Gary’s organ is so slick that you can’t always sort out who’s playing which part. The song turns into a merry uptempo chase between the two instruments, full of the angular melody lines and striking harmonies that have been Sheryl’s signature style.

Upbeat gives way to the gentle melodies of another tribute piece, this one to guitar giant John Abercrombie. In A Soft Green Light, Sheryl’s melodic lines gently rise and fall like the soft breathing of a dreamer, then give themselves over to sections of greater rhythmic depth and complexities. The segue between the guitar and organ is seamless and, again, it’s astonishing how all three members of the trio seem to be of one mind.

Ian Froman gets a little nod in Starbright, a song from the group’s first CD, The Power of Three. And Sheryl’s abrupt switch from her complex comping behind the organ solo to sharp, single notes helps to punctuate Ian’s tasteful drum solo.

Elvin People, a favorite from the CD, Bull’s Eye, demonstrates how the Sheryl Bailey 3 uses space and silence as the unsung fourth member of the band. The entire group understands the power of space, and while there may be a spate of sixteenth and thirty-second note runs to compliment the melody, there is a lot of room for the listener to wander in without getting lost. Sheryl’s clever use of double stops adds to the light, delicate touch of this delightful song.

And just when you think you’ve got the group down, along comes the totally hypnotic Dance of the Dream Maker. I don’t think any reviewer has the words to describe the intense interplay of rhythm and melody, music and passion that this song delivers to the listener.

Before I moved from Chicago, I had the chance to see Sheryl perform with David Krakauer’s Klezmer band. Her song The Wishing Well (for David) brought that concert vividly back to my mind, with its bursts of quiet joy. It’s often the paradox of the contrast and similarities between Sheryl’s guitar and Gary’s organ that provides much of the magic of this group and that is especially evident in this song. The organ plays guitar-style arpeggios while the guitar’s melodic lines give the wistful promise of the little smiles one is bound to find through life’s journeys.

The CD wraps up with Midnite Swim and Swamp Thang, the later another favorite from the Bull’s Eye CD. Again, you can’t help but appreciate the trio’s sense of space. You become an active member of the group as your ears fill in the song’s funky lines once the skeleton has been laid out for your enjoyment.

The Sheryl Bailey 3 is doing more touring and if you have the chance to see them, I couldn’t recommend a better way to spend an evening. If you don’t have the chance, then Live @ The Fat Cat will give you a fantastic concert at your own home.

For more information on the Sheryl Bailey 3, or to order their CDs, check out her website at www.SherylBailey.com .And if you are fortunate enough to take in a show, tell her hello from me!

Peace

Bull’s Eye

Sometimes I wonder about what my life would be like without having become part of Guitar Noise. I wouldn’t know some of the people I’ve been privileged to meet and, almost as bad, I probably wouldn’t have had the chance to listen to some of the music that I do today.

Case in point, Sheryl Bailey. She sent me an email totally out of the blue a couple of years ago. She’d just released a CD called The Power of Three and, doing some searching about it on the Internet, came across my tutorial column of the same name. When I discovered who she was, I naturally asked if we could do a review of her album on Guitar Noise. She graciously agreed.

And when she popped into Chicago, touring with David Krakauer’s Klezmer Madness, she made certain to email me to let me know about the show. She’s an exceptionally talented jazz guitarist and wonderfully friendly in person.

I’ve been playing The Power of Three to death on my stereo, so when I received her latest CD, Bull’s Eye , I slipped immediately into my CD player. And it was like having an old friend drop in for a visit.

The Sheryl Bailey 3 is made up of Sheryl on guitar, Gary Versace playing the Hammond B3 organ and Ian Froman handling the drumming. The opening number, Old and Young Blues , finds the trio in fine form, weaving delightfully intricate patterns around each other. And the first thing I noticed yet again, as I did with The Power of Three, is how timeless Sheryl’s writing is. Old and Young Blues has an inviting familiarity, which encourages the listener to settle in for a magical trip.

And it certainly is an interesting musical voyage. Sheryl’s been touring a lot these past years, notably with the aforementioned David Krakauer, as well as with bassist Richard Bona, tenor saxophonist Gary Thomas and KJ Denhert, an urban-folk artist. There’s a little of everything here. The mysterious chordal play at the beginning of Elvin People turns into a playful frolic between the three. While the “solo” work goes first to Sheryl and then to Gary, it’s Ian who steals the show with dazzling and tasteful drumming. Every time I listen to this, I can’t help but wonder how the others manage to not stop playing in order to just sit back and marvel at their drummer.

Swamp Thang lives up to the promise of the title. The song pulsates, funkily marching forward on strong rhythmic legs. One listen and you’ll be making sure it’s on the playlist for your next dance party.

In the liner notes, Sheryl mentions that Sue’s Samba “is a reflection of her sister’s positive spirit.” All I can say is that Sue must be a joy to be around. This song is infectious and it’s impossible to listen to it without having your own spirits lifted.

Valtz Med again highlights the unique sound of the Sheryl Bailey 3. When Gary takes the lead chores on the organ, you can’t help but hearing how all three members play off of each other. Sheryl’s tasteful comping gives way to an inspired improvisational solo of her own while Ian’s drumming matches the little rhythmic tics of both musicians. If I haven’t mentioned it before, he truly holds the group together – impossibly steady while pushing and inventive with his chops.

Unlike a lot of CDs, Bull’s Eye gets stronger with each passing song. Two Brothers and

Song for All Souls are intensely moving and emotional pieces, the first being another of Sheryl’s hauntingly familiar tunes, full of little moments that pop up and make you smile, while Song for All Souls is more sorrowful and thoughtful. The guitar lays down a melancholy passage, which Gary follows up with a spare and moody solo. Ian’s drumming is even sparser, adding to the song’s enchantment. And when Sheryl turns in what is probably the album’s loveliest solo, both Gary and Ian are there to add the perfect little touches – a descending organ line here, the hit of a high hat there. It’s simply mesmerizing to listen to.

Fog , written about how the fog in San Francisco is always in motion, certainly conjures up that image. It’s light and airy, but with the sense that it’s capable of flitting away from you at any moment. When you realize that this entire album was recorded live, you can’t help but be amazed at the rapport between these three musicians. Fog is a showcase of each member playing at her and his best, whether taking the fore or providing support.

Bull’s Eye closes with the title track, a spirited romp that fills the room with a breathless joy and leaves the listener little choice but to hit the “play” button of his stereo again. If you’re in the New York area, take the time to seek out the Sheryl Bailey 3. You can find her schedule of shows at her website, www.SherylBailey.com .

And when you go see her, tell her I said “Hi!”

Peace

The Power of Three

Serendipity can be a wonderful thing. I got an email from a Sheryl Bailey who found my column, The Power of Three, while doing an internet search for her new album of the same name. Being her first visit to Guitarnoise, she wrote to say hi. On a whim I asked if she’d be interested in me reviewing her CD. She certainly was, so she sent me a copy.

And here we are.

More serendipity: I received the CD the same day I was entertaining a friend, a pianist visiting from out of town. We had just been talking about jazz, a new interest of study for both of us. We were in fact wondering whether or not a guitarist could play jazz with a pianist. Would they not proceed to step all over each other?

So imagine the surprise and utter delight when I opened and put on a CD by a jazz trio of guitar, organ and drums! From the bouncy opening phrases of Starbrite, the first of The Power of Three’s eight original songs (all written by Sheryl), we knew we were in for a treat. And when all the crisp, jumping interplay between the organ and guitar led to the timeless sultry and funky groove of Ray’s Way (think of the beat in Mercy, Mercy, Mercy), we were hooked.

Good thing, too, because the middle of The Power of Three demanded attention – the sparse, hypnotic organ work in Death’s Toll setting up the effervescence of The Spring, with the guitar bubbling all over the place.

The trio’s strengths of each member playing off the other are showcased in the powerful (Until You) Return To Me. Sheryl’s guitar starts the song off as a lament. Yet when Gary joins in, framing the guitar’s voice with solid blocks of chords on the organ, the sadness is infused with hope. And as the guitar tapers away, the organ takes on a wandering, lilting quality, leaving you with the impression that perhaps there will be no return at all.

Ian Froman’s drumming is the glue that holds everything together. When you consider he is handling the rhythm pretty much on his own since there is no bassist, your appreciation grows. He is given plenty of time to shine, particularly in the swinging Something Blue and The Wessenback.

Sheryl treats us to a hauntingly beautiful solo guitar piece in the closing number, Arpeggio. On my first listen I wasn’t sure I liked the abrupt change until I realized that my initial reaction on the CD’s being over was “I’ve got to hear this again!”

You can order this CD through Sheryl’s website: http://www.SherylBailey.com/