Sheryl bailey organ trio
Wed 12th Jun 19 20:30 edit
Sheryl Bailey - Guitar
John Paul Gard - Organ
Paul Cavaciuti - Drums
New York based Jazz guitarist - With JohnPaul Gard on Organ- Expect plenty from Jimmy Smith/Don Patterson book!
FOR MORE THAN A DECADE SHERYL BAILEY HAS HONED her reputation as a smoking post-bop ax slinger in the crucible of New York City clubs such as Smalls and the 55 Bar. As serious as she is about jazz, though, it was more popular music that drew her to the instrument initially. “I come from a family of musicians who all played great classical piano, so I decided that I wanted to play guitar,” she recalls. “It was a combination of being rebellious and wanting to play rock music—the music that I was really into.”
Upon moving to New York, Bailey shifted towards a more straight-ahead concept in her music. “ “I always say to my students that you can name any great virtuoso on any instrument— whether it is Vladimir Horowitz, Yngwie Malmsteen, or Wes Montgomery—and what they all have in common is they are completely relaxed when playing. If you can find that place at any tempo you can do anything you want—you can fly! It’s all about finding the dance in the music. The whole relaxation principle revolves around that: you put the time in your body. If you are standing up, you send the tension down your legs so you can keep your shoulders and your arms really loose and relaxed.”
Bailey’s massive talent and technique would ordinarily make the gender issue completely irrelevant. Bringing it to the fore at this time is her current record, A New Promise [MCG Jazz], a tribute to another female jazz guitarist—the late Emily Remler. “Maybe a couple of years ago I wouldn’t have been comfortable enough with myself to do this record,” Bailey admits. “I have always tried to not call attention to the fact that I am a woman guitarist. But now that I have been out there proving myself I felt comfortable doing it.”
Tomaro’s arrangements are supportive, exciting, and occasionally startling. On Remler’s tune, “East To Wes,” there is a section that sounds like Bailey playing a synth-guitar. “It’s trombone, soprano saxophone, and guitar. It’s Emily’s solo. Mike transcribed it and we learned it and played it,” she reveals. “Originally it was written for the whole sax section to play, but it was too much so it got paired back to the just the three of us.”
Anyone who has seen Bailey play, whether with bassist Richard Bona, sax man Gary Thomas, or with her organ trio, knows that joy is a major element in the guitarist’s music: the terpsichorean movement of her fingers on the heavy top/light bottom roundwound strings of her instrument, and the smile that plays across her face as she deftly navigates complex changes help translate that pleasure to the listener. The joy was tempered, though, during her research for this record. “The journey involved going to the “All Things Emily” website where I learned how painful it was back in the ’80s, having to deal with being the only woman jazz guitarist on the scene.
ADULT FULL - £12.50
JAZZLAND MEMBER 2019 - £10,
STUDENT - £7