Ronnie Cuber - Four

Styles: Saxophone Jazz
Year: 2019
File: MP3@320K/s
Time: 66:43
Size: 153,9 MB
Art: Front

(4:50)  1. Battery Blues
(7:24)  2. Sidewinder
(5:28)  3. Motivation
(9:17)  4. Tenderly
(6:56)  5. Just Friends
(6:14)  6. Bluesette
(5:24)  7. Coming Home Baby
(6:02)  8. How High the Moon
(8:49)  9. Sugar
(6:15) 10. Four

Ronnie Cuber's always a hell of a swinger, but he sounds especially nice here  really letting his baritone hit some bold, soulful sounds in the company of Hammond organist Brian Charette, guitarist Ed Cherry, and drummer Adam Nussbaum! The record's got this soul jazz vibe that's a bit different than some of Cuber's other records and features a number of tunes penned by older heroes of the genre – like Horace Silver, Lee Morgan, Stanley Turrentine, and others – which makes for a set of songs that has Ronnie sounding completely wonderful all the way through. There's few cats who could ever make a baritone sax sound this wonderful – and we think you'll agree after hearing tracks that include "Four", "Battery Blues", "Bluesette", "Coming Home Baby", "Sugar", and "Motivation". https://www.dustygroove.com/item/936387/Ronnie-Cuber:Four

Personnel: Ronnie Cuber – baritone saxophone; Ed Cherry – guitar; Brian Charette – Hammond B3.; Adam Nussbaum – drums

Four

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Hendrik Meurkens - The Jazz Meurkengers

Styles: Harmonica Jazz
Year: 2024
Time: 53:42
File: MP3 @ 320K/s
Size: 123,6 MB
Art: Front

(5:49) 1. A Slow One
(6:09) 2. Belgian Beer At Dawn
(6:01) 3. A Lullaby For Benny
(5:37) 4. Silver's Serenade
(6:05) 5. Meurks' Mood
(6:59) 6. Dreamsville
(5:53) 7. If I Were A Bell
(5:46) 8. A Tear For Toots
(5:19) 9. Smada

Harmonica virtuoso Hendrik Meurkens brought together an outstanding group of musicians in The Jazz Meurkengers, which is a swinging tribute to the allure of hard-bop jazz. Supported by the resourceful and highly adaptable rhythm section of pianist Steve Ash, bassist Chris Berger and drummer Andy Watson, the band was augmented by the impeccable guitarist Ed Cherry on four tracks and bebop tenor saxophonist Nick Hampton on four different tracks giving the ensemble the energy, creativity, and reverence of the jazz tradition.

The nine-track session opens with a Meurkens original, "A Slow One," with a bubbling tone and slicing swing. Meurkens, Cherry and Ash are leading the way, each focusing equally on melody and texture as they interrogate the music. "Belgian Beer At Dawn" is another Meurkens number and contrafact based on the chord changes on "Stella By Starlight." It is a spirited chart, with Meurkens offering a juicy and distinct solo while Hampton's tenor has a rich tone in his unhurried playing. Watson makes his drums musically expressive in his exchanges with Meurkens and Hampton.

Horace Silver's composition "Silver's Serenade" comes from the 1963 Blue Note recording of the same name. It is one of Silver's most recognizable pieces, with an artful balance of mood and structure. Meurkens, Cherry and Ash use authoritative solos filled with long, seamless phrases conveying knowledge of harmony and form. Peter Gunn was a 1950s TV detective series in which jazz was noteworthy. The Henry Mancini composition "Dreamsville" was the background music to the romantic sequences. Meurkens, Cherry, and Ash are again front and center, with solos unsurpassed in clarity and elegance. In all the charts in which Cherry participated, his guitar work has been fluid and expressive, and his solos brimming with soul and sophistication.

"If I Were A Bell" was composed by Frank Loesser for the 1950 musical "Guys and Dolls." It became a jazz standard after it was recorded by trumpeter Miles Davis on the 1958 Prestige album Relaxin' with The Miles Davis Quintet. Meurkens' arrangement has a powerful sense of swing with an energetic solo from Hampton. Ash's up-tempo excursion shows he is a pianist who relishes logic and discovery.

Toots Thielemans was a Belgian-born musician who made his mark on jazz history with the playing of the chromatic harmonica. Acknowledging his inspiration from his playing, Meurkens wrote a ballad, " A Tear For Toots." for Thielemans's centennial year in 2022. Meurkens' reading is heartfelt and filled with delicate lyricism. Both Cherry and Ash are emotionally lucid and sure-footed. In summary, Meurkens and his ensemble have crafted a tasteful and inventive release.By Pierre Giroux https://www.allaboutjazz.com/the-jazz-meurkengers-hendrik-meurkens-cellar-music-group

Personnel: Hendrik Meurkens - harmonica; Ed Cherry - guitar on tracks 1,4,6,8; Nick Hempton - tenor saxophone on tracks 2,5,7,9; Steve Ash - piano; Chris Berger - bass; Andy Watson - drums

The Jazz Meurkengers

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Ed Cherry/Massimo Faraò - Smooth Guitar Jazz

Styles: Guitar Jazz
Year: 2023
File: MP3@320K/s
Time: 56:20
Size: 130,2 MB
Art: Front

(3:41) 1. Stay
(8:09) 2. Streets of Philadelphia
(1:48) 3. Layla
(7:29) 4. Wonderful tonight
(3:24) 5. A heart of gold
(3:54) 6. One more night
(4:09) 7. Road song
(4:19) 8. Georgia on my mind
(4:32) 9. Days of wine and roses
(3:00) 10. On Broadway
(3:48) 11. On the trail
(4:02) 12. Peace
(4:00) 13. Alligator

American jazz and smooth jazz artist Ed Cherry has been captivating audiences with his most recent songs and music CDs. Smooth Guitar Jazz (2023), his most recent album, demonstrates his extraordinary talent and originality. Ed Cherry offers a mesmerizing fusion of mellow melodies and sophisticated guitar playing in a wide selection of tracks that are likely to fascinate listeners.

"Jean/Pauline (2022)" and "Ding Dong (2022)" stand out among his most recent tracks as remarkable masterpieces. These songs are perfect examples of Ed Cherry's ability to add contemporary flair to soulful jazz themes. He effortlessly creates a fascinating ambiance that carries listeners to a realm of musical happiness with his distinctive guitar style and flawless skills.

In addition to his most recent albums, Ed Cherry's first one, "Peace (2022)," is noteworthy. His ability to include a range of jazz sub-genres and to convey a sense of serenity through his music is demonstrated on this CD, which also demonstrates his versatility as a musician.

Ed Cherry is a remarkable performer in the industry because of his commitment to his craft and his capacity to always push the limits of jazz and smooth jazz music. His most recent songs and music CDs are proof of his prodigious talent and dedication to writing engrossing and emotive music.

Finally, Ed Cherry's most recent album, "Smooth Guitar Jazz (2023)", and singles like "Jean/Pauline (2022)" and "Ding Dong (2022)" showcase his extraordinary talent and distinctive approach to jazz and smooth jazz music. He keeps enthralling audiences and reaffirming his status as a highly regarded musician in the industry with each new album. https://www.viberate.com/artist/ed-cherry/

Smooth Guitar Jazz

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Akiko Tsuruga - Beyond Nostalgia

Styles: Jazz, Hard Bop
Year: 2024
File: MP3@320K/s
Time: 65:53
Size: 151,5 MB
Art: Front

( 8:47) 1.Tiger
( 6:31) 2.Happy Blues
( 8:35) 3.Middle Somewhere
(10:38) 4.Back Track
( 6:29) 5.I'll Close My Eyes
( 4:54) 6.Beyond Nostalgia
( 6:13) 7.Mack The Knife
( 6:48) 8.Dancing Cats
( 6:54) 9.What A Diff'rence A Day Makes

Another SteepleChase debut album here by Japanese-born B-3 organist Akiko Tsuruga who hails from Osaka, Japan's second largest city brimming with vitality and keen sense of good life. With her working group including husband trumpeter Joe Magnarelli Akiko leaps out with electrifying energy and at the same time displays her knack for elegant phrasing.

"Tsuruga wraps her own personality around our expectations, bringing out signature ideals of her instrument." - Dan Bilawsky, All About Jazz
https://propermusic.com/products/akikotsuruga-beyondnostalgia

Personnel: Akiko Tsuruga: B3 Hammond organ; Joe Magnarelli: trumpet; Jerry Weldon: tenor saxophone; Byron Landham: drums; Ed Cherry: guitar

Beyond Nostalgia

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Ed Cherry - Peace

Styles: Guitar Jazz
Year: 2022
File: MP3@320K/s
Time: 63:03
Size: 144,7 MB
Art: Front

( 8:33) 1. In A Sentimental Mood
(12:22) 2. Kojo No Tsuki
( 8:03) 3. Tres Palabras
( 8:29) 4. Edda
( 6:32) 5. Peace
( 7:37) 6. Road Song
( 3:25) 7. Ugly Beauty
( 7:59) 8. Comin' Home Baby

"An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing 'finger music', the execution of rapid streams of notes that serve no musical purpose other than to fill space"- Jim Ferguson: Jazztimes - 06/02

Born in New Haven,Connecticut, Ed moved to New York in 1978 to play guitar with Dizzy Gillespie from 1978 to 1992 performing in Gillespie's quartet, big band and with The United Nation Orchestra which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High). That same year, Ed recorded with Paquito D'Riveras' small group which recorded "Havana Cafe" (Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years and recorded three cds with Henry's 'Very Very Circus' group.

In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High Records). During that same period Ed worked with Hammond organist John Patton recording three critically acclaimed cds with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed in Havana, Cuba. During this same period, he also worked w/baritone saxophonist, Hamiett Bluiett, recording Bluiett's cd 'With Eyes Wide Open' on Justin-Time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his cd, 'The Spirit Speaks' on the Canadian Justin Time Records label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

More recently , Ed toured with the great Hammond organist Dr. Lonnie Smith, recording one critically acclaimed cd, 'In The Beginning' on Pilgrimage Records in 2012. Currently Ed has a brand new second recording released on Posi-Tone Records. ('It's All Good' his first release in 2012 for Posi-Tone stayed in the JazzWeek charts for 3 months) his second recording for the label is titled "Soul Tree" ( release date February 19 2016 ) featuring Kyle Koehler on Hammond B3 organ and drummer Anwar Marshall. As of this pre release date, it's already gathering rave reviews. Ed continues to work nationally and internationally ; concerts, workshops, jazz clubs.
https://www.allaboutjazz.com/musicians/ed-cherry

Peace

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Ed Cherry - First Take

Bitrate: MP3@320K/s
Time: 66:45
Size: 152.8 MB
Styles: Guitar jazz
Year: 2015
Art: Front

[7:51] 1. Jean-Pauline
[9:18] 2. Little Sunflower
[5:46] 3. Lorenzo's Wings
[6:54] 4. Third Stone From The Sun
[6:09] 5. Serious
[6:10] 6. In A Sentimental Mood
[8:49] 7. Inner Circle
[8:20] 8. Rachel's Step
[7:24] 9. Blues Interrogation

Born in New Haven,Connecticut, Ed moved to New York in 1978 to play guitar with Dizzy Gillespie from 1978 to 1992 performing in Gillespie's quartet, big band and with The United Nation Orchestra which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High). That same year, Ed recorded with Paquito D'Riveras' small group which recorded "Havana Cafe" (Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years and recorded three cds with Henry's 'Very Very Circus' group.

In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High Records). During that same period Ed worked with Hammond organist John Patton recording three critically acclaimed cds with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed in Havana, Cuba. During this same period, he also worked w/baritone saxophonist, Hamiett Bluiett, recording Bluiett's cd 'With Eyes Wide Open' on Justin-Time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his cd, 'The Spirit Speaks' on the Canadian Justin Time Records label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

More recently , Ed toured with the great Hammond organist Dr. Lonnie Smith, recording one critically acclaimed cd, 'In The Beginning' on Pilgrimage Records in 2012. Currently Ed has a brand new second recording released on Posi-Tone Records. ('It's All Good' his first release in 2012 for Posi-Tone stayed in the JazzWeek charts for 3 months) his second recording for the label is titled "Soul Tree" ( release date February 19 2016 ) featuring Kyle Koehler on Hammond B3 organ and drummer Anwar Marshall. As of this pre release date, it's already gathering rave reviews. Ed continues to work nationally and internationally ; concerts, workshops, jazz clubs.

First Take

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Ed Cherry Quartet - The Spirits Speak

Styles: Guitar Jazz, Straight-ahead/Mainstream 
Year: 2001
File: MP3@320K/s
Time: 58:41
Size: 135,0 MB
Art: Front

(7:36)  1. Little Girl, Big Girl
(5:46)  2. The Spirits Speak
(7:50)  3. Top Hat
(9:05)  4. Woo! / Sharock
(7:04)  5. Peace
(5:40)  6. Joe's Thing
(7:19)  7. Lennox Ave, 1 A.M.
(8:18)  8. Share a Life

It’s really a shame that so few jazz followers are aware of the talents of guitarist Ed Cherry. He’s been on the scene for quite some tine now, playing gigs with such name artists as Sam Rivers, Paquito D’Rivera, and Tim Hardin, not to mention the fourteen years he spent as a sideman with the legendary Dizzy Gillespie. The Spirits Speak is only the third set as a leader to be cut by the 47-year-old guitarist since Gillespie’s death in 1993. Unique too in the fact that it marks the first time that Cherry is leading an organ combo for his own purposes, let us not forget that he excels in this format as evidenced by two current Big John Patton discs featuring the guitarist (namely Minor Swing and This One’s for Ja, both for DIW/Disc Union). 

You won’t get an argument from anyone when it comes to the company that Cherry keeps. Organist Lonnie Smith and drummer Nasheet Waits hold down the fort, with saxophonist Joe Ford fronting things as a lead voice. There’s really little need for going into detail about individual tracks. With a large number of Cherry’s originals making up the program, the moods are varied and inspired. Inclined to make some sort of recommendation, a clear highlight has to be the electric twang of “Woo!/Sharrock,” where Cherry plays homage to the late Sonny Sharrock. Normally a mellower player with a single note style that recalls the approach of Grant Green, Cherry turns up the distortion on this one and rocks out. Vocalist Laird Jackson appears on a version of Horace Silver’s “Peace” and her own “Share a Life.” While she doesn’t embarrass herself, she also doesn’t necessarily present anything of any great significance to the proceedings. That reservation aside, Cherry adds yet another solid effort to his meager discography and makes another bid for wider recognition.~C.Andrew Hovan https://www.allaboutjazz.com/the-spirits-speak-ed-cherry-review-by-c-andrew-hovan.php

Personnel: Ed Cherry (guitar), Joe Ford (saxophones), Lonnie Smith (organ), Nasheet Waits (drums), Laird Jackson (vocals on 4 & 8 only)

The Spirits Speak

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Ed Cherry Special Trio - Szósta po Poludniu

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 53:13
Size: 49,2 MB
Art: Front

( 7:08) 1. Edda
( 7:27) 2. Peace
( 7:38) 3. Blue in Green
(14:24) 4. In Your Own Sweet Way
( 9:48) 5. Soul Eyes
( 6:48) 6. Look-ka Py Py (The Meters)

"Ed is a great, soulful, swinging underrated player deserving of wider recognition."-bill milkowski 1/13/11"An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing "finger music," the execution of rapid streams of notes that serve no musical purpose other than to fill space"-jim ferguson:jazztimes- "02'*"particularly dazzling"-"cherry's guitar had the young bar crowd dancing"-kay cordtz:blues review-5/10 ***Born in New Haven,Conn.,After moving to New York in 78',Ed Cherry played guitar with Dizzy Gillespie from 1978 to 1992, performing in Gillespie's quartet, big band and with The United Nation Orchestra, which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja).

Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High) that same year as well as performing w/Paquito D'Riveras' small group and recording "Havana Cafe"(Chesky Records).Ed also worked with composer/saxophonist Henry Threadgill for two years(recorded 3 cd's w/ Henry's 'Very Very Circus' group. In 1995, Cherry released his second project as a solo artist, entitled A Second Look (Groovin' High).

During that same period Ed worked with Hammond organist John Patton recording 3 critically acclaimed cd's with Patton's quartet-'Blue Planet Man','Minor Swing' and 'This ones for Jah'(DIW). From 1997 to 1998, Cherry worked in Roy Hargrove's “Crisol” Latin jazz band, which performed Havana, Cuba.During this same period,he also worked w/baritone saxist Hamiett Bluiett,recording Bluiett's cd 'with eyes wide open' on justin-time records.In 2001, Cherry toured Europe for the first time with his own group. He also released his latest CD, The Spirit Speaks on the Canadian Justin Time label, inspired by the great jazz organist Jimmy Smith with whom he had also recently worked.Ed was asked to perform at the 'Vodaphone Madarao Jazz festival'in 2002 in Madarao Japan with his quartet featuring trumpeter Jon Faddis.

In 2003 Ed performed with his quartet at Detroit Jazz Festival.Right now,Ed is a member of vocalist Paula West quartet as well as leading his own trio. In addition to his stellar work as a sideman and as a critically acclaimed leader, Ed Cherry also has impressive credentials as a music educator. He taught guitar at Essex Community College in Newark, NJ from 1995 to 1996, and at the Henry Street Settlement in New York City from 1996 to 1997. He was also a faculty member at Montclair State University, School of Fine and Performing Arts for J.O.Y. (Jazz Opportunity for Youth).Ed is currently on staff at 'jazzmobile' here NYC.

Selected discography: ed cherry- first take/ ed cherry-a second look/ ed cherry-the spirits speak/ yoron israel and organic-basic traneing/ hamiett bluiett-with eyes wide open/ tribute to grant green-w/mark whitfield-peter bernstein-russell malone-dave stryker-grant green jr./ 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/jared gold-golden child...."recommended listening" section of 'jazz masters of the guitar by charles alexander. and ed cherry-it's all good..soon to be released 2012 on posi-tone records https://www.allaboutjazz.com/musicians/ed-cherry

The Ed Cherry Special Trio is the "Polish" version of the group led by a guitarist known for his many years of work with legendary trumpeter Dizzy Gillespie, as well as Henry Threadgill and Hamiet Bluiett. The Special Trio's lineup includes one of the most outstanding Polish bassists of the younger generation – Adam Kowalewski, and drummer Arek Skolik, who is referred to as "the Polish King of Swing". The concert recorded on this CD took place in the Warsaw club Szósta Po Południu (Six in The Afternoon). The musicians drew from the repertoire of composers such as Miles Davis, Dave Brubeck, Wayne Shorter and Mal Waldron.

Recorded live November 6th, 2014 at the Szósta Po Południu club in Warsaw (Poland).

Personnel: Ed Cherry - electric guitar; Adam Kowalewski - double bass; Arek Skolik - drums

Szósta po Poludniu

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Steve Turre - Generations

Styles: Trombone Jazz
File: MP3@320K/s
Time: 70:18
Size: 162,5 MB
Art: Front

(8:46) 1. Planting the Ceed
(6:58) 2. Dinner with Duke
(6:34) 3. Blue Smoke
(4:54) 4. Smoke Gets in Your Eyes
(5:01) 5. Don D.
(8:30) 6. Pharoah's Dance
(8:29) 7. Flower Power
(6:54) 8. Good People
(6:04) 9. Sweet Dreams
(8:04) 10. Resistance

Steve Turre was passed the jazz torch early in his career by some of the music’s greatest masters Art Blakey, Rahsaan Roland Kirk, Woody Shaw and Ray Charles, among others. In recent years he’s kindled the same flame in a younger crop of rising stars. On his new album, Generations, Turre brings the eras together, inviting still-vital legends to join a gifted band of rising starts to pay tribute to the elders who have helped shape his sound.

Generations features players including the trombonist’s own son, drummer Orion Turre, as well as trumpeter Wallace Roney Jr., whose late father was a close friend and collaborator of Turre’s. In addition, the youthful core band includes pianist Isaiah J. Thompson and bassist Corcoran Holt.

Over the course of the album this stellar group is joined by saxophonist James Carter, guitarists Ed Cherry and Andy Bassford, keyboardist Trevor Watkis, bassists Buster Williams and Derrick Barnett, drummers Lenny White and Karl Wright, and percussionist Pedrito Martinez.

“There's a balance between youth and age,” Turre says, “Age brings wisdom and knowledge, and youth brings enthusiasm and energy. Playing with each of them stretches me in a different way. The elders stretch me in ways of wisdom, but the youngsters fire it up. All of that is inspiring.”

That inspiration bears fruit in one of the most scintillating and eclectic recordings of Turre’s storied career. “I always like to play with musicians that challenge me,” Turre concludes. “So, coming up, I would usually play with people older than me. My challenge now comes from the youthful energy of the younger players. Jazz is not dead!”

Personnel: Steve Turre - trombone & shells (7); Wallace Roney Jr. - trumpet (1, 2, 3, 5, 6, 7, 9, 10) flugel (8); Emilio Modeste - tenor & soprano sax (1, 2, 3, 5, 6, 7, 8, 10); James Carter - tenor saxophone (9); Ed Cherry - guitar (3); Isaiah J. Thompson - piano; Corcoran Holt, bass (1, 2, 5, 6, 7, 10); Buster Williams, bass (3, 4, 8, 9); Orion Turre - drums (1, 2, 4, 6, 9, 10); Lenny White - drums (3, 7, 8); Pedrito Martinez, percussion (4, 6, 8); Andy Bassford, guitar (5); Trevor Watkis, Rhodes (5); Derek Barnett - electric bass (5); Karl Wright, drums (5)

Generations

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Marco Marzola - Create

Styles: Jazz, Post Bop
Year: 2005
File: MP3@320K/s
Time: 54:45
Size: 126,1 MB
Art: Front

(5:22)  1. Blue in Green
(6:43)  2. Caravan
(4:32)  3. Changing Times
(5:44)  4. Manteca
(5:17)  5. Mogadishu
(6:06)  6. Odwalla
(4:36)  7. Prince of Darknes
(4:39)  8. Prince
(4:29)  9. The Spirits Speak
(7:14) 10. Sunset and the Mockingbird

Marco Marzola Jazz Musician and Bandleader (Contrabass & Electric Bass) Based in London. Ongoing collaboration with Musicians of the International jazz scene across Europe at Jazz Festivals and Jazz Clubs. His artistic training began at the conservatory of Ferrara (Italy). Captured by Jazz at an early age, he moved to New York in 1982 where he studied with Barry Harris and Buster Williams. He became interested in Ethnic Music, Blues and Pop. Alongside his work as sideman, he started several projects as a band leader featuring International acclaimed guests such as Ed Cherry, Steve Turre, Sherman Irby, Akua Dixon, Darrell Green, Dion Parson. As a testimony to these collaborations, there are now a number of Albums available on line. He shared the stage and recorded with the most representative Musicians of the INTERNATIONAL JAZZ SCENE around Europe and United States such as: Betty Carter, Jimmy Lovelace, Tommy Tarantine, Jimmy Owens, Paul Jeffrey, Craig Handy, Harold Land, George Cables, Steve Turre, Tommy Campbell, John Hics, Tony Scott, Bruce Forman, Jimmy Cobb, Dion Parson, John Clark, Sherman Irby, Chuck McPherson, James Zollar, Darrell Green, Jesse Davis, Akua Dixon, James Hurt, Ed Cherry, Stacy Dillard, Bruce Williams, Jerome Jennings, Art Hirahara, Camille Thurman, Giulio Capiozzo, Flavio Boltro, Stefano Bollani, Fabrizio Bosso and many other. http://www.marcomarzola.com/bio/

Personnel: Marco Marzola [bass]; Ed Cherry (Guitar); Oscar Marchione [Hammond Organ & Fender Rhodes]; Donato Cimaglia [drums]

Create

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Ken Fowser - Right on Time

Styles: Saxophone Jazz 
Year: 2019
File: MP3@320K/s
Time: 56:03
Size: 129,5 MB
Art: Front

(3:53)  1. Stand Clear Of The Closing Doors
(3:39)  2. Samba for Joe Bim
(4:21)  3. Duck And Cover
(6:59)  4. No Filter
(5:46)  5. Don't Let Life Pass You By
(4:36)  6. On My Way
(6:40)  7. Keep Doing What You're Doing
(7:22)  8. Fowser Time
(5:44)  9. A Poem For Elaine
(6:59) 10. Knights Of The Round

With the release earlier this year of Right On Time, sax specialist Ken Fowser has now put out as many solo albums as he’s made with former musical partner and vibes ace Kehn Gillece. The last time a Fowser-led work was examined in this space, the tenor man was just stepping out onto his own and it was noted then in this classic, acoustic quintet setting that “Fowser’s tone and delivery is a big bag of soul.” Sax players with those qualities always thrive in an organ and guitar combo where the higher grease quotient fits right in with their diction, and at the urging of producer Marc Free, that’s just what Ken Fowser does for Right On Time. Wisely choosing guitarist Ed Cherry and organist Brian Charette to literally provide electricity to the sessions along with Willie Jones III on drums, it might be the first time most people are hearing Fowser in this type of soul-jazz environment, but it seems as if he’s done this thing all along. Tone and feel is everything here, and this crew consistently delivers. “Samba For Joe Bim” is as advertised, and the low, single lines from Cherry following the higher octave notes from Ken Fowser is one of the little arrangement touches that elevates the quality of these sessions above the crowd of very competent jazz recordings that are still made today. “Duck And Cover” swings authoritatively in the proud tradition of a Posi-Tone recording date, and listeners are treated with Fowser sharing solo duties with trombonist Steve Davis and trumpeter Joe Magnarelli. An imaginative arrangement on another swinger “Knights Of The Round” has the horn players playing a pattern at slightly different spots a la “Row Row Row Your Boat” and Magnarelli later blows a smoldering aside. With the three-man horn front line, a blues-based strain and a steady shuffle, “Keep Doing What You’re Doing” sounds like an electrified Art Blakey tune. “Fowser Time” continues along that same vibe but with a tauter rhythm, and the song’s namesake solos unhurriedly and confidently like a seasoned vet. “No Filter” is a great groove mated to a fetching melody, with another Davis/Magnarelli appearance and further boosted by Cherry’s Montgomery mannerisms. Jones shows a knack for locking down the pulse with taste but for “On My Way,” his refinement is a bit more out front, with multiple fills and a lively trading of fours. Great organ/guitar combos can deliver the coolness as effectively as they bring the heat, and this one makes good on the cool side with the down tempo “Don’t Let Life Pass You By.” Ken Fowser’s pleadings convince and Charette knows just how much emotion to put into his spotlight. https://somethingelsereviews.com/2019/07/13/ken-fowser-right-on-time-2019/

Personnel: Ken Fowser, tenor saxophone; Steve Davis, trombone; Joe Magnarelli, trumpet; Brian Charette, organ; Ed Cherry, guitar; Willie Jones III, drums.

Right on Time

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Jeff Hackworth - The Heart of the Matter

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 60:43
Size: 144,6 MB
Art: Front

(6:51)  1. Big Bad Boogaloo
(5:44)  2. Fool That I Am
(5:53)  3. That Old Black Magic
(6:34)  4. 3rd Avenue Blues
(8:13)  5. September Song
(6:00)  6. Sweet Tea
(7:09)  7. The Heart of the Matter
(7:15)  8. Mr. Gentle and Mr. Cool
(6:59)  9. Tres Palabras

Veteran tenor saxophonist Jeff Hackworth doesn't fool around much on his most recent musical project and gets right to The Heart of The Matter, unveiling his seventh album as leader and follow up to his previous critically-acclaimed Soul To Go! (Big Bridge Music, 2014). Employing a muscular approach to the saxophone, Hackworth's tenor voice is pronounced here leaving little doubt that one is in for a bit of tenor madness from one of the finest reed men around. Containing four originals and fresh new treatments of five well-known standards, the music is contemporary straight ahead with a touch of soul, blues, burners and ballads all in one nice musical package that goes right to the heart.  A mainstay of New York's vibrant jazz scene, Hackworth naturally selects a group of top notch New York City sidemen to accompany him on this album but eschews the standard bass and the piano instruments in lieu of the organ and guitar for a distinctive rhythm section. Featured here are drummer Vince Ector with guitarist Ed Cherry and organist Kyle Koehler rounding out the cast of this non-standard, different, stylish and very formidable quartet. Ector's rolling drum solo intro on Hackworth's original chart "Big Bad Boogaloo" gets the music going on the steamy side with a lively up tempo burner that showcases the more than appreciable chops of the leader. Floyd Hunt's 1947 composition "Fool That I Am," is the first ballad performed here with Hackworth doing a marvelous job on one soulful tenor solo after another with one of the finest version of the standard recorded to date. The magic continues on the following Arlen/Mercer classic "That Old Black Magic," featuring all of the bandmates on separate solos in one fine swinging rendition of the standard. The original "September Song" is somewhat special for Hackworth as he states "I like to tell a story when I improvise and this song...sets the stage..." and so this one certainly does, telling a tale of great music. 

The saxophonist pays homage to "The Sugar Man" or "Mr. T" as he was better known, the late great Stanley Turrentine would have been more than pleased with Hackworth's "Sweat Tea" and the bluesy title track, both tunes displaying superb examples of tenor voicings Mr. T would have identified with. The set begins to close on an often overlooked composition by the great Duke Ellington with Hackworth and crew delivering a superb rendition of "Mr. Gentle and Mr. Cool," then finalizing the album on a delicate embrace of the gorgeous "Tres Palabras."  Tenorist Jeff Hackworth makes it quite clear that The Heart of the Matter, is providing good music, and on that account, Hackworth and crew craft another delicious statement worth repeated spins and more serious attention, well done! ~ Edward Blanco https://www.allaboutjazz.com/the-heart-of-the-matter-jeff-hackworth-big-bridge-music-review-by-edward-blanco.php

Personnel:  Jeff Hackworth: tenor saxophone;  Ed Cherry: guitar;  Kyle Koehler: organ;  Vince Ector: drums.

The Heart of the Matter

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Ben Paterson - Live At Van Gelder's

Styles: Jazz, Post Bop
Year: 2018
File: MP3@320K/s
Time: 59:28
Size: 137,6 MB
Art: Front

(5:01)  1. F.S.R.
(6:48)  2. Edda
(8:22)  3. Frame For The Blues
(6:14)  4. Green Jeans
(5:35)  5. Enchantment
(3:58)  6. The Vibrator
(6:34)  7. I Remember Cliffor
(5:14)  8. The Hustler
(6:39)  9. Easy Time
(5:00) 10. Sweatin

Following up his very well-received recordings That Old Feeling (Cellar Live Records, 2018) and For Once in My Life (Origin Records, 2015), Ben Paterson enters the sanctum santorium of jazz recording, Rudy Van Gelder's Studio in Hackensack, NJ. Having collided somewhere with saxophonist/entrepreneur Cory Weeds, the two initiate an idea perfect to the pair's hard bop sensibilities and something we can hope Weeds is considering for future recordings, hopefully a Cellar Live series with much more music like this.  Weeds has fashioned his Cellar Live Label as the equivalent for hard bop as Nagel Heyer and Arbors Jazz are for traditional jazz. Paterson had to have this in mind when selecting his ten songs to play with his organ trio a Van Gelder's Studio March 22 of this year. Paterson addresses soul-jazz organ icons with funky performances of Brother Jack McDuff's "The Vibrator" and Richard "Groove" Holmes' "Sweatin.'" He then branches out to musicians known to frequent organ combos, with Grant Green's "Green Jeans" and Stanley Turrentine's "The Hustler." The remainder are devoted to hard bop proper, with Ray Brown's "F.S.R. (For Sonny Rollins)," Wayne Shorter's by way of Lee Morgan "Edda," and Benny Golson's "I Remember Clifford." Paterson is an exceptional organist, one who avoids every Jimmy Smith cliché to which lesser talents fall prey. Guitarist Ed Cherry plays with a sophisticated, round tone augmented with just a touch of reverb and echo. Drummer Jason Tiemann sounds as if he were born for organ jazz, always knowing where to be loud or not. This is not territory circuit greasy soul-jazz. It is that flavor, cleaned up ever so slightly for the concert stage. How great to hear drinking an ice-cold Vesper on a hot summer day. ~ C.Michael Bailey https://www.allaboutjazz.com/live-at-van-gelders-ben-paterson-cellar-live-review-by-c-michael-bailey.php

Personnel: Ben Paterson: Hammond B3 Organ; Ed Cherry: Guitar; Jason Tiemann: drums.

Live At Van Gelder's

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Ed Cherry - A Second Look

Bitrate: MP3@320K/s
Time: 67:12
Size: 153.8 MB
Styles: Bop, Guitar jazz
Year: 1997/2015
Art: Front

[ 7:21] 1. B&b
[ 7:30] 2. Cloud Dancer
[ 5:48] 3. Congo Chant
[ 9:56] 4. You Go To My Head
[ 5:59] 5. Mogadishu
[ 7:05] 6. Lullaby Of The Leaves
[10:00] 7. High-Fly
[ 6:01] 8. A Second Look
[ 7:29] 9. Eddie Harris

Ed Cherry (guitar); Ray Parker, Jr. (guitar); John Robinson (drums); Mitch Marcoulier (programming); Konesha Owens, Agape Choir Of Santa Monica (background vocals). Recording information: Systems Two Studios, Brooklyn, NY (04/26/1994/04/27/1994).

An expressive instrumentalist, Cherry has a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing "finger music," the execution of rapid streams of notes that serve no musical purpose other than to fill space. Born in New Haven, Conn., After moving to New York in 78', Ed Cherry played guitar with Dizzy Gillespie from 1978 to 1992, performing in Gillespie's quartet, big band and with The United Nation Orchestra, which recorded the Grammy Award-winning Live at Royal Festival Hall (Enja). Gillespie died in 1993, and Cherry released his first recording as a leader, 'First Take' (Groovin' High) that same year as well as performing w/Paquito D'Rivera's small group and recording "Havana Cafe"(Chesky Records). Ed also worked with composer/saxophonist Henry Threadgill for two years (recorded 3 cd's w/ Henry's 'Very Very Circus' group. In 1995, Cherry released his second project as a solo artist, entitled A Second Look.

A Second Look

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Doug Webb - Bright Side

Styles: Saxophone Jazz
Year: 2016
File: MP3@320K/s
Time: 62:44
Size: 145,1 MB
Art: Front

(6:01)  1. Society Al
(5:49)  2. Silver Lining
(3:26)  3. The Drive
(5:14)  4. Bahia
(5:20)  5. Doctor Miles
(5:26)  6. Steak Sauce
(4:40)  7. Melody For Margie
(5:51)  8. Slo Mo
(4:45)  9. One For Hank
(4:18) 10. Lunar
(5:58) 11. Guess I'll Hang My Tears Out To Dry
(5:49) 12. Funky Medina

From one perspective, Doug Webb's Bright Side is basically twelve tracks clothed in very recognizable forms a few varieties of soul-jazz, a couple of heartfelt ballads, a taut bossa nova, and an array of middling and up tempo straight- ahead swingers. Although the material is thoroughly enjoyable, it's tempting to succumb to a nagging notion that its all been done countless times before, and then simply move on to a record by yet another brave soul planting his/her flag in the jazz tradition. Fortunately, what enables Bright Side to add up to something more than a competent, professionally executed jazz record, is a slew of highlights, bright moments, and outright cool stuff that populates every track. A quintet consisting of Webb's tenor sax, trumpeter Joe Magnarelli, guitarist Ed Cherry, organist Brian Charette, and drummer Steve Fidyk (all of whom have led dates for the Posi-Tone Records label) operates like a well-oiled machine. Listening to how nicely all of the parts fit together, and the fact that you can easily discern each player's contribution, are important facets of the disc's appeal. For instance, Cherry's work on the heads and his comping behind individual soloists are delivered in subtle yet decisive ways that add rich, distinctive flavors while taking up a minimum amount of space. The same can be said about Charette, whose primary concern is holding down the band's bottom, but, with due cause, asserts himself by means of vivid chords. Fully capable of inhabiting any role the music requires, Fidyk often jolts the band with thickset snare accents, frequently plays fluid, inconspicuous jazz time, and always executes smart, stimulating fills regardless of the type of groove.

Webb's voice as an improviser possesses real character regardless of the kind of song he's playing. Check out the R & B influenced "Society Al" for the way in which he gets down by himself at the onset of the track, pausing and briefly falling silent amidst a fair amount honking and shouting. Later on during his solo over the band's uncluttered funk, Webb executes notey runs, brief, tantalizing hesitations, quick, meaningful digressions, as well as broad, weighty tones and makes all of them sound like they belong in close proximity to one another. Magnarelli's solos particularly on "Steak Sauce," "Slo Mo," and "Lunar"  contain a fair measure of brassy power mixed with a kind of subdued, floating quality that feels emotionally vulnerable. Cherry possesses a unique, understated style, doling out notes with a soulful circumspection. His all-too-brief intro to "One For Hank" is the epitome of sparse perfection, so simple that it's easy to take it for granted. The guitarist's gift for making improvised lines sound both ephemeral and sturdy is also apparent throughout the gentle "Bahia," where every single note and chord breathes easy and carries an almost imperceptible weight. In the end, Webb and company make it simple to enjoy the music instead of indulging in critical hair splitting or fretting about stylistic proclivities and influences. ~ David A.Orthmann https://www.allaboutjazz.com/bright-side-doug-webb-posi-tone-records-review-by-david-a-orthmann.php

Personnel: Doug Webb: tenor saxophone; Joe Magnarelli: trumpet; Brian Charette: organ; Ed Cherry: guitar; Steve Fidyk: drums.

Bright Side

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Ed Cherry - Soul Tree

Styles: Guitar Jazz
Year: 2016
File: MP3@320K/s
Time: 54:27
Size: 126,6 MB
Art: Front

(4:35)  1. Let the Music Take Your Mind
(6:55)  2. A New Blue
(5:01)  3. Rachel's Step
(4:59)  4. Soul Eyes
(5:20)  5. Little Sunflower
(6:11)  6. Central Park West
(4:59)  7. Little Girl Big Girl
(6:18)  8. Ode to Angela
(5:25)  9. In Your Own Sweet Way
(4:40) 10. Peace

Like any jazz recording worth its salt, Ed Cherry's Soul Tree, his second release for the Posi-Tone imprint, impresses on more than one level. Cherry's interpretations of often performed jazz standards Mal Waldron's "Soul Eyes," Dave Brubeck's "In Your Own Sweet Way," Horace Silver's "Peace," among others are exceptionally well drawn and stand up nicely in comparison to other versions. The disc's ten tracks include two of the leader's original compositions. For the most part Cherry keeps things relatively simple, illuminating the melody of each tune with aplomb and keeping embellishments to a minimum. Consisting of the leader's guitar, Kyle Koehler's organ, and the drums and cymbals of Anwar Marshall, the trio is fleet, cursive, almost casually articulate, short on blatant displays of ego and long on mutual support. Complete in itself, the trio possesses a fine, self-contained vibe that might suffer by the presence of another instrumental voice.

Straight-ahead swing, funk, bossa nova, and other stylistic grooves all feel natural and unforced. There's nothing artificial or unduly calculated about the funk to swing transitions in "Let The Music Take Your Mind," or the tasty funk coda that follows Marshall's lithe, swinging shout chorus drumming on "In Your Own Sweet Way." The guitarist's tone cuts through the band, yet it contains a slightly reserved quality, as if he's loath to stand out or take a dominant role. Cherry's brief, no nonsense intros on some of the tracks set the right tone, never overshadowing what's to come. Post out head activities are substantive and provide another perspective of the group's inner workings. During his solos, Cherry frequently lands on the beat, reinforcing the band's momentum and freeing Marshall to effusively make snapping, rumbling comments on various combinations of his drum kit at a relatively low volume. (In short, Marshall often plays a lot without standing out.) The guitarist also serves as a smart, incisive accompanist to Koehler, serving up terse, energetic chords that add an additional layer of rhythmic tension.

The difference between Cherry's and Koehler's solo styles is another one of the record's winning characteristics. The guitarist's improvisations are thoughtful and patient, filled with small, telling details, as well as subtle gradations of texture; he invariably leaves room for the music to breathe. His work on "Soul Eyes," "Central Park West," "Little Girl Big Girl," "In Your Own Sweet Way," and "Peace" seem to beg the question: Why play several notes when a single, shrewdly placed note will do? There's a laid-back quality to Cherry's solos that exists side by side with a bluesy sensibility. He gradually draws the listener into a refined, personal space rather than trying to make a dramatic impact. In contrast, Koehler is chatty, persistent, and often uses the instrument's resources to make overtly emotional points. He shrewdly mixes and matches ostensibly disparate ideas and displays a penchant for reaching mini-climaxes, yet never crosses the line into excess. Amidst all of this dense, somewhat agitated activity there's an orderly mind at work. Listen to "Little Sunflower" for Koehler's up-tempo effusions, and "A New Blue" for his pensive side. Top-notch material that is interpreted in a refreshingly straightforward manner, a band that wholeheartedly embraces unity, and soloists who speak concisely and with character: These are the things that make Soul Tree a recording that can be enjoyed by listeners new to jazz and aficionados as well.~David A.Orthmann https://www.allaboutjazz.com/soul-tree-ed-cherry-posi-tone-records-review-by-david-a-orthmann.php

Personnel: Ed Cherry: Guitar; Kyle Koehler: organ; Anwar Marshall: drums.

Soul Tree

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Sherman Irby - Big Mama's Biscuits

Styles: Post-Bop, Saxophone Jazz
Year: 1998
File: MP3@320K/s
Time: 58:29
Size: 134,3 MB
Art: Front

(5:18)  1. Conversing with Cannon
(3:57)  2. 'Bama
(4:59)  3. Lake Tuscaloosa
(4:50)  4. Big Mamma's Biscuits
(6:12)  5. Passage of Time
(3:57)  6. Too High
(6:02)  7. Aunt Dorothy
(7:03)  8. Take the 'A' Train
(4:34)  9. Call to Order
(6:57) 10. Away from Home
(4:35) 11. We're Gonna Be Alright

Redux. AAJ 's John Sharpe opined a brief and sharp-creased assessment of this record in the November issue. I am chiming in to add some observations, not to try and improve on Mr. Sharpe's commentary. The Heart of the Matter. Irby's performances with Ed Cherry on acoustic guitar reminds me of the Frank Morgan Collaboration Listen to the Dawn. Irby certainly lacks Morgan's "wounded" tone and phrasing, but their approaches with guitar accompaniment are parallel. He transverses the universe of Post Bop using the sextet ("Big Mama's Biscuits"), trio ("Conversing with Cannon"), and duo ("Take the 'A' Train") formats much in the same way that Joe Henderson has on his most recent recordings. This makes for a diverse mix of presentations. This disc never gets boring. 

~ C. Michael Bailey  http://www.allaboutjazz.com/big-mamas-biscuits-sherman-irby-blue-note-records-review-by-c-michael-bailey.php

Personnel: Sherman Irby: Alto Saxophone; Gerald Cannon: Bass, Clifford Barbado: Drums; Ed Cherry: Guitar; Dana Murray: Drums; James Hurt: Piano; Roy Hargrove: Trumpet.

Big Mama's Biscuits

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Ed Cherry - It's All Good

Styles: Guitar Jazz
Year: 2012
File: MP3@320K/s
Time: 66:05
Size: 153,1 MB
Art: Front

(5:58)  1. You Don't Know What Love Is
(6:15)  2. Mogadishu
(6:05)  3. Edda
(5:52)  4. In a Sentimental Mood
(7:32)  5. Chitlins Con Carne
(4:43)  6. Maiden Voyage
(6:17)  7. Deluge
(6:58)  8. Christo Redentor
(4:12)  9. Something for Charlie
(6:15) 10. Blue in Green
(5:53) 11. Epistrophy

Guitarist Ed Cherry is best known for his lengthy, decade-plus tenure with trumpet titan Dizzy Gillespie, but his work with another heavyweight of a different ilk organist Big John Patton is a more obvious influence on It's All Good. Cherry played the important role of Patton's guitar-playing foil during some of the legend's '90s comeback sessions and he acquired a deep understanding of the organ group dynamic through osmosis during this period. Patton's '90s work dealt with some outlying ideals courtesy of musicians like saxophone maverick John Zorn blended with a more straightforward approach, but Cherry doesn't flirt with far-reaching thoughts like his former employer. Instead, he puts his Grant Green-influenced guitar to good use on a program of relatively laid back material that emphasizes soul and groove in centrist fashion. Cherry's slick-cum-sizzling finger work is ever-impressive throughout this program of smartly reworked covers and originals. He brings a sly sound to "You Don't Know What Love Is," delivers a Brazilian-tinged take on "Blue In Green," gives Thelonious Monk's "Epistrophy" a smoking, streamlined reading and turns Herbie Hancock's "Maiden Voyage" into a mid-tempo swinger. 

Elsewhere, Cherry hits a Wes Montgomery-like stride ("Something For Charlie") and revels in the warm beauty of Duke Ellington ("In A Sentimental Mood"). His comrades organist Pat Bianchi and drummer Byron Landham both prove to be well-suited for this session, as they're willing to lead or follow and able to go wherever the moment takes them. Bianchi is capable of extreme subtlety, as demonstrated with his gentle backing on "In A Sentimental Mood," but his skills don't stop there. He can cook with the best of them ("Something For Charlie") and he has a penchant for cut-to-the-core melodic delivery that's exhibited during a pair of Wayne Shorter tunes ("Deluge" and "Edda"). Landham, who earned his organ group stripes with Joey DeFrancesco and several other high profile players, is the consummate groove maker here, delivering waltz time wonders ("Edda"), Brazilian beats ("Blue In Green"), über-slow funk ("Chitlins Con Carne") and right-down-the-middle swing with equal skill. His solo trading, on display in several places, is crisp, classy and highly entertaining. Cherry and company don't distinguish themselves by doing anything bold or new on It's All Good, but they make this a memorable outing through the sheer force of musicality and taste; the title doesn't lie on this one. ~ Dan Bilawsky  http://www.allaboutjazz.com/its-all-good-ed-cherry-posi-tone-records-review-by-dan-bilawsky.php

Personnel: Ed Cherry: guitar; Pat Bianchi: organ; Byron Landham: drums.

It's All Good

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