Brian's Funky Trio, Benny's Groove, & Clarence's Smokin' + Organ Trio CDs

Firehouse 12 in New Haven takes a turn towards the "funky side" this Friday (5/29) when Meriden CT native Brian Charette brings his Mighty Grinders to the Elm City.  Helping him dish out the rhythms is guitarist Will Bernard (Stanton Moore Trio) and drummer Eric Kalb (Charlie Hunter, John Scofield).  Charette, who began his career as a pianist, learned to play organ after moving to New York City and getting several gigs on instrument.

Charette has a new recording out this week.  "Alphabet City" is his 3rd trio date with Posi-Tone Records and the first to feature Bernard   and drummer Rudy Royston (both the organist and drummer appear on Bernard's 2011 Posi-Tone release "Just Like Downtown.") While Charette's previous CD, "Good Tipper" blended pop and jazz standards with originals, the new album features all Charette tunes.  Pieces such as "Sharpie Mustache" and "Disco Nap" are danceable ditties with the accent firmly on the "groove" but not at the cost of melody. Most of the tracks go in very interesting directions including the Booker T & The MGs-inspired "Split Black" (interesting sound effects) and the playful, verging on "free form" sounds of "Hungarian Major" (love the vintage horror movie organ tones!)   There's such a bouncy, springtime feel to "West Village" while the high-energy "They Left Fred Out" kicks serious butt.  Royston is the perfect drummer for this trio as he plays with great taste and equally great fire.  Bernard plays impressive rhythm guitar, often supplying the rhythm while the drummer struts.  He's also a strong soloist, as displayed on the ballad "White Lies" and the Philly Soul-infused "Detours." This is great music for driving through the country with the windows wide open.  For more information, go to www.briancharette.com.

As for the Firehouse 12 gig, Brian Charette's Mighty Grinders play 2 sets with the first commencing at 8:30 p.m. For more information, go to firehouse12.com or call 203-785-0468.

The musical excitement at The Side Door Jazz Club in Old Lyme does not let up as the weather warms up. This weekend, Jan and Ken host 2 fine artists. On Friday, they open the door to tenor saxophonist Benny Sharoni. The Israeli native, who has lived in the Boston, MA, area for almost 30 years, has a wonderfully round tone, is a big proponent of playing melody yet is a forceful soloist. He's been playing a number  of gigs over the past month and will continue through the summer in support of his most recent self-released album "Slant Signature." He's bringing most of the musicians who played on the disk and that includes Todd Baker (bass), Steve Langone (drums) and the excellent pianist Joe Barbato. This unit has worked together for a number of years and it shows in their fine interactions. They'll take the stage at 8:30 p.m. To find out ore about the leader, go to bennysharoni.com.

On Saturday evening, The Side Door welcomes back drummer Clarence Penn, last seen and heard at the performance venue last August supporting Kavita Shah.  This time, he's the leader of Penn Station, a fine quartet featuring pianist Shai Maestro, bassist Yasushi Nakamura, and multi-reed artist Ben Wendel. Mr. Penn is one of those drummers who can play anything, whether it's behind a vocalist like Ms. Shah or kicking hard underneath the Dave Douglas Quintet or moving through the intricate arrangements of  the Maria Schneider Orchestra. Though he has been "on the scene" since the early 1990s, he's only released 4 CDs as a leader, 3 with the Dutch Criss Cross label - his most recent album, "Monk: The Lost Files", came out in Fall of 2014 on the Origin label.  Not what the Quartet will play at this show but I expect it will contain several pieces from the playful "Monk" recording. For more information about Clarence Penn and his busy schedule, go to clarencepenn.com.

Doors open at 7:30 p.m. and the band begins to play 60 minutes later.  For more information and reservations, go to thesidedoorjazz.com or call 860-434-0886.

Here's a bit of Monk from the latest album:

It's back to the Trio format for the new CD from organist Jared Gold.  "Metropolitan Rhythm" is the 8th release on Posi-Tone Records and the 4th to feature guitarist Dave Stryker. Filling out the rhythm section is the young drummer Kush Abadey (known for his work with trumpeter Wallace Roney and the son of drummer/composer/educator Nasal Abadey. Gold is quite the melodic player and he works well with Stryker. The New Jersey native, who has worked with numerous artists including saxophonist Oliver Lake, has chosen an intelligent mix of pieces for the new disk ranging from pop tunes such as "Maybe I'm Amazed" to high-energy romps such as Joe Henderson's "Granted" to the rich gospel melody of Isiah Jones'"God Has Smiled on Me."   Gold et al have a fun yet  sophisticated time with Thelonious Monk's "Let's Call This", changing tempos and giving the piece sections where the trio gets deep into the groove.  Where the Charette trio CD above has a funky feel, the Gold trio likes to swing, often with a vengeance. On Stryker's "As Is", Abadey sets a wicked pace, propelling the guitarist and organist forward with great glee.  Soft guitar lines and gentle brush work lead the way into "Risco", a sweet samba that may take listeners back to the 1960s sounds of organist Walter Wanderley.

"Metropolitan Rhythm" is one of those sneakily seductive albums in that the music might not blow you away on first listen but grows on you each time you return.  The CD has 9 tunes in 48 minutes and only one (the Monk piece) over 6.  Dave Stryker shows his worth as both a rhythm guitarist and soloist while Kush Abadey keeps the music percolating without much fuss but great flair.  Jared Gold has proven himself to be a fine soloist and he continues to mature as a composer (his "In A Daze" is a bluesy treat).  This music sounds great on the back porch on an early summer afternoon.

For more information, go to www.jaredgoldb3.com.

Listen to the Trio have fun with the Paul McCartney tune:

2 by B-3s

There's something about Hammond B-3 organ trios that reminds me of spring and summer, lounging on the back porch with a cool drink.  Perhaps, it's the "burbling brook" sound some players get out of their speakers - whatever it is, the chemical reaction in my brain is quite positive.

For his 5th release on the Posi-Tone label, "Golden Child", Jared Gold returns to the Trio setting that served him well on his 2009 CD, "Supersonic."  Guitarist Ed Cherry is back from that date while  Quincy Davis (who appeared on Gold's previous Posi-Tone release) mans the drum chair.The program ranges from "pop" tunes, such as "Wichita Lineman" and "I Can See Clearly Now" to jazz standards like "In A Sentimental Mood" and "When It's Sleepy Time Down South" to 5 pieces from the leader. The disk opens with an ultra-funky version of Sam Cooke's "A Change Is Gonna Come", a piece that sets the tone for the entire album.  Davis is a responsive and explosive drummer, doesn't hold back reacting to the soloist.  Cherry, who has worked with a slew of great musicians (like Dizzy Gillespie, Henry Threadgill and Hamiett Bluiett), is an equal partner in the music, either doubling the song's theme or stretching out on a solo.  His lines blend jazz licks (a touch of Wes Montgomery octaves show up on the title track) with a strong blues feel.  This is no "lounge" band; every one digs in and gives his all.  One can enjoy the subtle shadings of Gold's "Pensa Em Mim", groove on the "second-line" feel of "14 Carat Gold" or bask in the sweet glow of "...Sleepy Time..."  Excellent solos from both Gold and Cherry as well as simple-sounding yet masterful percussion.  The trio's take on Jmmy Webb's "..Lineman" is quite funky while remaining true to the melody and mood of the original.  Cherry's rhythm guitar work is exemplary while Davis lets loose during the organ solo - then, the drummer gives the guitarist a real "fatback" feel beneath his short yet satisfying solo. "Times Up" moves (rather successfully) into Larry Young territory, with Davis's fiery drumming pushing, urging, coaxing his cohorts forward.

Each one of Jared Gold's Posi-Tone recordings has something to recommend it but "Golden Child" is, arguably the best.  Even in a trio setting, the program is his most varied. You'll like the way the Trio communicates, how their solos are substantial (and not just space fillers) and, for these ears, Gold's handsome "burbling" organ.  To find out more, go to www.jaredgoldb3.com. 

If you're a fan of Josh Jackson and WBGO-FM's "The Checkout", you may remember hearing organist Brian Charette play with his Sextette last May (check it out here) - perhaps, like me, you really enjoyed the mix of reeds, drums and B-3.  The 3 pieces they played live in the studio whetted my appetite for the upcoming Steeplechase CD but then I never saw it.

Brian was kind enough to send the mp3s that make up "Music for Organ Sextette" and, believe me, this is one fine group and CD.  Charette has assembled an impressive lineup, starting with the excellent drummer Jochen Rueckert, alto saxophonist Mike DiRubbo, flutist Jay Collins, bass clarinetist John Ellis and tenor saxophonist Joel Frahm.  With all this "firepower", the program Charette creates for his ensemble will surprise you. There are moments the arrangements really swing, like on the opener "Svichkova", with Charette's bass pedal work locked in with Rueckert's drumming. "Fugue FKA/ EGF Variations" opens as if written by JS Bach while the second half has a serious groove;  yet, the reeds come in one at time. First the tenor, then alto, followed by flute and finally bass clarinet all playing a round, especially when the organ joins the fray.  The melodic arrangement for the reeds on "French Birds" may remind one of the sound of the World Saxophone Quartet.  Every one solos but no one goes on too long and the results are rewarding.

"Elvira" is playful, a delightful melody over a reggae beat, with each soloist getting a different emphasis in the rhythm section beneath them.  "Tambourine" blends New Orleans melody and harmonies (love the blend of flute and alto sax on the melody section) over seriously funky drumming - Reuckert is both a dynamo and painter throughout the CD, whether it's the James Brown opening of "Late Night T.V." or his exquisite cymbal work on "Equal Opportunity" or his ability to quickly shift gears as he demonstrates on the mysterious "Mode for Sean Wayland" (dedicated to the contemporary Australian-born keyboard artist.) Charette has a keen sense of humor; can't help but praise the gospel setting for "Prayer For An Agnostic" (with an Ellingtonian feel in the melody line by the reed ensemble) and the "testifying" solos, each one more soulful than the one before.

It's hard to single out one soloist, everyone plays so well.  Relaxed yet intense, with rhythms that caress you one moment, push you up out of your seat the next.  Pay attention to the arrangements, to the textures of the reeds as they move with and around each other, notice the different sounds from the organ as well as the first-class work of the drummer.  Then, just sit back and let it enter your soul - because this music, more often than not, is quite satisfying.  Brian Charette and his Sextette makes honest and joyous music.  You should seek out this fine recording. For more information, go to www.kungfugue.com.