| | David Fackeure Jazz On Biguine, Vol. 2 CD David Fackeure Discography of CDs
"You've understood! Your music is filled with the subtlety of our biguine. But you've managed to go beyond it through your harmonic science and improvisation skills. True jazz connoisseurs will appreciate it for all its worth." Al Lirvat Jazz On Biguine, Vol. 2 Music Jazz On Biguine, Vol. 2 Review
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It seems incredible that Roberta Gambarini didn't win the Thelonious Monk Jazz Vocal Competition ...
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Recording information: Taizé Community, France.
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Sacha Perry, 34 at the time of this trio recording, sounds remarkably like Bud Powell at times, both in his use of single-note lines and chord voicings. What is more impressive than his close emulation of Powell is that Perry wrote all 11 selections on this set, most of which utilize fairly original chord changes and sound like classic bebop. With fine support from bassist Ari Roland and drummer Phil Stewart, Sacha Perry creates a set of music that should delight bebop fans and fool listeners taking "blindfold tests." Although not a major original at this point in time, it is refreshing to hear a pianist who is not influenced by Bill Evans and reaches back to the late '40s for his style. An enjoyable outing. ~ Scott Yanow
Stage time, especially paid stage time, is a precious commodity in New York City. On stage is where artists compete for the public's attention in the hopes of establishing themselves. But the paid stage, whether in the club or the recording studio, is also the economic impetus that makes musicians convene over music, and thereby the impetus for musical development. For much of the last century, from 1926 to 1988, the restrictive cabaret laws in New York reduced the amount of live stage time artificially, making it scarce by requiring licenses for clubs hosting brass and percussion, and granting only a few. After the laws were overturned in 1988 on grounds of violating the First Amendment, the resurgence of jazz clubs in New York in the early 1990s suggested that pent-up demand had indeed exceeded the suppressed supply. One might ask whether this helps to explain the historical existence of a New York underground world of exceptional jazz talent that has been virtually unknown to the jazz-listening public. The newly arrived jazz clubs of the nineties did in fact reveal a number of artists to the broader public for the first time. Clubs such as Smalls featured artists like Frank Hewitt, who had been heard hitherto in recent times mainly at such places as the University of the Streets or the Jazz Cultural Theater, both grass-roots organizations known to few outside the jazz community. The new clubs also afforded younger artists a chance to be presented to the public in a timely way, and the hope of surviving long enough to become established.Now, about Sacha Perry.Born in Brooklyn on May 1, 1970, Sacha began to learn piano at age 6. As a standout student early on, he enrolled at Hunter College High School and began studying classical piano at Mannes School of Music at age 11. By age 17 his attentions were turning towards jazz. The inspiration supplied by a Thelonious Monk recording was a catalyst for what was to become a life journey. Sacha, a born self-educator with a keen nose for the non-obvious and a tendency to think far ahead of most people, recognized that the secrets and subtleties of modern jazz piano would only be revealed through the working jazz community.Sacha quickly found his way to the inner ...
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