Where to Go & Who to See Since 1982
Total Page：16
File Type：pdf, Size：1020Kb
December Hot House_Layout 1 11/23/2020 9:33 AM Page 1 The only jazz magazine in NY in print, online and on apps! December 2020 www.hothousejazz.com Deer Head Inn Page 2 Maureen’s Jazz Cellar Page 4 Sherrie Maricle Roni Ben-Hur Brian Charette Chip Shelton Livestream from Soapbox Gallery Page 6 Livestream Page 8 Where To Go & Who To See Since 1982 December Hot House_Layout 1 11/23/2020 9:33 AM Page 2 SHERRIE MARICLE’S Persistent Sound By Stephanie Jones WENTY MINUTES FROM PHILLY, Ton a two-acre plot where a dairy barn once flourished, Sherrie Maricle envi- sions a future for the music. In 2016, the drummer, band leader and consummate educator created a performance space in her former home studio just north of University of the Arts, where she serves as a master lecturer. Now, she seeks to offer a similar outlet away from the city. “At my space in Philadelphia, I was able to create an ‘alternative venue for jazz,’ as they say, and I’m intending to do the same thing here on this new property I have,” Sherrie says. “It has real potential. As soon 3D Jazz Trio as the world can get back to live music, I thing that comes to your mind, and making will attempt to share some as quickly as it excellent and unique. When you have possible.” longevity with players you work with, all From afternoons in grade school spent your players immediately play into the sitting behind her first kit, Sherrie has cul- arrangement that you’re writing.” tivated an artistry intrinsically linked to Sherrie regards the kit itself as another live sound. Over the past three decades, element of her expression’s fullness. She she’s performed at Carnegie Hall, the views the lineage of a more open tuning, in Kennedy Center, the Hollywood Bowl and 4ths or 5ths, as ideal for her melodic ideas festivals across the world, frequently lead- to emerge and take shape. “I like that very ing her critically acclaimed DIVA Jazz open, resonant [sound] as opposed to closer Orchestra—whose members have included intervals like a 3rd,” she says. “I like my Noriko Ueda, Roxy Coss, Alexa Tarantino drums, especially in a big band, tuned fair- and Rachel Therrien—as well as smaller ly low. A kit that’s tuned really high, or the outfits. The excitement she feels playing tom-tom is tuned almost in the bongo live among her fellow artists emerges in range—I often don’t mind it when I hear it, energy she passes from one phrase to the but when I try to play on a kit like that, all next. She seems to exhibit a presence of of my melodic ideas and ideas for improvi- self that extends beyond her physical form. sation can’t function [laughs]. It just The fullness she translates from behind sounds so different to me.” the kit often begins at the piano when she’s Leader instincts, in part, prompt arranging new music. Sherrie to ascribe an orchestral conscious- “[Big band sound] informs a lot of what ness to the instrument she loves so much. I do in my quintet and my trios—mainly, “The drums are going to have all different these days, the 3D Jazz Trio,” Sherrie sonic levels anyway,” she muses. “The low explains. “I’m a strong believer in making pitch of the bass drum is a cushion for the [each arrangement] unique to your ensem- whole band to ride; as the drums get high- ble. That might mean reharmonizing it, er, adding cymbals, that’s a complete sonic shifting the melody around here and there range that parallels the sound of the band and, of course, changing up the feel, but from the bass and bari sax, low end of the also creating an ensemble section not dis- piano, all the way up to the lead trumpet similar to the vibes that I enjoyed a lot parts.” from the Ray Brown Trio—that full ensem- In her small ensembles, she replicates ble. You’d always get the illusion that the that fullness, allowing its resonance to group was a lot bigger.” influence musical conversations she has As an arranger, Sherrie considers the with 3D Trio-mates, bassist and multi- ensemble sound as a whole as well as the instrumentalist Amy Shook and pianist individual voices creating the whole sound. Jackie Warren—both of whom reflect “It’s a little bit of both,” she notes. “When Sherry’s aesthetic. “We share a similar you first begin creating these arrange- sensibility,” she says. “All three of us share ments, the ensemble sound is the first continued on page 12 2 Ben-Hur cover photo by Chris Drukker, Charette by Volha Talatynic. December Hot House_Layout 1 11/23/2020 9:33 AM Page 2 December Hot House_Layout 1 11/23/2020 9:33 AM Page 3 SHERRIE MARICLE’S Persistent Sound By Stephanie Jones WENTY MINUTES FROM PHILLY, BONS RITMOS Ton a two-acre plot where a dairy barn (Good Rhythms) once flourished, Sherrie Maricle envi- sions a future for the music. In 2016, the Record company and production company, the best in drummer, band leader and consummate Jazz, Brazilian music and Afro Bahian dance, and future educator created a performance space in her former home studio just north of pop. Producer, singer, song writer, percusionist, JACK University of the Arts, where she serves as JOAO POTTER. Two time Billboard World Music charting a master lecturer. Now, she seeks to offer a artist and incredable Afro Bahian dancer, EDI similar outlet away from the city. “At my space in Philadelphia, I was able MACHADO. Producer, New York to Brazil drummer / to create an ‘alternative venue for jazz,’ as percusionist, song writer, ANDREW SCOTT POTTER. they say, and I’m intending to do the same thing here on this new property I have,” All of these incredable Bons Ritmos records can be Sherrie says. “It has real potential. As soon 3D Jazz Trio heard on the Bons Ritmos Youtube channel. as the world can get back to live music, I thing that comes to your mind, and making will attempt to share some as quickly as it excellent and unique. When you have possible.” longevity with players you work with, all BONSBONS RIRITMTMOSOS YOUYOUTUBEUBE CHANNELCHANNEL From afternoons in grade school spent your players immediately play into the https://www.youtube.com/channel/UCM4qH4HR_Dsdpc45CphwUwQ/videos sitting behind her first kit, Sherrie has cul- arrangement that you’re writing.” tivated an artistry intrinsically linked to Sherrie regards the kit itself as another live sound. Over the past three decades, element of her expression’s fullness. She she’s performed at Carnegie Hall, the views the lineage of a more open tuning, in Kennedy Center, the Hollywood Bowl and 4ths or 5ths, as ideal for her melodic ideas festivals across the world, frequently lead- to emerge and take shape. “I like that very ing her critically acclaimed DIVA Jazz open, resonant [sound] as opposed to closer Orchestra—whose members have included intervals like a 3rd,” she says. “I like my Noriko Ueda, Roxy Coss, Alexa Tarantino drums, especially in a big band, tuned fair- and Rachel Therrien—as well as smaller ly low. A kit that’s tuned really high, or the outfits. The excitement she feels playing tom-tom is tuned almost in the bongo live among her fellow artists emerges in range—I often don’t mind it when I hear it, energy she passes from one phrase to the but when I try to play on a kit like that, all next. She seems to exhibit a presence of of my melodic ideas and ideas for improvi- self that extends beyond her physical form. sation can’t function [laughs]. It just https://www.youtube.com/watch?v=uSUy9UJY9OU&t=2090s https://www.youtube.com/watch?v=akQacC-v9Wc&t=1s The fullness she translates from behind sounds so different to me.” Featuring two time World Music Billboard charting artist, Edi Machado, singer, songwriter the kit often begins at the piano when she’s Leader instincts, in part, prompt arranging new music. Sherrie to ascribe an orchestral conscious- and spectacular Afro Brazilian dancer." “[Big band sound] informs a lot of what ness to the instrument she loves so much. Contact for shows of Edi, dance workshops, Bons Ritmos artists, Jazket clinics: I do in my quintet and my trios—mainly, “The drums are going to have all different these days, the 3D Jazz Trio,” Sherrie sonic levels anyway,” she muses. “The low [email protected] explains. “I’m a strong believer in making pitch of the bass drum is a cushion for the [each arrangement] unique to your ensem- whole band to ride; as the drums get high- ble. That might mean reharmonizing it, er, adding cymbals, that’s a complete sonic shifting the melody around here and there range that parallels the sound of the band and, of course, changing up the feel, but from the bass and bari sax, low end of the also creating an ensemble section not dis- piano, all the way up to the lead trumpet similar to the vibes that I enjoyed a lot parts.” from the Ray Brown Trio—that full ensem- In her small ensembles, she replicates ble. You’d always get the illusion that the that fullness, allowing its resonance to group was a lot bigger.” influence musical conversations she has As an arranger, Sherrie considers the with 3D Trio-mates, bassist and multi- ensemble sound as a whole as well as the instrumentalist Amy Shook and pianist .