“My first love was the blues,” recalls Cherry from his New York apartment. Whether it is a truth or a belief (or possibly both?) that jazz must contain elements of the blues, what is certain is that the expressive possibilities of the blues to enliven a performance and bring an emotive quality to all music figures centrally in the wonderful playing of guitarist Ed Cherry. And while no less a philosopher than Duke Ellington once issued the aphorism: “It Don’t Mean a Thing (If It Ain’t Got That Swing),” jazz is widely accepted to be a “big tent” music, encompassing a broad spectrum of musical beliefs and truths.
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Jazz, no less an ideology, has also become “defined” through a series of maxims (“must swing,” “must contain the blues,” “must prefigure improvisation”) that while articulating general truisms perhaps, lay the groundwork for the exceptions that prove the rule. In debates between Kenneth Miller, Richard Dawkins, and the late Stephen Jay Gould, the “stay in your lane” boundaries that separate science from theology/philosophy become particularly porous, revealing the frequency with which individuals intellectually “drift” in order to hold onto seemingly contradictory opinions of truth (empirical, scientific) and belief.
Here's what Andrew Scott describes in the album liner notes: This 10-track recording is a continuation and salute to Cherry's influences and mentors in music. His latest brings a hip, melodic approach that is a refreshing contrast to guitarists who frequently resort to playing 'finger music'. He has released 5 albums a leader and countless others with various musicians. He has collaborated with Henry Threadgill, Roy Hargrove, Lonnie Smith, John Patton and many others.
Born in New Haven, Connecticut, Ed Cherry moved to New York in 1978 to play guitar with Dizzy Gillespie from '78-'92 recorded and performed in Gillespie's quartet.
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