There’s something about the melodies of the great hard bop tunes — they unfurl with a certain sonic poetry. They’re taut and neat, the ledgers of ragged syncopations all balanced out. Every repetition feels necessary, every variation opens up a new universe of possibilities, every chord change is the exact right movement. Think “Moment’s Notice,” or “Recorda Me,” or “Along Came Betty,” or “Sister Sadie,” or “Minority,” or “Three in One.” You want to hum them as you walk down the street, each two-bar phrase a succinct magnificence, and when you do, you find you have to account for the drum hits and jabbing piano fills, too. Continue reading
I was an 18-year-old saxophone student at Berklee College of Music when my new best friend, a trumpeter named Willy Olenick, told me about The Fringe. “You’ve got to hear this band,” he said. “They’re an amazing trio. You can hear them any Monday night at Michael’s and you’re nuts not to go.”
Willy didn’t mention anything about what style they played, and I didn’t ask. I just took his advice and went.
Michael’s was a small, narrow bar behind Symphony Hall in Boston. There was a WPA mural on the wall. They only served beer and wine, and let’s just say a contingent of a few regulars might have been there just for the Rolling Rocks. (In fact, they may have been there all day for the Rolling Rocks.) A man named Bill was at the front door at night, collecting the $2 cover charge. Michael himself manned the bar.
Frankly, on first hearing The Fringe, I wasn’t sure what was happening. The trio took the stage, and I don’t think I was even sure when the set started. At some point, I realized that this music was not like the other jazz I had heard. Until that time, my jazz listening had been mostly big bands and straight-ahead, swinging jazz groups. Continue reading