Months later, I kept hearing about this great Hammond player, Gary Versace. I’ve worked a lot in the organ trio format and have always wanted to explore it from a freer 60’s perspective ala the Grant Green/Larry Young/Elvin Jones band. I’m particularly fond of the writing and improvising styles from the late 50’s to mid-70’s. Gary really knows the tradition of the Hammond B-3, but also is very fluent in modern harmony and time feels. After playing with him I knew I had the missing piece of the puzzle. I was supposed to leave on a 6-week tour on September 12, 2001. Well, that didn’t happen, so to fill the space and to try to find some sanity and healing from music, I called Gary and Ian for a session. It was pure magic and great fun. Everything has since fallen into place—tunes, gigs, recording and a special friendship.
SHERYL BAILEY: NEW YORK'S GRANDE DIVA OF AMERICAN CONTEMPORARY JAZZ
A great example of creating something life-affirming out of death and destruction. " The trio became successful and Sheryl produced high quality recordings. Although, she was heavily influenced by those guitar geniuses who fed her childhood dream, Sheryl had to develop her own style. And she did. And she excelled. When asked by Mark Stefani "I’ve enjoyed listening to your latest CD. How would you compare it to your earlier releases?", Maestra Bailey replied: "The newest disc is really personal, because it’s straight-up guitar playing; no effects, just pick against the strings through an amp, live and intimate. My first disc, “Little Misunderstood,” was a funk/fusion blowout. I spent a lot of time producing it to fit into that soundscape. At the time, I was living in Baltimore, and playing in a power trio with bassist Gary Grainger and drummer Larry Brite, so the material evolved from that scene. I was pretty fresh out of Berklee then, so my influences were more along Abercrombie, Stem, and Scofield. After moving to NYC in 1996, I really refocused on the jazz guitar sound and style, listening to players like Pete Bernstein, and playing with all of the incredibly swinging drummers here."
Photo:
Beth
Marles and SB at the 2004 World Guitar Congress, Baltimore
My first disc, “Little Misunderstood,” was a funk/fusion blowout. I spent a lot of time producing it to fit into that soundscape. At the time, I was living in Baltimore, and playing in a power trio with bassist Gary Grainger and drummer Larry Brite, so the material evolved from that scene. I was pretty fresh out of Berklee then, so my influences were more along Abercrombie, Stem, and Scofield. After moving to NYC in 1996, I really refocused on the jazz guitar sound and style, listening to players like Pete Bernstein, and playing with all of the incredibly swinging drummers here."