Guitarist Charlie Apicella and his band mates mix it up nicely with these originals and jazz standards, disavowing a rough-hewn presence and sporting a piquant mode of execution. The artists morph a somewhat traditional blue collar approach to the classic organ-combo into a contemporized product. The band may not 't reinvent the genre, but the diverse and largely up-tempo track mix rounds out a balanced approach, spanning blues, funk, Latin and swing.
One of the album highlights is tenor sax titan Sonny Stitt's "Blue String," where the soloists ride atop drummer Alan Korzin's thrusting backbeat, as organist Dave Mattock comps the rhythm and provides a launching pad for the sequential frontline solo spots.
Supported by whispery sax parts, fluid organ voicings and subtle theme variations, Apicella conveys maturity amid a deep-rooted understanding of this format via brisk runs, linear developments, spirited accents, and groove-oriented jazz lines. Ultimately, the guitarist mans a course that should whet the appetites of a heterogeneous jazz-centric fan-base, enamored with nicely selected inferences to outlying genres.
Track Listing: The Business; 64 Cadillac; Donny Brook; Ironicity; Can't Help Falling In
Love; Cantaloupe Woman; Blue String; The Shaw Shuffle; Stanley's Time.
Personnel: Charlie Apicella: guitar; Dave Matlock: organ; Alan Korzin: drums; Stephen
Riley: tenor saxophone; Mayra Casales: congas, percussion.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.