CELEBRITIES OF THE YEAR: FROM THE MOST BORING TO THE MOST TALENTED

MOST TALENTED AND LUCKIEST CELEBRITIES

SHERYL BAILEY: THE GRANDE DIVA OF AMERICAN CONTEMPORARY JAZZ

Photo: Beth Marles and SB at the 2004 World Guitar Congress, Baltimore

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." 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." Her second record was “Reunion of Souls”. It was  a live, jazz guitar date, and a collaboration of sorts with guitarist Chris Bergson, bassist Ashley Turner, and drummer Sunny Jam, Sheryl explains. She adds: " I’ve always loved playing guitar duo and quartet, and all of us had been playing together at different points since we moved to the city, so it was really a celebration of all that creativity. I think it’s a different kind of jazz guitar recording, because it’s about the group interplay and compositions more than two guitarists trying to outdo each other. Chris and I are both unique and different, and I think our styles complement each other and search out the music, not just the chops. Frank Forte wrote a really accurate and beautiful review of the disc for JJG. " But the best of her recordings is the most recent one "BULL'S EYE", a jazz masterpiece, a musical virtuosity which enriches the world of contemporary American music. In addition to composing, performing and recording, Professor Bailey teaches at Berklee school of music. In 1992, she began teaching jazz at Townson University in Baltimore, Maryland. Then, Berklee snitched her. Her alliance with Garzone did help her get the job. At Berklee, Sheryl the "professor" commenced to develop her own curriculum. And that’s how “Chord Rules” evolved.  Sheryl could  identify herself with "the student’s academic head-space, but being a working/traveling artist, I try to cut through the non-practical swirl and get down to the fundamentals—what it’s REALLY like to play jazz professionally. We focus on the basics of the instrument and of jazz improvisation. " as she told the media. From a little dreamer at the age of 13, to a band trumpeter in her high school band, and from recording artist to a jazz teacher at college, Sheryl Bailey had to walk an extra mile, maybe two, three or more. She had to put in print the vast knowledge, experience and virtuosity she developed in the form of training manuals. She had to write some books. The overwhelmingly productive guitar diva came to the rescue. She wrote a magnificent book "“The Chord Rules.” And Sheryl shed some light on the book, "The “Chord Rules” deals with navigating LI-V-I’s, drop—2 voicings, applications for the Jazz Melodic Minor Scale, and other assorted pet topics of mine. The underlying theme of everything is that playing jazz is about creating melodies from harmony. To be able to play changes means melodically interpreting arpeggios. That’s why Charlie Christian changed the jazz line; he created melodies from harmonic shapes. No one really played vertically before him. " This American genius lives and breath jazz.

Photo: Richard Bona Band: Richard Bona, Gilmar Gomes and Sheryl Bailey 2004.

 And it is so evident in the way she composes, performs, teaches and talks about jazz. For Bailey, a person needs to know his or her history, and nothing in life comes from nothing. Sheryl explains that when we  understand how jazz was created, developed and  has evolved sentimentally, socially, melodically, rhythmically, musically, harmonically, politically and spiritually, we began to feel and sense the immense beauty and wealth of this great American musical heritage. And those guitarists who love jazz, their  playing will take on a new musical wealth, richness and inner beauty. If you want to excel, to become one with jazz and to master  jazz guitar,  you got to learn from this genius diva. Get her books. Read them. And to add an extra dimension to your learning, buy her CDs too. You will have the complete picture. "BULL'S EYES" is a gem. A masterpiece. A monumental musical creativity. No jazz library, discotheque or collection is complete without it. Buy it. You will treasure it for years to come. And if you believe in immortality, this CD will be your music companion for centuries. Maestra Bailey is the  best. Two thumbs up!

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