Live At The Cellar

harles McPherson is one of many alto saxophonists who was influenced by Charlie Parker, but he used this influence as a launching pad for developing his own style, no doubt seasoned by his work as a sideman with Charles Mingus and Barry Harris. These 2002 live sessions at the Cellar in Vancouver feature McPherson with a local house rhythm section playing extended workouts of standards, jazz works, and his own compositions. McPherson's powerful sax pierces through any buzz in the audience, commanding rapt attention, while pianist Ross Taggart and bassist Jodi Proznick also shine during their solos. McPherson's emotional reading of Irving Berlin's "How Deep Is the Ocean?" makes good use of vibrato and repeated notes, while Taggart's unusual backing in the introduction to "Star Eyes" ignites the saxophonist to deliver a searing rendition. The rhythm section, which includes drummer Blaine Wikjord, seems very comfortable with both of McPherson's originals, "Manhattan Nocturne" (played as a midtempo bossa nova) and the more free-spirited "Illusions in Blue" (in which the quartet wails). ~ Ken Dryden|

At the time of this live set, altoist Charles McPherson had been known for 40 years as a major interpreter of bebop/hard bop, featuring a sound influenced by Charlie Parker. Actually, during the previous decade, which is not documented extensively, McPherson had developed a more individual sound and his style continued to evolve. This CD, which features six lengthy performances, really gives the altoist plenty of room to stretch. The recording quality on the live set from Vancouver's Cellar Club is not state of the art, but is listenable. Joined by a top-notch local trio, McPherson digs into "Spring Is Here," his bluish modal original "Illusions in Blue" (which shows how he might have sounded if he had worked with McCoy Tyner and Elvin Jones), an uptempo "Blue & Boogie," an emotional "How Deep Is the Ocean," his worthy original "Manhattan Nocturne," and "Star Eyes." McPherson is in prime form throughout, showing that he had long since carved out his own voice in modern straight-ahead jazz. ~ Scott Yanow