I enjoy a challenge. And writing these liner notes
for Two Funky People, Joe Cohn’s debut recording as a leader, proved to be
quite an interesting and enjoyable challenge. This project was more than a
little unusual for me. I had recently completed a profile of Chris Flory,
another of Double-Time Records exceptionally fine jazz guitarists. And
when Double-Time chief Jamey D. Aebersold contacted me about writing
something for Joe’s project two things were abundantly clear: I didn’t
know much about Joe and because of a tight schedule (mine and Jamey’s),
there wouldn’t be much time to gather a lot of facts. I contacted Joe and
we hit it off right away. However, our first conversation wasn’t about
guitar playing or even much about music. It involved another passion that
he and I both share: running. In addition to being a fine jazz guitarist
and upright bassist, Joe is an avid runner. And the first time we talked
was a night where both of us had just finished a particularly invigorating
run.
One of the
things that immediately struck me about Joe’s playing on this CD was his
polished and mature style. Especially considering this was his debut as a
leader. But Joe brings significant experience and history to this date.
Joe’s late father, Al Cohn, was one of the great tenor sax players and
arrangers in jazz history. Al’s bop-flavored style (he was greatly
influenced by Lester Young) was heard in several bands and on many
recordings in the 1940’s, 50’s, 60’s, 70’s and 80’s. He played with band
leader/clarinetist Artie Shaw and Mose Allison. He appeared on the albums
Natural Rhythm with rhythm guitar great Freddie Green and Drum Suite with
Manny Albam. And he recorded several exceptional LP’s with fellow tenor
sax great Zoot Sims. And while Al wasn’t a strong early musical influence
on Joe (that would come later), once it became evident that Joe had real
talent, he pushed Joe to excel as a musician.
Joe began
playing guitar during his senior year in high school. And initially Al
thought that this might be too late to have a successful career as a
working musician. Nevertheless, he encouraged his son to get some formal
training and one of Joe’s earliest guitar teachers was New York great Alan
Hanlon. Joe wasn’t originally into jazz but after hearing music by pianist
extraordinaire Dave McKenna and the great Thad Jones-Mel Lewis big band,
he was hooked. Joe enrolled at the prestigious Berklee College of Music in
Boston and as he put it, “became totally obsessed with the guitar.” The
environment was perfect for Joe and he spent 3 years at Berklee advancing
his guitar skills via listening, sight reading, transcribing and countless
hours of practice. While at Berklee Joe’s musical influences grew to
include Bill Evans, Freddie Hubbard and his father. His early jazz guitar
influences include some legendary players: Wes Montgomery, Kenny Burrell,
Tal Farlow and Jimmy Raney.
After his
Berklee experience Joe began making a living as a working musician -
something he’s done now for over 20 years. He free-lanced on upright bass
in and around the Boston area. He’s also spent significant time on guitar
as a sideman backing great artists like Buddy DeFranco, Artie Shaw and Al
Grey. Joe spent six years and played all across the country with Artie’s
band and has been with trombonist Al Grey (a veteran of the Count Basie
Orchestra and Frank Sinatra’s band) for about 10 years.
As if Joe’s
experience/provenance isn’t impressive enough, the second guitarist on Two
Funky People is none other than Doug Raney. Doug is a terrific player who
also happens to be the son of a legendary jazz musician: the late Jimmy
Raney. Louisville, Kentucky born Jimmy Raney was a superb guitarist who
came to prominence in the 1950’s. He spent time in the late 40’s with
Woody Herman (tenor sax legend Stan Getz was also in the band at the same
time) and in the early 50’s with Stan Getz’s quintet, recording some of
the most interesting/compelling music of the cool jazz era. Jimmy then
joined vibist Red Norvo’s Trio (with bassist Red Mitchell) in 1953.
Jimmy’s exuberant, swinging and melodic single note playing style (he
emulated the style/sound of the tenor saxophone) was absolutely brilliant
and highly influential on other guitarists of the 1950’s, in particular,
Jimmy Gourlay. And in 1954 and 1955 Jimmy won the Down Beat magazine
critics poll as the “World’s Best Guitarist”.
Two Funky
People (the title refers to the fact that there are two guitarists on this
date and is also a direct reference to their famous fathers) is funky in a
refreshingly relaxed way. Unquestionably there’s strong energy and drive
in both Joe’s and Doug’s playing but nothing is overdone or frantic. I
especially enjoy the teamwork and interplay in this quartet - both between
Joe and Doug as well as the rock solid rhythm section of Dennis Irwin
(bass) and Barry Ries (drums).
Miles Davis’
classic “Solar” opens this date and there’s plenty of close harmony guitar
work on this moderate tempo number. “But Not For Me” (Gershwin, of course)
gets a tasty treatment. And interplay, teamwork and nice individual
moments are all present on this one. Doug takes the head while Joe comps
along nicely. Doug solos first and it’s nicely melodic with a very
fine/full tone. After a nice segment that features some close harmony
guitar work, Joe picks up the solo pace with a solid effort full of nice
single notes and an especially spirited octave/chord work passage. “Quiet
Sip” features Joe, Dennis and Barry as a trio and the sparse lineup allows
a lot of “sonic space” for each instrument. Joe's warm sound is courtesy
of his 1960’s Gibson L-5 and Fender Vibrolux amplifier. From the chord
melody-based main line to his driving solo Joe turns in a strong effort on
this one. “Two Funky People” (an Al Cohn chart) is a real tempo change.
The head is played in close harmony and a big sounding bass solo is
sandwiched between some tasty/bluesy solo work from Doug and Joe.
“Mr. George”
(another fine Al Cohn tune) is a nice toe tapper. Joe solos first and his
melody and energy really carry this one along. A perfect hand-off to Doug
continues the energetic drive. “Serenata” has a Wes Montgomery style
octave based lead line (expertly handled by Joe) with a subtle syncopated
backing. Joe's solo bubbles along while Doug comps. Thelonious Monk’s “Ask
Me Now” is a nice contrast to the bubbly “Serenata”. The initial feeling
is melodic and perfectly relaxed on this beautiful number. Joe picks up
the energy and really shines on his extended solo which blends fleet
fingered single note segments with occasional octave work. “High On You”
is full of great energy and drive from everyone involved. And the melodic
content of the solos is very high. Fine effort guys! The Spotlight is on
Doug for “Days Of Wine And Roses”, which gets a melodic ballad treatment.
The head is played with a blend of single notes and chord melody passages
while the solo features intricately woven single note lines. “Motion” (a
catchy, appropriately titled Jimmy Raney original) is a solid mover and
from start to finish is the most consistently uptempo/animated number on
this project. Doug solos first and he pulls the band right along with him
over the flowing changes. Close harmony guitar work leads off “You And
Me”, which is based on the “Tea For Two” changes. Doug and Joe both
deliver solos that sit nicely on top of a swinging rhythmic backing.
Today’s
mainstream jazz guitar scene is overflowing with a bumper crop of talented
young players. And Joe definitely has all of the necessary skills to be a
significant voice in this scene. With a number of other interests
occupying his time, including encouraging/supporting the 3rd generation of
musically talented Cohn family members (Joe’s 15 year old daughter is
becoming an accomplished classical pianist) I hope he doesn’t wait too
long to front his own band and record again.
Jim Hilmar - Vintage Guitar
Magazine
Seattle, Washington October 1997
