Home » Jazz Articles » Album Review » The Chad Eby Quartet: The Sweet Shel Suite

The Chad Eby Quartet: The Sweet Shel Suite

By Nicholas F. Mondello
January 5, 2015
View read count

The Chad Eby Quartet: The Sweet Shel Suite

For those who might not know him from his most famous written works, "The Giving Tree" and "Light in the Attic," or from his music, Johnny Cash's hit, "A Boy Named Sue," poet, cartoonist, playwright and Grammy?-winning musician, Shel Silverstein was about as unique and talented an artist as they come. Ironically, some of his best work was first published in a magazine definitely not for kids—Playboy. With The Sweet Shel Suite, saxophonist

Chad Eby

saxophone
b.1973

" data-original-title="" title="">Chad Eby pays artist-to-artist tribute, leading a slick piano-less quartet over tunes inspired by Shel's poesy.

The recording delivers nine Eby original compositions, each of which is inspired by a particular Silverstein poem. Throughout, the musical stylings of the leader and his team work in perfect symmetry with the poetic concept. "Lester (The Wish-Waster)" a rather Monk-ish, strolling theme (shading

Lester Young

saxophone
1909 - 1959

" data-original-title="" title="">Lester Young's "Lady Be Good" and

Oliver Nelson

saxophone
1932 - 1975

" data-original-title="" title="">Oliver Nelson's "Stolen Moments") launches the date with some slick soloing by both Eby and firebrand trumpeter,

Brandon Lee

trumpet
b.1983

" data-original-title="" title="">Brandon Lee. Both frontliners work brotherly with the fine underpinning support of

Steve Haines

bass, acoustic
b.1971

" data-original-title="" title="">Steve Haines and

Daniel Faust

" data-original-title="" title="">Daniel Faust . And, both Eby and Lee slyly acknowledge their roots with a "just for a kick" well-worn Bop lick.

Eby, who has a long recording, performance and jazz education resume, has the perfect compositional and improvisational approach here. He plays with a slick modern style, terrific energy ("Ourchestra," "Ickle Me, Tickle Me, Too") and, as you might expect in this realm—humor. His are thoughtful, angular improvisational nuggets which flow endlessly, resulting in surprises galore. Partner Lee buys in completely into the approach with a robust, engaging sound and an improvisational flair vaguely reminiscent of

Booker Little

trumpet
1938 - 1961

" data-original-title="" title="">Booker Little. The sentimental ballad, "Years from Now, When I'm Gone" (introed beautifully by Haines) and "Masks" (with blues colorings from Eby) are textural gems. "Falling Up" is an Art Blakey-esque inside-out Hard Bop effort with Eby's sax and Lee's trumpet blowing heat. "The Dance of the Shoes" gives Faust a "Cute"-like showcase to superbly dance with Eby's soprano and Lee's muted horn.

While Silverstein's works were threaded with endearing themes and classic ideas a la Aesop, the musical material and performances here stand brilliantly on their own. The Sweet Shel Suite is as intelligent, adult, involving and imaginative as it gets. It's quite apparent that there's plenty of light in Eby and his playmates' "attic."

Learn more about our star rating system

Track Listing

Lester (The Wish-Waster); The Long Haired Boy; Ourchestra; Years From Now,When I'm Gone; Ickle Me, Pickle Me, Tickle Me, Too; Masks; Falling Up; The Clock Man; The Dance of the Shoes.

Personnel

The Chad Eby Quartet

Chad Eby: saxophones; Brandon Lee: trumpet; Steve Haines: bass; Daniel Faust: drums

Album information

Title: The Sweet Shel Suite | Year Released: 2014 | Record Label: Self Produced

PREVIOUS / NEXT

Richard's Tune
< Previous

The Sunshine Don't Mind My Singing
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.