By Don Heckman
There’s an often repeated sportscasters’ line about the National Football League which basically says that any team can beat any other team on any given Sunday. And, while listening to the Chuck Berghofer Trio at Charlie O’s Thursday night, a variation on the phrase kept coming to mind: Great jazz can be heard every night in some location in most major cities.
And no place does it better, or with greater frequency, than Charlie O’s, which is surely among the most engaging of any jazz club, anywhere: small enough for most of the tables to be close to the stage; the walls covered with jazz photos and memorabilia; excellent sound; and the relaxed atmosphere of a living room filled with friends.
Chuck Berghofer
Then add the warm confidence of the Berghofer players. Although they had worked together before (see comment below) it was essentially an ad hoc ensemble, consisting of pianist Terry Trotter and drummer Peter Erskine, performing without rehearsal, depending entirely upon the long experience and extraordinary talent that this trio of veteran artists brings to everything they play. Aside from an occasional ending that can best be described as whimsical, the program – with its far-ranging selection of material – came together in superb fashion, its impact enhanced by the setting.
Leading the way, Berghofer was an amiable guide, cracking wry jokes between numbers, providing a sturdy, irresistibly propulsive foundation. His soloing on “Old Folks” and elsewhere was masterful, the work of a bassist who values the importance of melody.
Terry Trotter
Trotter, like Berghofer and Erskine, has a long and distinguished history. One of the more interesting entries in a resume that reaches back to gigs with Art Pepper, Chet Baker, Phil Woods and others, is a series of recordings devoted to jazz versions of songs by Stephen Sondheim. And the combination of straight ahead swinging and complex harmonic vision implied by such a lineage was present in everything he played. Among his finest moments – a tenderly harmonized version of Duke Elllington’s “Come Sunday,” a equally lush, but stylistically different take on “But Not For Me.” And , perhaps most intriguing of all, his remarkable use of two-handed, octave patterns in many of his improvisations.
Peter Erskine
Erskine, who hasn’t done much in the way of piano trio work since his group with Alan Pasqua and Dave Carpenter was ended by Carpenter’s premature death, was at his musically literate best. Moving easily from whisper soft brushes to an occasional room shaking, rhythmic tsunami, he proved – as he always does – that first rate drumming is as much about music, timbre and texture as it is about rhythm.
So, as I said earlier, great jazz can be heard every night in some location somewhere. And the combination of the Chuck Berghofer Trio and Charlie O’s was about as much Thursday night proof as anyone could ask for.
Berghofer photo by Bob Barry
This was the third time this trio has played together, all at Charlie O’s. I have been present for each of these performances. Chuch Berghofer and Terry Trotter have frequently played together and Chuck has played with Peter Erskine. But the first trio performance was, in fact, the first time all 3 had played together. No rehearsals. Remakably, the same magic was present all 3 nights: improvisational jazz piano trio at its best. Melodic, highly sensitive interaction, lush or sparse harmonies, incredible technique. All used to make music, not just notes or “playing the changes”. If they do it again, don’t miss it. The second night was recorded. Get in line since the CD will be a real winner.
Stunning performances by the Berghofer trio. What a treat!!