Sharel Cassity — Ignoring Restrictions
by Eric Fine, Downbeat Magazine, Players

"She's great, always searching...
the sky's the limit" — Jimmy Heath

In January 2008 Sharel Cassity attended a New Year's Day party that would change her life. An alto saxophonist unknown outside New York... Cassity sat in during a jam session and took a solo turn on Dizzy Gillespie's "Be Bop," following trumpeter Roy Hargrove and saxophonist Antonio Hart. She more than acquitted herself. Jimmy Heath and Hargrove would ask Cassity to join their respective big bands...

You know how they say your life can change in a minute, or change overnight?" Cassity said. "It did that day"... » read article

by Michael Jackson, Downbeat
December 2009

"Any chauvanist jazzers who still believe blowing post-bop saxophone is the preserve of the male of the species haven't heard young guns Grace Kelly and Tineke Postma. Sharel Cassity is another no-nonsense release with a New York tight sextet, plus guests, anchored by session vets Dwayne Burno and E.J.Strickland."

» read full review

Sharel Cassity Relentless 
Jazz Legacy Productions 
2009

A few years before she got her Masters degree from Juilliard, multi-instrumentalist Sharel Cassity was a college student scrabbling for places to play jazz in her native Oklahoma. But while it's a safe bet that Jimmy Heath owns saxophones older than she is, Cassity has the chops, the sound, and the material to stand proudly next to her label mates.

The opening track is titled "Say What?," apparently named for the reaction Cassity's ear-grabbing opening salvo should garner, and not just because she plays fearless, unerring soprano sax. Like all her originals, "Say What?" feels like it's been around for years, and yet it's got the brightness and energy of a newborn colt. Cassity does most of her work on alto sax, building solos with riveting designs. This cracking, substantive jazz gets great support from drummer E.J. Strickland and bassist Dwayne Burno. And Cassity incorporates hot professionals from the generation in front of her: reedman Don Braden switches to alto flute for "Still," trombonist Michael Dease (who penned the title track) is a perfect partner for Cassity's alto, and trumpeter Jeremy Pelt makes "Love's Lament" a little more forlorn.

Maintaining a legacy (of jazz, or anything else) doesn't stop at repeating the deeds of the past. It also requires finding people to learn from—and then build on—that past, so that the future is even better. While Chestnut, Davis, and the Heath Brothers are prime examples of jazz' past, Sharel Cassity has the potential to be one of the leaders of this genre's next generation. If John Lee can find more where she came from, the future's going to be pretty cool.
-J. Hunter

Relentless (Jazz Legacy Productions): In just a decade on the New York scene, alto saxophonist Sharel Cassity has worked alongside many of the masters of this music and emerged as one of the city's finest young jazz artists. Her latest CD makes a clear statement of how far she has come and how much farther she will go. In the words of saxophone giant Jimmy Heath, "This young lady's got a lot to say," and she says it here.
-Bob Bernotas

"There is nothing laid back about Cassity´s playing, which throws caution to the wind; but even in the heat of barn-burning solo, she still has a sweet, full tone."

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"...it´s Cassity´s amazing alto that takes center stage. She´s got Parker´s vocabulary down pat with a sweet and sassy style. Whether it´s her commanding note runs on the perennial yardstick "Cherokee, " the intricate interplay on Lennie Tristano´s dynamic "Wow," or the sublime reading of "Lover Man," Cassity´s got the goods for a wide range of situations.

The joy evident in Sharel Cassity´s horn in turn makes her a joy to listen to. Whenever she focus more of her award-winning songwriting talents into her records, we could well see a full flowering of a talent that´s ready to conquer the bebop world."

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Sharel Cassity's second release as a leader gives the alto saxophonist a bit more opportunity to show off her chops, as she adds both soprano sax and flute, while she also focuses extensively on her own compositions, something she omitted from her debut CD, Just for You. Though very youthful in appearance, she's a seasoned musician who started playing young, then detoured from her initial plan to finish her music education at Berklee by opting to play in New York City, where she earned a bachelor's degree at the New School and a master's degree at Juilliard. She has also toured with the all-female Diva big band and Jimmy Heath's big band. Old friend Michael Dease is once again on hand playing trombone, while trumpeter Jeremy Pelt appears on several tracks, with a top-notch rhythm section consisting of veteran pianist Orrin Evans, bassist Dwayne Burno, and drummer E.J. Strickland. Cassity begins on soprano with her delightful brisk blues "Say What?," an intricate number that inspires stimulated improvising all around. Dease, who wrote several numbers for the leader's debut date, penned the warm bossa nova"Relentless," which includes an expanded group with the leader on flute, guests Don Braden on alto flute, flügelhornist Thomas Barber (who also appeared on Just for You), and tenor saxophonist Andres Boyarsky. Cassity's emotional alto sax fits the mood of her bittersweet ballad "Love's Lament," with lush backing by Evans. Cassity doubles on soprano sax and flute (the latter only in the introduction) in Charles Tolliver's enticing, exotic "On the Nile," a harmonically rich arrangement that recalls the power of driving post-bop of the mid-'60s. This is a fine effort by Sharel Cassity, who is clearly one to watch.
-Ken Dryden

I didn't know they offered classes in hot and heavy swing at Juilliard. Shows you how much things have changed since the days when Miles Davis battled with William Vacchiano (who later commented that Miles was merely "a decent student"). Conservatory graduate Sharel Cassity plays with the kind of fire that normally comes from the school of hard knocks where no degrees are given. She certainly burns up this oft-played modern jazz anthem, and shows her mastery of the bop vocabulary. Even more than the licks, her devil-may-care attitude stands out here. And I especially like her tone, which is sweeter than one typically find with alto speed demons. In truth, her conception of the horn is definitely pre-Trane—which you might consider as blasphemy or find refreshing, depending on your allegiances. But if you believe that musical excellence can be achieved without copious borrowings from the Slonimsky Thesaurus of Scales and Melodic Patterns, Cassity is an artist you will want to hear.
-Ted Gioa

Crafting a wide range of bop-infused musical styles and playing odd-metered grooves on familiar standards to original compositions, alto saxophonist Sharel Cassity presents her recording debut as leader with a truly enticing session of jazz that is Just for You. Based in New York and an educator by profession, Cassity academically trained at both the New School and Juilliard, and is a talented woodwind specialist who also performs on all saxophones, flutes and the piccolo. On this album however, she sticks with the alto and demonstrates her searing chops on the instrument throughout.

Her previous recording experience includes appearing on trombonist Michael Dease's Clarity (Blues Back Records, 2007). Here she returns the favor, with Dease performing and contributing three compositions, including the title piece. Cassity assembles a power-packed woodwind section that, besides herself and Dease, includes Tom Barber on trumpet and flugelhorn and Pete Reardon-Anderson on tenor sax. Altogether the altoist records with a seven-piece light ensemble that delivers a stellar supporting performance.

Cassity kicks off the program in blistering fashion on Dease's rapid-moving opener, "Phibes' Revenge," demonstrating her fiery side. In stark contrast to the hot beginning, the music mellows out on the cushy title tune, which features Dease as well as bassist Paul Beaudry on stylish solos. It is Cassity however, who puts the exclamation point on this one with one of her better performances of the album.

One piece not to be missed is Cassity's rendition of Roger Ramirez's classic, "Lover Man," where her soft alto tone sets the stage for pianist Adam Birnbaum's beautiful treatment of the song, ending with a high-register alto phrase. Cassity blends in and becomes one of the guys as the entire horn section kicks in with a terrific Tom Barber arrangement of Lennie Tristano's lively "Wow." She again separates herself from the group, leading the music on Dease's following "Roditi's Dream."

There have been many versions of Ray Noble's jazz standard, "Cherokee," but Cassity provides a special performance here, blowing one mean sax in wicked frenzied fashion. The tune seems to fly by even though Vincent Ector weighs in with a pounding on the drums, a finale over as quickly as it began.

Just for You is a highly enjoyable debuts that begs the question: where has this artist been and why has she not been heard from before? With this very impressive first offering, Sharel Cassity makes beautiful music and does it Just for You.
--By Edward Blanco, All About Jazz

Sharel Cassity is the kind of saxophonist you'll want to take on as a fan and as a fellow musician who will need to utilize her talents. Just For You (DW) isn't just a jazz album by a female musician, I know people are quick to search for the next Renee Rosnes or Candy Dulfer but once you have the CD in your hand, pop it in your CD player and just listen. This is someone whose playing is the kind of playing I could listen to all day, and when she stops and lets the other musicians play, it's only a matter of time before she comes back and hits you with more.

With that said, these aren't just toss-off musicians who she put together just for the sake of playing with her muse, these musicians are a tight unit and stand out in their own right. Vincent Ector (drums), Tom Barber (trumpet and Flugelhorn), Paul Beaudry (bass), Adam Birnbaum (piano), Pete Reardon-Anderson (tenor sax), and Michael Dease (trombone) sound like they have been playing as a unit for years, bringing to mind some of the best Coltrane, Blakey, and Mingus combos of days gone by. The unity they have together can be heard in tracks like "Cherokee", "Lover Man", and the mindblowing "Phibes' Revenge", one can only imagine what directions Cassity will take this in a live setting. The title track is a nice laid back tune for the boppers, where Dease's solo becomes the meeting point for everyone.

The production by Dease is great and is definitely major label worthy, if not audiophile and vinyl worthy, and perhaps with enough of a push, she or her label will continue releasing it in these formats. As is, it's one of those jazz albums that could get lost in the shuffle but hearing the brilliance of her saxophone work, the fluidity and stability of her playing and the strength that she is able to pull from these musicians is nothing short of amazing.
- John Book

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Alto supremacy is the working title of this spin today! Just For You is cunningly complex, yet seemingly effortless with sly execution, by saxophonist Sharel Cassity. Mixed with standards, even the originals leave no doubt that, this horn chanteuse has an engagement with destiny.

Assured not to be a "card holding member" of the "Legion of Imitators"… Ms. Cassity has earned that aura of exclusivity about her horn, and its soothing appeal. Case in point is the tip-toe affect Ms. Cassity´s sax offers in "Irazu (Wish You Were Here)." The intro guides you into the body of the piece. At that juncture, Adam BirnBaum´s keys mystically pull you into the piece. The blanket of Michael Dease´s trombone assists in crafting this piece into a spin-frenzy disc a brief look into choice cuts to come.

"Wow" is just that, with the dueling brass-attack introducing this Lenne Tristano arrangement. The inter-relationship of horn personalities is crisp, carving into the imagination of the audience. The fresh upbeat intermingling of sounds makes the arrangement stand alone in any educated crowd.

The entire disks bleeds innovation as again the listener experiences just that, with the exit cut ´Cherokee'." Fun dictates this spin with numerous avenues of sound excellence. The arrangement is serious and filled with technical prowess, splashing an attitude of care-free naive pleasure. Horns inviting ivories only to be embraced by the skins, an amazing party of tones and riffs!

A sound such as Just for You offers can only be created with a cast of players and talent offered on this disc. Knowing ones role and how to compliment each other musically, is exactly what this cast of characters has accomplished. Ms. Cassity with her genre blending mentality and alto sax axe in hand has sat comfortably and successfully into that role as leader. The woman is polished brass!

Just for You offers a vast array of jazz attitudes from the Latin-esque feel to the swing stimulation so often admired in the horn family. The Indie-ignition of talent, sound, and arrangements is best left to be examined by the jazz populace at this point for as Ms. Cassity states…it is Just for You!
--Karl Stober

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With enough fire to make the arctic comfortable, Sharel Cassity storms into the world with a startling debut complete with powerful solos, temperate rhythmic cadences, and beautiful melodies that smile from the speakers. An eloquent infusion of instrumental prowess and powerful solo abilities, "Just for You" is a treat for the ears and a canon of fire for the soul.
Holding a bachelors and masters degree in music and having studied at the New School University and Julliard School respectively, this Oklahoma City native has a spark for performance that shines through on her first recorded release.

Already the owner of such coveted awards as the IAJE Sister´s In Jazz Honor and the Downbeat Music Award, Cassity offers her sound to larger audience in the prime of her playing career. Aside from her abilities with a saxophone, Cassity often plays the clarinet, flute, alto flute and piccolo as an accompaniment to other musicians.

Readers and jazz fans may recognize the beauty of Cassity´s sax on this record from the recent release of "Clarity" by Augusta native Michael Dease.

Cassity offered her talents as one of the backing members on that record, and in a swinging turn of events, three of the songs on this record are written by Dease and he plays trombone throughout the work. The beautiful blend the two showcased on Dease´s record comes back full force with a wonderful second helping on Cassity´s debut.
From the opening tumble of "Phibi´s Revenge," Cassity´s debut swims in a melodic current of fierce reactions and crafted interludes of intimate sound. Built upon a haunting piano part, "Irazu (Wish you were Here)" is a stunning work of craftsmanship that showcases the softer side of smooth saxophone jazz at its best. The chords struck in the melancholy "Wow" breathe a symptom of life into a stark portrayal, and the swinging casual vibe of "Roditis´ Dream" feels like a set up for the wave-crashing thunder of the finale.

Alas, the record only contains seven songs, but the trip to the end is a pleasant ride through a well-crafted maze of melody culminating in the powerful onslaught of solo work found in "Cherokee." Beginning with a drop drumbeat anxious for energy, the song takes off on a saxophone led energy field of soloist delight. Built into a six-minute framework, the track responds to the onslaught of saxophone singing with interplay between sax, piano keys, and backing horns that vibrates with intensity. Just as the heat reaches a boiling point, the trombone takes over on a journey of its own firing on all cylinders over the swinging cymbal beat only to find its match in the form of a piano and percussion display that smooths away the crevices of hard charging force. Following a spirited chant upon the drums, the romp concludes with the saxophone reigniting its earlier firestorm. Throughout the piece, the covers are thrown away from the ordinary, and a jam session worthy of praise erupts in conclusion to a smooth record.
--BY J. EDWARD SUMERAU

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Best Indie Music Out There

Sharel Cassity on alto sax gives a modern jazz album that is a strong release. A bit chaotic at times, but really that depends on what ear you go in with. If you're expecting something a bit slower, closer to smooth, you're going to think you're listening to a lengthy train wreck. But if you listen. Listen. Slow down and listen to the mixed salad, tossed like a professional, you're going to love this release.

Sharel wanted to bring together a variety of styles for the alto sax, pitting herself against many of the musicians she's been jamming with for the last couple years. She has indeed brought a party to the table, full of fun and dip and smiles for those of us who revel in what might be called mainstream jazz today.

Well done, I say.
-- Ben Ohmart, Music Dish

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Sharel's highly lively jazz CD was just released at the end of June, 2008, so if you love exciting new talent, you'll want to rush right out & get your copy now! Too many players to itemize here, but every player has their place, & the arrangements & execution are flawless. Ms. Cassity's alto sax work is superb throughout the album, & will make you keep coming back to this one... it's a great collection for ripping to .mp3, so you can carry it with you wherever you go. While I (always) love the cuts that make you want to get up and dance, strangely enough, my favorite track on the CD was the title track, "Just for You", because it features Sharel's horn right out in front all the way through! One main point is that this isn't "thinking man's" jazz... it's so full of the verve of life that you've no need to deliberate... just groove right along with the players & you'll be able to hear that this music IS being played with you in mind. When you are ready to kick up your heels, though, you'll find that the opener (trombonist Michael Dease composition), "Phibes' Revenge", will transport you well into the ether... heavy movement, without doubt. This is an excellent album & surely merits my MOST HIGHLY RECOMMENDED rating.
-- Rotcod Zzaj

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A young saxstress that refuses to let grass grow under her feet steps up with a set that shows she knows how to blow her way around some smoking jazz and handle all styles well. As the core, she´s from the Pete Christlieb school of blowing licks at 200 miles per hour and making it sound like a lot more than just running a bunch of notes in a fusillade. Certainly a spirited young lion romp that goes from Brazil to oldies to anywhere you want to wind up where great sax work can take you. Wonderful straight ahead jazz with all the burners cooking on high. Check it out.
----Midwest Record Recap