Israeli-born pianist Ehud Asherie teams up with tenor saxophonist Harry Allen for an 11-pack of standards, most, if not all composed before either player was born. “Upper West Side“, the second CD the duo has recorded for Posi-Tone Records; they worked with a rhythm section on 2010’s “Modern Life.” If you have only heard Asherie as a organ player, you should be impressed by his formidable piano work. There are moments when his left hand has the power associated with “Jelly Roll” Morton or Art Tatum (listen to him fly on (“I Want To Be Happy“) and one can hear a healthy dollop of Teddy Wilson. At times, a touch formal but he can be quite playful (i.e. his “Spanish tinge” on Jobim and Silva’s “O Pato.”) As for Allen, he’s the perfect foil with his breathy Ben Webster tone and calm demeanor, bluesy smears and airy high notes. He dances his way through his solo on “Learning The Blues” bouncing over the rumbling piano bass and trilling high notes. His “old world” charm works just fine on “Our Love Is Here ToStay” and does he ever caress Billy Strayhorn’s “Passion Flower” (with more than a hint of Johnny Hodges in his approach.)
“Upper West Side” is a positive experience from beginning to end. By returning to the blues roots of 1930’s piano jazz, Ehud Asherie shows his continuing maturity as a player – his playing throughout command’s one attention. Harry Allen makes no bones about his roots or “throwback” tenor style. He also loves melody and his solos are often quite hummable. Together, they sound as if they are having the best of times; the listener should laugh, sing along and tap his/her feet. What depression? This music will drive your “blues” right out of the house. To find out more, go to www.posi-tone.com.
