Live at The Cooperage

PERFORMANCES

  • Apr 25
    Fort Lee Public Library Ft. Lee
  • Apr 22
    Ossining Public Library Ossining

A Jazz Duet - Audio CD

gorrillkrachy.jpgSix Jazz standards and four original free improvisations

Jazz CD " Soup" - CD

Piano, Saxophone and Voice free improvisation's Michael Levy, Piano--Charley Krachy, Tenor Sax--Madeline Renard, Voice

Charley Krachy, Madeline Renard, Michael Levy: SOUP

Jazzman's Serenade - Audio CD

"..Krachy's saxophone has an air of cool mystery to it...well played, atmospheric, joyful music making.." Larry Nai

Krachy: Jazzman

Sweet Fulfillment - Audio CD

Sweet Fulfillment

Charley Krachy, Andy Fite, Boel Dirke

Record Label: New Artists Records

Charley Krachy, Andy Fite, Boel Dirke: Sweet Fulfillment

Callicoon Sessions - CD

Kazzrie Jaxen Quartet: Callicoon Sessions

 

CALLICOON SESSIONS - Cadence Jazz Records

Marc Medwin, The New York City Jazz Record, May 2014, pg. 16.

(Reprinted with Permission from The New York City Jazz Record)

 

The composer Dieter Schnebel’s innovative transcription of Schubert’s G-Major piano sonata includes a layer of harmonies, which, though not heard in the sonata, are present by implication. Pianist Kazzrie Jaxen’s treatment of standards on her new quartet disc employs similar complexities. The tunes are there, but Jaxen’s harmonies veil them in mystery while simultaneously illuminating them afresh via some of the most vital interpretations they have received in some time. 

 

Jaxen, tenor saxophonist Charley Krachy, bassist Don Messina and drummer Bill Chattin made these recordings over several years, straight to DAT and never intending to make an album from them; but as the group-penned liners make plain, they were aware of something special as the recordings were assembled. There is something ethereal and yet down-to-earth as old tunes are made new, as when, to delve into only one representative example, Jaxen, Krachy and Messina swing into All the Things You Are, Krachy and Messina in relaxed and flowing counterpoint during the head. Chattin’s entrance kicks the swing up to the next level, glittering cymbals and perfectly-timed snare punctuations serving to place rock-solid bass drum and hi-hat in stark relief.

 

Yet, none of this explains how the music lifts off and floats amidst Krachy’s altered tones and over Messina’s pizzicato double stops, amazing in and of themselves. Much of the freedom must come down to Jaxen’s voicings. Despite her prodigious harmonic language, her allegiance to what the others are doing is always evident and she’s not so much pushing beyond rhythmic boundaries as using them as points of departure and return. It is a joy to hear how she weaves fragments of What Is This Thing Called Love's melody into a solo of huge dynamic and harmonic contrast, almost forming a language of varying densities as Messina and Chattin lay the groundwork.

These recordings give new meaning to the words freedom and tradition, juxtaposing them in ways that render them useless. The recording is a no-nonsense audio portrait, leaving room for the playing to breathe and bloom. A great disc from an innovative ensemble.

 


 

COOL BOP! Kazzrie Jaxen Quartet: Callicoon Sessions, Quaternity

Jazz Weekly by  • January 2, 2015

  

Here are a couple releases, one studio, one in concert, from a hip quartet lead by pianist Kazzrie Jaxen. Her team consists of Charley Krachy/ts, Don Messina/b and Bill Chattin/dr, and lemme tell ya, I wanna see them in concert!

 

The studio date spotlights Jaxen’s playfulness a bit more, as throws in some tricky chords that go from hot to cool on What is This Thing Called Love and brings a feisty undercurrent to My Melancholy Baby. Krachy is still rolling in like a London fog with long and lonesome tones on My Foolish Heart. The rhythm team is adroit and 50s West Coast Cool hep, with Messina doing a nice little handball tournament with Kracy on As classic in its style as a Mozart Symphony.

 


 

Quaternity - CD

 

Jazz Weekly by  • January 2, 2015

 

Tenor saxist Krachy must take his Prez pills every morning, because he’s got a breathy and lithe tone that evokes smoky images of Lester Young, and it’s addicting. He swoons on concert pieces such as All The Things You Are and sighs on She’s Funny That Way. Meanwhile, Jaxen is solid and yet artsy on the piano, sometimes throwing curve balls and change ups as on the playful When You’re Smilin and showing her influence from Lennie Tristano on that piece, but also on the more obvious Lennie’s Pennies,  which has the sax and piano slither like Little Egypt. There’s a take of All of Me that has vocals, but it doesn’t matter as Krachy’s tenor is all you need to get by. Artsy and atmospheric jazz at its best. I want more! 


 

Andy Hamilton (Jan. 2016) - Author of Conversations with Lee (Konitz)

Lennie Tristano founded a distinctive school of modern jazz that continues to attrack adherents today.  We can call it a school because Tristano was a genius, and a great teacher - really the first and probably still the greatest in jazz. These players have studied his work till his approach becomes second nature, but they use it for their own expressive ends.  The standard material here on Quaternity  is imbued with the aspiration for spontaneous improvisation, and the band is - to use a favourite word of Lee Konitz - totally simpatico.  This album shows the continuing relevance of the Tristano School to contemporary jazz.

 

Woody Mann & Charley Krachy "CONVERSATIONS" - A Guitar - Saxophone duet CD