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Listen to an exciting blend of the hot music of Brasil and cool American jazz... More on Ben Sher and TudoBem |
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| Jim Macnie, Village Voice, March 2001— “Ben Sher’s TudoBem: Splitting the difference between gentility and jousting, the guitarist and his associates skip along with a Brazilian gait that usually touts grace and groove. Don’t worry, there’s a bit of punch to it, too...” E-Mail us |
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Jim Fisch, Twentieth Century Guitar, Jan. 2002— “If you like the seductive rhythms and breezy melodies of South America than this disc is sure to please...Sher’s guitar work is melodic and inventive and his rhythmic instincts are second to none. He has crafted a fine CD which shows that the tradition of recently departed guitarists Charlie Byrd and Laurindo Almeida has been left in very capable hands.”
About Handprints....
Jerome Wilson, Cadence Magazine, November 2000— “These two CD’s show off guitarist Ben Sher in a variety of settings. On Handprints, the older of the two, he’s best in a hustling, tight trio with Mike Clark and Scott Lee. Clark’s busy drumming, Lee’s fast-stepping bass and Sher’s gritty guitar work mesh excellently together on “It’s Not,” ”It Could Happen To You” and “Mindprobe.” Other Latin-tinged pieces like “Ceremony” and “Asian Flute” feature a fuller band with sax and piano where Sher is more just one of the guys as Brainin and Barth get to solo as well. Add a tense but reflective solo guitar piece in Handprints and you have a pleasant conglomeration of styles.
About Tudo Bem?....
Jerome Wilson, Cadence Magazine, November 2000— “This CD concentrates just on Latin sounds with Sher tossing out a combination of sleek sambas, flamenco and Latin Jazz. The title track and “Weekend Haze” are bright sambas with pretty female vocals, “Black Forest” has a traditional Spanish flamenco ambience and “Brooklyn Bound” combines spacey, pinging guitar and dancing percussion and soprano sax for an Airto-Hermeto Pascoal-type primitive-space fusion. “Eviction Notice” slowly works itself up into a frenzied blast reminiscent of early Return To Forever and “Rashi’s Nigun” is steaming Latin Jazz with Adam Kolker’s tenor blowing hot. Sher isn’t a household name but he definitely has talent and knows how to assemble a good group of musicians and put them to work.”
About Handprints....
Ken Micallef, Jazz Times 1995—“Spurred by the angular drumming of Mike Clark and the evocative percussion of the late, great Frankie Malabe, guitarist Ben Sher explores the world of Wes, Kenny Burrell and Pat Martino. This is a pure straight-ahead date, simple and pristine. Sher’s tone is direct and unfettered as the group (Dennis Irwin, Bruce Barth, Scott Lee, Peter Brainin and Adam Kolker) explores a couple of standards (“It Could Happen To You”) and “I Didn’t Know What Time It Was”) and Sher’s own compositions which are wistful and dark-hued. Sher has drunk deeply of the aforementioned guitarist’s supple techniques, infusing Handprints with many small, gemlike moments. It could be said that this album is a throwback to another era, so autumnal and breezy are its nine tracks. But Sher is nostalgic without being slick, sensitive without being mindlessly derivative. A fine, relaxing listen.”
Mark Carroto, Speed of Sound 1995— “Modern jazz guitar stretches from the loud jazz of John Scofield to the quiet distortion of Bill Laswell. Different styles come and go. One sound, adopted by Ben Sher seems to endure through all fashion changes. He sounds much like fellow Pittsburgh-born George Benson did before Benson discovered pop. On Handprints, Sher, along with drummer Mike Clark, bassist Dennis Irwin (of John Scofield’s band) and pianist Bruce Barth (Terence Blanchard Quintet), presents an understated recording. The term understated, is a compliment, as in “the music of Joe Pass is understated.” Of the nine tracks, six are originals which tend towards Latin rhythms. The writing is excellent. Remember his name. You will hear more from Ben Sher.”
Scott Yanow, Cadence, December 1994— “Guitarist Ben Sher sums up his influences well in his liner notes: Wes Montgomery, George Benson, Kenny Burrell and Pat Martino. To that list I would add Jim Hall and the comment that Sher does not sound like a copy of any of these masters. A fine improvisor, Sher’s solos are both melodic and adventurous within the modern mainstream handling his modal originals and two standards with equal skill. For his debut as a leader, Sher is featured with a fine sextet that also includes the warm and advanced tenor Peter Brainin, a piano-less trio (which on “Trixie”, with the addition of Adam Kolker’s flute, becomes a quartet) and unaccompanied on “Handprints.” Throughout this fine disc he makes one wonder why he is not better-known yet, for within the idiom he shows a generous amount of creativity and enthusiasm. Those listeners who enjoy the music of the above listed guitarists should look for this CD.”
Ian MacGregor, The Jazz Guitar Society of Western Australia, October 1994— “Ben Sher is a guitarist new to the .... at New York’s new emerging jazz artists, and has been performing for 13 years. He started out in Pittsburgh playing in many of the clubs where George Benson first started and in 1984 moved to Boston where he spent the next five years working steadily which included concerts at the Berklee Performance Center. Since 1989, Ben has made his home in New York.
Handprints is a collection of original compositions plus two standards. The album is in the mainstream tradition with some excellent melodic compositions from the guitarist...."
Eric Gladstone, Alternative Press, June 1994— “... Much of guitarist Ben Sher’s album is recorded by a sextet, which gives it a fuller flavor, but in many other respects it is a good matching to Charlie Hunter’s. Like Hunter, Sher is a guitarist who recalls Montgomery and George Benson, and he gives his accompanists, saxophonist Peter Brainin and pianist Bruce Barth, plenty of space to unpretentiously strut their stuff. There are more distinct references here, though, to Dave Brubeck and Laurindo Almeida in particular; that make it no less a lively record. I can think of a dozen situations where this music would be well applied, either as quiet background or loud dance music, and in the most social or very intimate situations. How many records you own are that universal?”
Performance reviews...
Laurie Lawson, Electronic Link Journey September 1998—“There may be a better combination than that of brunch and jazz, but I can’t imagine what it is. Sunday Brunch at the Blue Note includes, for a mere $18.50, a choice of entrees with names like “When Sunny Gets Blue” (poached eggs with Hollandaise Sauce) and “Half Note (cheeseburger and fries) along with one drink and a fantastic jazz show. Definitely one of the better offers in New York City.
On September 27th Ben Sher offered up rich, fluid sounds with a pulsating beat and a Brazilian flair. Sher is a dynamic musician who closes his eyes, fingers the strings, and makes his guitar sound like a symphony. The other members of his impressive group are Dennis Irwin (bass), Fred Hersch(piano), Duduka da Fonseca(percussion), Adam Kolker(reeds), Valtinho Anastacio(percussion), and the sweet-voiced Luciana Souza(vocals). Together they perform a variety of songs, an array of very unique instruments, and some of the music includes chanting and a touch of folk songs. When everyone joins in, the result is a glorious celebration that has to be the next best thing to cavorting on a Brazilian beach. He and his band take you on a sensuous musical journey. Nothing too raucous, it is a brunch after all.
Ben Sher has a new CD coming out...on which there are many of his own compositions. The title is Tudo Bem? Loosely translated, that means “Is everything cool?” You bet!
John Michael Koroly, Whitney Radio, WVOX, WRTN, October 1998— “Finally, down in the village, the Blue Note is launching a Sunday Brazilian Brunch with Ben Sher & TudoBem. Brisk, vigorous, fluid and funky, the group makes for a breezily enjoyable listening experience while enjoying the Note’s menu. Along with some consistently blazing and expressive percussion, the group also offers some vocals that bare unexpectedly rich in intonation and soulfulness. Ben Sher and TudoBem go on at 1pm and 3:30 each Sunday. The $18.50 cover includes music, a drink and brunch. I can heartily recommend this combination of the music’s smooth power and the menu’s tasty offerings. The Blue Note is on West 3rd Street east of Sixth Avenue.”
Alistair Cooper, Open Position(The Voice of the Guitar Department at Berklee College of Music), April 2001— “...It was a pleasure to watch Ben Sher and Nelson(Faria) sharing the stage in the last two performances of the night. The first was a duet, entitled “Madelena” by Ivan Lins. Ben Sher seemed as content as a duck in water, shining searing rays of joy on audience and band members alike!...”