New Release From Pasquale Grasso, Fervency
JGT contributor Joe Barth checks in with guitarist Pasquale Grasso and talks about his new release, Fervency.
Born on a farm in Italy, Pasquale Grasso’s father bought him a guitar at age five that Pasquale immediately took to. In 1998 in a jazz workshop in Switzerland, pianist Barry Harris recognized talent in the young Pasquale. Moving to New York City in 2012 he quickly a busy player around town. Pasquale has done a number of albums for Sony Masterworks, including his new trio album Fervency.
JB: Fervency is a wonderful guitar trio recording. From your point of reference, what are two of three guitar trio recordings that really shape what you strive for when working with a bass player and drummer?
PG: Thank you, sincerely I never listen much to guitar players. I’ve always loved the piano trio. In particular those of Bud Powell, Thelonious Monk, and Elmo Hope. One album that I really like of a guitar trio is Jimmy Raney’s Live in Tokyo with Sam Jones and Leroy Williams.
JB: On the album, you do some well-known Standards as well as some lesser-known songs. Let me ask about a few of the songs. Why did you start off with Bud Powell’s “Sub City?”
PG: “Sub City” is in one of my favorites of Bud’s songs, and it was a song I would start my gigs with in New York at the Mezzrow club.
JB: Your rendition of “Cherokee” is at a burnin’ tempo. Of course, your playing is filled with breath-taking guitar “fireworks.”
PG: Thank you, I try my best when playing fast tempos.
JB: Then you contrast “Cherokee” with a tasteful “If You Could See Me Now.” Then I love what you do with Coleman Hawkin’s “Beans and the Boys.”
PG: Thank you, Coleman Hawkins is one my idols!
JB: Miles Davis’ “Little Willie Leaps” is a wonderful vehicle for your astonishing technique. What drew you to this song?
PG: Well, that’s a rare track where Bird is playing tenor, and his solo is historic on that.
JB: The title track, “Fervency,” is a beautiful ballad. Tell us about how you composed the song.
PG: One night, coming back from a late-night gig, I found myself in a subway car, all by myself at about 3 AM. When I sat down, I noticed that there is a dictionary open on the seat next to me. The first word that I see in the dictionary is “fervency,” and that’s when I started thinking about writing that song!
JB: Tell us what you appreciate most about your rhythm section, bassist Ari Roland, and drummer Keith Balla.
PG: I have known Ari and Keith for about 15 years, we are like family. We played so many gigs together, and I feel very comfortable playing with them. They are amazing people and one-of-a-kind musicians.
JB: What do you appreciate most about your Trenier archtop guitar?
PG: It’s an excellent guitar, and again, I have known Bryant for a long time, and he is like family to me. He knows what I like in a guitar, and every time he makes me one, I’m so happy to play it.
JB: Tell us about the closing song “Jahbero.”
PG: Tad Dameron is one of my favorite composers. I learned this song with my older brother Luigi when I was about seventeen.
JB: You often appear on Frank Vignola’s Guitar Night. Tell us about the musical relationship that you share with Frank.
PG: Frank is a wonderful musician and a great friend. We have a lot of fun together. I love playing at Guitar Night!
