JAZZ REVIEW |Sharel Cassity "Gratitude" by Jeff Cebulski

Sharel Cassity

Gratitude

Sunnyside, 2025

By Jeff Cebulski | ⭐️⭐️⭐️⭐️

Sharel Cassity, alto sax, clarinet

Cyrus Chestnut, piano

Christian McBride, bass

Lewis Nash, drums

Michael Dease, trombone

Terell Stafford, trumpet

The now-recognized saxophonist and Chicago educator Sharel Cassity has released her fifth album as a leader, Gratitude, that connects her with the basic ensemble that recorded an influential album, Gettin’ To It (Verve), led by the esteemed bassist Christian McBride, including Cyrus Chestnut on piano and Lewis Nash on drums. On that album, which influenced Cassity as a college student, the late trumpet hero Roy Hargrove and trombonist Steve Turre joined in; in their place for this recording are Terell Stafford on trumpet and Michael Dease on trombone.

Cassity, here, sticks to her glorious alto, with one selection double-tracking a clarinet. The album begins with three bop tunes that demonstrate Cassity’s facility and ability to swing. “Magnetism” rides Chestnut’s driving chords and Nash’s pounding beat to the saxophonist’s fluent entry, pushed along by McBride’s woody bass, with Stafford and Dease along for the chase. One more rendition of Charlie Chaplin’s “Smile” doesn’t disappoint; Cassity swings in

tandem with McBride, as she inserts lines of notes along the way. The bassist’s walking presence provides a nifty foil for the saxophonist, with a tasty Chestnut solo added on. “Stick Up!” puts the ensemble into hard bop-land—Cassity’s soulful effervescence sure sounds like Sonny Stitt—embellished by a short but sweet scat from Mr. Nash.

The title song is a waltz performed with evident delight; Cassity practically sings her“Gratitude.” Richard D. Johnson’s “Suspect” promenades forward, with the band riding McBride’s ebullient bass. Stafford delivers a vibrant solo before Cassity steps in, leading to a Dease addition. On “Kenny’s Quest” Cassity leads the way over Chestnut’s Tyner-like chords, her dexterity in full display. Nash punctuates the tune with a short but eloquent solo.

“The Promise” is an homage to Cassity’s relationship with her son, with a layered statement of alto over clarinet, deftly supported by McBride and Chestnut’s impressive near-baroque expression. The closer, “In The Spirit,” provides some gospel ambiance, a celebratory moment that brings out the best in Chestnut. Cassity’s garrulous delivery and McBride’s solo exclamation typify the session’s overall positive attitude.

Sharel Cassity, who has managed to navigate family matters, teaching, and career development, has certainly proven her talent and mettle over the course of two decades. With Gratitude, given the pedigree of her accomplices, she successfully certifies her worthy position as one of our brightest rising stars, and lifts Chicago as a crucial jazz center.

Thanks to The New York City Jazz Record for granting use of the majority of this review.

For more info go to sunnysiderecords.com.

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About Jeff Cebulski

Jeff Cebulski, who lives in Chicago, is a retired English educator (both secondary and collegiate) and longtime jazz aficionado. His career in jazz includes radio programs at two stations in southeast Wisconsin, an online show on Kennesaw State’s (GA) Owl Radio from 2007 until 2015, and review/feature writing for Chicago Jazz Magazine since 2016, including his column "Jazz With Mr. C". He has interviewed many jazz artists, including Joshua Redman, Charles Lloyd, Dave Holland, John Beasley, and Chris Brubeck, as well as several Chicago-based players. Jeff is a member of the Jazz Journalists Association. Contact Jeff at jeff@chicagojazz.com