It wasn't Christmas....but the lights were all on.
The location is 108 E. 2nd Street nested between a neat stretch called Harlem Place and Main.
This gem can easily be missed if you're not careful so think...Electricity, Fire, Groove,
Hallelujah, Innovative, Ignition Jam. "EFGHIIJ".
All of the above is applicable to the gentlemen's performance on Thursday, September 18th, 2008 at a club that was once The Edison Electric Company. The space is inviting for those interested in the happy hour scene, some appetizers, conversation, house music that encompasses everything from the decades of the 1930's to the 21st century and every style to go with that. There's nostalgic history in still films, people watching, or and this is the best of all...LIVE MUSIC!
You have to be a intense listener, as the mingling crowd is preoccupied in conversation but there remains careful attention to the band on stage.
On this end of summer night, the Elliot Caine Quartet caught all ears with a message that lit up the place far greater than Edison could ever imagine.
Elliott Caine - Trumpet
Kenny Elliott - Drums
Carl Randall - Saxophone
Bill Markus - Bass
Scott Oakley - Piano
The ensemble started the night with an Elliot Caine tune, "Mysteriouslee”. This was followed by delicious slice of "Cornbread" a famous tune composed by the great trumpeter, Lee Morgan.
Its time for some activism and musical awakening with another Elliot Caine piece, "Blues for Revolution"
No doubt, we were more than ready for the uprising as we cheered the quartet's brilliant performance.
I marveled at the attention to the Blues form intertwined with Jazz that Elliot, Kenny, Carl, Scott, and Bill presented. It cried out above any conversation and was striking and infectious.
"Mamb-ish" another tune that made its message known and "El Nuevo Dia"
It was easy to become mesmerized in the pulse, harmony, and beauty of each tune that was conducive for listening, dancing, and just absorbing.
Solos featured all the "axes" abiding. There was lingering yet succulent and soulful swing on sax from Carl Randall. Tenacious and tantalizing textures and colors on trumpet from Elliott Caine. All intuitive and alluring modes on bass with Bill Markus. A gloriously perfect furry coupled with rapturous drum work enfolding by Kenny Elliott. This was coupled with an embodied and intimate calling of the piano from Scott Oakley.
The effect was an evening of bliss, amazement, joy, and satisfaction.