Quartet/Quintet

One of the most versatile of a new generation of Twin Cities musicians, on Quartet/Quintet, guitarist Cory Wong offers not only a double dose of his original compositions, but two sides of a musician whose talents go well beyond guitar.

Cory Wong, despite his youth, has proven himself to be one of the standout jazz musicians in the Twin Cities. A native of Poughkeepsie, NY and raised in Minnesota, Cory has studied with Pat Martino, Christopher Parkening, Andres Prado, and Charlie Banacos, and received his degree in guitar performance at McNally Smith College of Music. In addition to co-leading the Afro-Peruvian ensemble Peña, Cory leads the Cory Wong Quartet, on the bandstand every Tuesday night at the Artists Quarter, opening at 7 pm for the scheduled “prime time” band. Among his credits are collaborations with Paris Bennett, Bootsy Collins, Jimmie Vaughan, the Blind Boys of Alabama, the R Factor, Robert Robinson, Dan Musselman, Rachel Holder, the Radio City Rockettes, and more. Cory recently became Production Manager for Innovative Multiemedia Studios and Secret Stash Records. Cory previously released Jazz Quartet Tribute to Black Sabbath, Even/Uneven, and Peña.

Cory Wong©Andrea Canter

“I knew I wanted to do a double disc record to show two different sides of myself as a player, producer, and composer,” said Wong. “The Quartet disc is more of a head and solo-based approach. We played these tunes for a year to develop them. I took the opposite approach on the Quintet disc. I wanted it to be very story-driven and open to each musician’s interpretation in the moment.”

“Quartet”

Cory Wong and Andy Schuster©Andrea Canter

Two tracks cover “Claire,” the alternating unison bass and drum tones tracing a delicate melody for a minute’s intro before the full quartet collaborates on this very elegant meander. Country, blues, and folk elements merge, and Billy Peterson is most regal in his sweet solo that is recapitulated on piano and then guitar. Needing only lyrics to flesh out the compelling storyline, Wong creates a watercolor tapestry of majestic dimensions that floats out on a jangling vamp. “Poughkeepsie” shifts from an ambient mood to a funky swagger with many fine interludes, including Peterson’s hollow-toned song. “Pass the Plate” is filled with surprises, with frequent shifts in pace and rhythm as Wong turns direction on a dime and sets a swampy mood for Gastonguay, who moves from one end of keyboard to the other in sure-fire steps. “In Case of Aurora”, also ripe for lyrics, immediately spotlights Billy Peterson who fashions one of his most elegant solos of the set. Cory follows with beautiful lines over the bass, and Musselman follows suit; it feels like a a waltz begging for dancers.

The three final compositions here could easily form a suite. “Third Cycle’s” rumbling bass vamp provides a foundation for an almost fusiony Wong until it settles into a modern jazz overdrive with Musselman at the wheel. Another semi-hard driving tune, “Until It Falls” features scrambling lines from guitar and keys and is, ultimately, the most swinging track of the set. The closing “Hatch” finds Gastonguay driving a hard bargain, suggesting that a head-to-head with Musselman could really ignite some spontaneous combustion. Peterson gets down and funky here and, with Wong’s humorous effects, it all hints at the fusion antics to come on Quintet.

“Quintet”

Dan Musselman©Andrea Canter

Like in an old fashioned Minnesota winter, the quintet’s “Snowstorm” takes its time (20+ minutes), particularly engaging in the conversation between keyboards and bass. As if the storm’s aftermath, Wong steers “714” (with Creus switching bass duties with Schuster) through space, admiring the landscape (or is it a moonscape?) populated by his talented bandmates. Again in trio formation, on “Retreat” Cory brings out the baritone guitar, taking us back to the feel of an early 60s slow dance in the school gym. Actually it is much better than most of that era’s pop balladry, but that kiss of nostalgia is undeniable.

In any configuration, Cory Wong has assembled a lot of talent across two distinctly different but ultimately compatible sets of original music, sometimes looking ahead with energetic drive, sometimes looking back with gentle persuasion, always engaging the listener. What will he think of next?

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