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Personnel - Chris Cheek: tenor and soprano saxophones; Bill Frisell: electric and acoustic guitars; Tony Scherr: bass; Rudy Royston: drums.
Chris Cheek is a refined American saxophonist known for his lush tone and uplifting energy. In addition to his extensive work as a sideman, he established himself as a gifted bandleader, releasing memorable jazz works like I Wish I Knew (FSNT, 1997) and Vine (FSNT, 2000). On Keepers of the Eastern Door, he leads a superb quartet featuring the inimitable guitarist Bill Frisell and two of his regular rhythmic supporters, bassist Tony Scherr and drummer Rudy Royston. The eight-track collection weaves together original compositions, jazz standards, and inventive reinterpretations of works by Olivier Messiaen, Henry Purcell, and The Beatles. The result is a mesmerizing blend of tradition, classical music, pop/rock, and spacious contemporary jazz.
The album draws inspiration from Native American culture—particularly the Mohawk people—as well as from Edward Curtis’ photography and Cheek’s memories of his native St. Louis. The opener, “Kino’s Canoe”, displays a buoyantly catchy theme, with Cheek confidently pouring his melodic sophistication over Frisell’s brilliant harmonic landscape, anchored. by the supportive glue of Scherr and Royston, true rhythm stabilizers. The title, inspired by John Steinbeck’s The Pearl, helped giving shape and rhythm to the melody.
“Smoke Rings”, written by guitarist Gene Gifford and first recorded in 1932 by the Casa Loma Ensemble, floats along with a gentle swing, radiating charm and warmth. In contrast, the quartet’s rendition of the Broadway standard “On a Clear Day” receives an imaginative reworking marked by a joyful, funky feel and an infectious sense of ease that further promotes relaxation.
Cheek dips into the Beatles’ catalog with “From Me To You” — not many surprises here but plenty of understated grace and warmth. However, the album’s most striking moments come from its classical music reinterpretations. Messiaen’s “O Sacrum Convivium!”, a tribute to motherhood, is reimagined with a 3/4 pastoral lilt that verges on dizzying. Frisell, on acoustic guitar, and Cheek, on soprano saxophone, embark on an adventurous journey merging folk, modern classical, and post-bop. The subsequent adaptation of Henry Purcell’s “Lost is My Quiet”, also in 3/4, yields subtler results but remains sonically intriguing.
The title track, Cheek’s original “Keepers of the Eastern Door”, embraces thoughtful post-bop sensibilities with gentle undertones, highlighted by Royston’s expressive cymbal and mallet work. Emotionally resonant and intellectually engaging, this artistically rewarding album honors those who strive to live in harmony with the world around them.