Charlie Sherrill: Defining the Man - Defining the Music

 To understand Charlie Sherrill, the man, is to understand his music. His range is limitless: bold and brash like David Sanborn; sophisticated and sexy like Boney James; reflective and reverend like Eric Marienthall. Charlie is as complex as his music; therefore, definition of the man and his genre is difficult. Some would say his music has a "gospel kind of feeling" (Carole King, "Jazzman"). Whatever the label, Charlie is an artist whose canvas is a score sheet, and his media are musical instruments. The result is an incomparable style of music and humanity that defies classification. "It's not really contemporary jazz, New Wave or Fusion; I call it Coastal Wave," says Chris Groen, 25, of Atlanta, a fan since his college days. If one asks Charlie, he'll tell you it's "good time jazz and R&B." Perhaps the answer lies in his life experiences, good and bad, that have brought Charlie Sherrill to this place, this time, and this sound. He was born Charles Warren Sherrill in 1951 in Roanoke, VA, a direct descendent of the Czechoslovakian composer Antonin Dvorak, and grew up in a home where music was always playing. Artie Shaw and Woody Herman would have been the sounds on the radio; but Charlie Parker, Thelonius Monk, and John Coltrane were quickly changing the sounds of swing to the sophisticated sounds of jazz. Charlie's parents realized that their son possessed a special talent by the way he played with this rattle and other toys. When the youngster was about five, his parents gave him a toy organ. They say that he played it constantly but wanted more. Charlie attended the public schools of Roanoke and played trumpet in the grammar school band. However, the first time he heard his swim coach play the saxophone, Charlie knew that music would become a major part in his life. That night he told his father, "That's what I'm going to do." Charlie turned "pro" as a teenager and played clubs around the Roanoke area. After high school, he attended the famed Berklee College of Music in Boston, joining the ranks of alumni such as Quincy Jones, Melissa Etheridge, Steely Dan leader Donald Fagen, Branford Marsalis, and Eric Marienthall. Charlie excelled as a student, making Dean's List; yet when an opportunity arose for him to put his education and talents to the test, he left Berklee his senior year. He moved to Ft. Lauderdale with the group Cameron, which became the house band for one of Joe Namath's "Bachelor's III" clubs. Cameron opened for Della Reese, The Kingston Trio, Fabian, Juice Newton, Pure Prairie League, and Blood Sweat & Tears. The band eventually became one of the top Southern rock concert acts, sharing the stage with the Allman Brothers and Stephen Stills. During those years when the band played on Tybee during its tours, Charlie fell in love with the island. Lane Cameron, who formed the group and now owns his own music business in Reno, recalls: " My group was working in Boston in 1970 at Joe Namath's 'Bachelor's III" club. I was attending Berklee College of Music and so was Charlie. We met, and I mentioned that if he got a chance perhaps he could come and sit in with us. He played with us for the entire week and would not accept any money for it. The next week we hired him. Of all the sax players I have worked with over the years, I still think that Charlie is the best."
 Sharing in the success of Cameron was another talented musician, Gary Dunne. "I suppose I owe a great deal of my 'star status' in Florida to the qualities that Charlie so easily shares with his audience. He was always a natural performer. There are some things that really can't be taught. You either have it, or you don't. The warmth and musical emotion that he shares with his audience is a very special talent." In 1984, Cameron broke up and Charlie returned to Tybee, which would become his home. Soon he was asked to join The Truly Dangerous Swamp Band from South Carolina, playing the college circuit and opening in clubs and arenas for Little Feat, The Atlanta Rhythm Section, Delbert McClinton, Bonnie Raitt, Vince Gill, and Rosanne Cash. By 1992, Charlie was back permanently on Tybee where he played with Rick and Debbie Sheridan at the DeSoto. Charlie attributes his progression from being a member of the band to being the band to Debbie, who showed him the intricacies of "the black box," a midi sequencer that allows Charlie to have a "back-up band." When Charlie was ready to go solo; he approached Pam Smith, manager of Doc's Bar, about a spot there. Pam introduced him to Wanda Parker, Doc's owner, and since 1995, Charlie has become not only the sound of Doc's but also the sound of Tybee. "Spanish Hammock," "Tybee Time, "Across the Lazaretta," and "Slow Day on Tybee" are just a few of his compositions and recordings that reflect his affection for the island. The appeal of his distinctive voice and style spans generations. From college students, who vacation on the island, to their parents and grandparents, Charlie's appeal is universal. Charlie possesses a gentleness that is reflected in his demeanor and his music. "Charlie is a musical gift, a presence. Charlie knows music deep inside where he lives, where he creates. It is amazing how he reaches the audience here and why that audience is loyal, vocal, and loving...tourist or local," contends Michael Sullivan, producer of Improv at Doc's: A Tybee Celebration, which aired on WTOC-TV last August. Charlie attributes his musical gifts to God and his family. A vital component of that family is Anita Clinton, who's been a part of his life for 15 years. Wanting Charlie to have the spotlight, Anita stays in the background; but she is the one responsible for his CD covers, copy, and emotional support. She also works with him on many charitable events: Ecumenical Easter sunrise services for the churches of Tybee, the Tybee Arts festivals, various nursing homes, and benefits for many members of the Tybee community are just a few. Getting to know the man, Charlie Sherrill, is getting to know his music. Whether the genre is contemporary jazz, R&B, or Coastal Wave, it's difficult to tell where the man leaves off and the music begins. King's lyrics explain: "When the jazzman's testifyin'…he can sing you into paradise or bring you to your knees." Charlie Sherrill testifies whenever and wherever he plays.
--Victoria Graves