Paul Cherba has been playing the trumpet since fifth grade and
singing all his life. He remembers playing Herbie Hancock's Watermelon
Man in sixth grade stage band. His first teacher was Mpls. local trumpet
guru Greg Lewis. He was the first true "Cat" to influence Paul. He knew
early on that he'd be playing the trumpet for the rest of his life.
Shortly after Greg introduced Paul to Miles Davis, he spent all of his
money filling out his Miles Davis Collection. He made his way through
High School in Mound, MN, playing, singing and dancing in the show
choir, bands and jazz bands.
Then it was off to The University of Minnesota at Morris for two
years to hone his skills with all sorts of bands. Big bands, combos,
dixieland, even playing drums in some. It was here he connected with
"Doc" Carlson, an outstanding jazz educator and trumpet player. He
learned more about the history of jazz, it's roots.
He became interested in the sounds of Ragtime Piano and New
Orleans Dixieland. He was exposed to the great early recordings of Louis
"Pops" Armstrong, Earl "Fatha" Hines, Bessie Smith, Billie Holliday and
countless others. During his tenure with The UMM Jazz Ensembles he had
the privelege of playing in New Orleans several times, in Switzerland
for The Montreaux Jazz Festival, and in New York City at the prestigious
Carnegie Hall. It's true...Practice, practice, practice and you do get
to Carnegie Hall.
He then went on to study Trumpet Performance/Jazz Composition at
Berklee College of Music in Boston. There he led an ensemble,
NONFUNKTONAL, dedicated to playing Miles Davis' music from 1969(circa
Bitches Brew)through the present and originals penned by Cherba In that
funky style. He also played in a lot of other bands big, small, swingin'
, funky.
After completing Berklee in 1995, Cherba started The Paul Cherba
Jazz Quartet. With a desire to sing and play the classic jazz melodies
of the roaring 20s through the Millenia. With a strong emphasis on songs
of the Tin Pan Alley years, penned by such greats as Duke Ellington,
George Gershwin, Cole Porter, and others. His Bossa-Nova and Latin Jazz
interpretations are a clear indication of his affection for these styles
of music, and the Clave in general.
The PCJQ began playing around Boston and Cambridge immediately.
Becoming regulars at The Good Life, John Harvard's Brewhouse, The Fort
Hill Brewhouse, as well as receiving lots of airplay, a monthly live
performance on the radio. He eventually kicked off the 1999 Boston Globe
Jazz & Blues Festival.
It was then time to bring his vision back to his native land of
10,000 lakes, Minnesota. So he packed up his Pork-Pie Hat, his
leadership and knowledge of songs and moved back. He found his first bit
of work playing at The Loring Bar and Mpls. Cafe. It wasn't long before
he brought his quartet to Sophia, Yvette's, Lord Fletchers, and
Jazzmine's. He played for 5 1/2 years every Thursday at Cafe Havana in Minneapolis'
Warehouse District.
