Nov 1, 2016

Jimmy Bruno - Live at the Birdland II (1996)

Jimmy Bruno - Live at the Birdland II (1996)
(Concord Records, issued 1999)
A relentless swinger who thrives on breakneck tempos, Philadelphia's Jimmy Bruno is one of the premier jazz guitarists on the scene. Having already proved his mettle in the studio with various Concord calling cards, Bruno unveiled his impressive fretboard prowess in a live setting on the first of this two-volume series from New York's Birdland. Volume I featured Bruno going toe-to-toe with alto sax burner Bobby Watson. Volume II, also recorded in December of 1996, pairs him with the mellow-toned tenor man Scott Hamilton, recalling some of the same incendiary chemistry that Stan Getz and Jimmy Raney shared together during the early '50s.

The set opens with the trio establishing an urgent vibe with brisk renditions of Bruno's 12-bar blues "Reticulation" and Clifford Brown's "Joy Spring." "Chesapeake Blues" is a mellow, slow vehicle for some inspired and tasteful blue note work by Bruno while his virtuosic solo turn on "(I Can't Give You) Anything but Love" allows him to explore the full range of his custom-made 7-string Benedetto guitar with deep walking bass lines and simultaneous chording, a la Joe Pass.

Hamilton takes the stage for a swinging "Broadway" and they hit an instant rapport. Bruno's solo here is particularly breathtaking, full of rippling arpeggios, rhythmically charged octave work and pristine single-note passages. Hamilton wisely follows with a less-is-more approach, taking his time and gradually building on a vocal theme. They have some brief exchanges and meet at the out-head, culminating their first-ever encounter together in high-flying fashion.

Bruno again puts the 7-string to good use on a duet rendition of "Lover Man," creating a lush carpet for Hamilton's sublime telling of the story. Hamilton's old school sense of romantic lyricism (part Ben Webster, part Zoot Sims) is also spotlighted on "Darn That Dream" while his unhurried approach to swing sets a relaxed tone on a lovely "I Hear a Rhapsody." The set closes on a bristling note with "I Want to Be Happy," a vehicle for some bravado soloing by both Bruno and Hamilton which culminates in some sparks between this dynamic duo. Hopefully, these two will meet again. - By Bill Milkowski
1. Reticulation
2. Chesapeake Blues
3. Joy Spring
4. Poinciana
5. I Can't Give You Anything But Love
6. Broadway
7. Lover Man
8. I Hear A Rhapsody
9. Darn That Dream
10. I Want To Be Happy

Personnel: Jimmy Bruno (guitar); Scott Hamilton (tenor saxophone); Craig Thomas (bass); Vince Ector (drums).

Oct 31, 2016

Philip Catherine & Sylvain Luc – Guitarfestival Uppsala, Sweden, 19 Oct 2008

This is the FM broadcast (probably on 20 February 2009 by Swedish radio station P2) of the Philip Catherine-Sylvain Luc Duo\’s concert during the 5th Guitarfestival in Uppsala, Sweden, which took place on 19 October 2008. The two perfom mostly as a duo, but there are also some solo tracks by each artist.

The Music:
First set
01 – radio dj intro 00:15
02 – Sous le Ciel de Paris (Hubert Giraud, Jean Drejac) 10:37
03 – On Green Dolphin Street (Bronislav Kaper, Ned Washington) 10:10
04 – Wave (Antonio Carlos Jobim) 10:52
05 – unidentified title 06:34
06 – philip & sylvain talk 02:09
07 – With Love, from Me to You (John Lennon, Paul McCartney) 09:03

Second set
08 – philip talk 00:45
09 – Melina 05:13
10 – sylvain intro 00:32
11 – unidentified title 07:50
12 – All the Things You Are (Jerome Kern, Oscar Hammerstein II) 12:08
13 – philip talk 00:30
14 – Nuages (Django Reinhardt) 08:38
15 – unidentified title 06:45
16 – philip talk 01:49
17 – unidentified title 07:22
Total Time: 01:51:20

Philip Catherine – guitars
Sylvain Luc – guitars

Many thanks to matt23 who uploaded the recording to
Lineage: CDR from trade > EAC > FLAC > TLH > dime
Quality: Excellent FM: “A-” quality
Artwork by GatoMedio

Source from "" 

Frederic Alarie & Jon Gearey - Let's Cool One (2005)

Frederic Alarie & Jon Gearey - Let's Cool One (2005)(Audiophile)
(FIDELIO AUDIO, issued 2005)
Here is the long awaited CD especially for Fidelio‘s soft jazz fans. One of those relaxed CDs that you can enjoy from beginning to end. The idea for this CD emerged from when Jon and Frederic had been playing for a few months at brunch time on Sundays at the cozy and refined Savannah Restaurant on St-Laurent boulevard in Montreal. Both musicians were so moved by their own playing, and the atmosphere generated by the music in this venue, that they felt the urge to capture all of this on tape and make it available to everyone. It is so realistic and intimate you feel you are sitting right up close to Jon Gearey and Frederic Alarie as they play.

This new CD benefits from intense research conducted by Fidelio that again lead to highly noticeable improvements in the recording process. At this point the listener is getting so close to the live performance it is almost disturbing. Listen to it from the next room and you’ll swear there is someone out there. Fidelio, again, really captured the feeling.

XtractHD process:
The XtractHD process relies mainly on the fact that a computer is not a musical instrument… By getting rid of most computer processes and external hash, Fidelio gets one closer to the real recording session, restoring stereo spread, spatial positioning, preserving hall characteristics and the timbre of each instrument. XtractHD CDs will play on ANY CD Player!

• XtractHD: Zero Tampering, Pure Digital CD
1. Let's Cool One
2. Softly, As In a Morning Sunrise
3. Redemption Song
4. How Long is This Hallway?
5. If We Could Only
6. Brunchin'
7. Thingamajig
8. Lament for Owen Christie
9. Moon & Sand
10. Ruby, My Dear
Live Bonus Tracks:
11. Let's Cool One
12. All the Things You Are
13. What Goes Around

Frederic Alarie - Bass
Jon Gearey - Guitar

Jimmy Bruno Trio - Live At Birdland (1996)

Jimmy Bruno Trio - Live At Birdland (1996)

(Concord Records, issued 1997)
Most jazz guitarists know Jimmy Bruno's playing and a few have been lucky enough to see him live. Those who haven't now have a chance with this, his first live recording for Concord.

The CD opens with f8, a tune by Jimmy. The name comes from his hobby: photography. It's a pure swinger with a driving backbeat in the A sections. Jimmy's solo starts out in a relatively safe zone, but he turns up the heat over the descending II-V patterns in the bridge. Here we hear all the trademark Bruno-isms: blistering double-time licks, chordal passages and tremolos. This is a great opener for the set.

Denzil Best's Move is Jimmy's tribute to Hank Garland and it's done as only Jimmy can do - with energy to spare. It's in tunes like this that the listener can appreciate Jimmy's astounding technique. The flow of ideas in his playing are unhampered by the blistering tempo. In fact I think he is more inspired when the going gets tough. The a cappella section near the end is especially fun to listen to.

Next up is Groove Yard, a tune known to fans of early Wes Montgomery. The opening vamp seems influenced by the Montgomery Brothers version but once the head kicks in, the trio adds a modern spice the groove. Jimmy's solo, octaves and chordal passages, is a clear nod to the man from Indianapolis. There are some tasty modal licks in his solo as well. Great transcribing material. Thomas contributes a lyrical bass solo in this tune.

Valse Hot, the one waltz on the disc, is played with sensitivity and restraint, indicating the stylistic maturity of the performers. Things heat up a little during Jimmy's solo but remain under total control at all times. This is a great example of how to swing in 3.

The Charlie Parker tune Segment (a favorite of mine) introduces Bobby Watson, a tremendous bebop alto player. The joint guitar/sax melody is a joy to hear. Watson's solo is part Bird, part Paul Desmond and completely musical. Jimmy's solo has a hint of Wes at the top and morphs into a hard swinging statement.

Continuing the Parker motif, Au Privave gives the band a chance to blow over the Blues. The tempo is picked up significantly here and the boys let loose. Jimmy's solo opens things up, playing with outside harmonies and coming back in at the right moments. Watson begins his solo by picking up Jimmy's closing lick and expanding upon it. The duo begin to play off of each other, picking up the excitement. The bands seamlessly goes back in the the head to take it out.

These Foolish Things, a lovely ballad, gives us a chance to hear Jimmy and Bobby as a duo. This is the best time to listen to Jimmy's 7 string voicing and comping ideas. Watson's immaculate playing on this tune lies somewhere between Johnny Hodges and Sonny Stitt. Jimmy's a capella solo is a grea opportunity to hear him at his best.

The other original tune on the disc, For J.T., was contributed by Thomas. A Latin-influenced composition, it allows the players to experiment with more modern harmonies. Watson's solo is at times mournful, at times light and playful. Jimmy's fluid comping adds an ethereal atmosphere to the tune, and his solo is direct and unflinching.

The Parker/Gillespie anthem Anthropology is easily the "barn burner" of this set. Not an easy head to play under any circumstances, the band roars through it at near warp speed. Jimmy solos first, with Bobby offering some riffs in the background. Jimmy is at his blazing best over these "I Got Rhythm" chord changes. This is the kind of playing that put him on the map. Bobby's alto solo is reminiscent of Cannonball Adderley's fluid playing.

The disc closes with My One And Only Love, a tune with a strikingly beautiful melody. Jimmy's solo intro of the tune sets the perfect mood. The band picks up at the bridge and plays with utmost taste and sensitivity. This is a great choice for a closer, ending the set on a peaceful note.

The playing herein is not without mistakes, but that is to be expected in a live recording. The point is to play, not worry about being perfect. The musicians have that in mind during this set and they play with unflinching intensity. That alone makes this an enjoyable listening experience. Add to that the unique musical personalities of Jimmy Bruno and Bobby Watson and you have a CD that should be in the collection of every jazz lover. - Reviewed by Bob Patterson

1. Introduction
2. f8
3. Move
4. Groove Yard
5. Valse Hot
6. Segment
7. Au Privave
8. These Foolish Things
9. For J.T.
10. Anthropology
11. My One and Only Love

Jimmy Bruno — guitar
Bobby Watson — alto saxohpone
Craig Thomas — bass
Vince Ector — drums

Oct 30, 2016

Niels Henning Orsted Pedersen - Trio 2 (1993)

Niels Henning Orsted Pedersen - Trio 2
(SteepleChase, issued 1993)

The sequel to SCCD 31083 "Trio 1" from the same electrifying nights at Jazzhus Montmartre proves " ... once again the great strength of NHØP: "the precision, the suppleness of sound and the extraordinary technical ease..." (Jazz Hot)

1. The Puzzle
2. Flower Dreams
3. Little Train
4. Dancing Girls
5. Larry's Tune

Niels-Henning Ørsted Pedersen (bass)
Philip Catherine (guitar)
Billy Hart (drums)

Niels Henning Orsted Pedersen - Trio 1 (1993)

Niels Henning Orsted Pedersen - Trio 1
(SteepleChase, issued 1993)

A virtuoso who mostly played in bop-oriented settings, Niels-Henning Ørsted Pedersen was in great demand since he was a teenager. One of many superb European bassists to emerge during the 1960s, Pedersen originally studied piano before starting to play bass with Danish groups when he was 14. He had to reluctantly turn down Count Basie's offer to join his orchestra when he was just 17, but worked steadily as the house bassist at the Club Montmartre and as a member of the Danish Radio Orchestra.

Whenever American jazzmen passed through Scandinavia, they asked for Pedersen; during the 1960s he played with Sonny Rollins, Bill Evans, Roland Kirk, Dexter Gordon, Bud Powell, and even Albert Ayler (although the latter's session was not too successful). In the 1970s, Pedersen was featured in a duo with Kenny Drew. Starting in the mid-'70s, he was an occasional member of the Oscar Peterson Trio and he recorded several dates as a leader for SteepleChase. Pedersen also recorded in many different settings for Pablo Records during the era. He remained very active until his sudden death in April 2005. He was 58. ~ Scott Yanow, All Music Guide

Philip Catherine has been called the "Young Django" by none other than Charles Mingus, and upon hearing his elliptical, rapid-fire, expressively melodic acoustic guitar, there can be no doubt as to whose records he was absorbing as a youth. Born to a Belgian father and English mother living in London during World War II, Catherine went back with his family to Brussels after the war, where he learned guitar and turned professional at 17. The examples of Larry Coryell and John McLaughlin led Catherine into jazz-rock; he played with Jean-Luc Ponty's Experience from 1970 to 1972 before taking a year off to study at Boston's Berklee School. Back in Europe in 1973, he founded the band Pork Pie, which recorded into the mid- and late '70s; he also formed a duo with Niels-Henning Ørsted Pedersen and worked with such musicians as Mingus and Stephane Grappelli. If anything, Catherine is best-known in America for his duets with Coryell, which began spontaneously in Berlin in 1976, triggered some lovely duo albums for Elektra, and helped steer Coryell back to the acoustic guitar. ~ Richard S. Ginell, All Music Guide

1. Country Walk
2. Cowboy Samba
3. Les Sept Boules de Crystal
4. Autumn Leaves
5. Air Power

Niels-Henning Ørsted Pedersen (bass)
Philip Catherine (guitar)
Billy Hart (drums)

Oct 22, 2016

Jimmy Bruno & Joe Beck - Polarity (2000)

Jimmy Bruno & Joe Beck - Polarity
(Concord Jazz Records., issued 2000)

These two guitarists, seemingly dissimilar in style, are in lockstep throughout this recording. Bruno plays most of the lead lines, with Beck comping behind him on the alto guitar he invented. Long one of the best-kept secrets in jazz, Beck had a couple of minor hits (his album with David Sanborn on CTI in the '70s comes to mind), as well as performing and recordings with the likes of Gil Evans, Duke Ellington, Paul Simon, Buddy Rich, and Frank Sinatra, among many others. In fact, it was Rich's decision to use Beck instead of Bruno at a session that led to the latter's leaving Rich's band. But any animosity that might have existed is long forgotten, and these two make exquisite music together. The set consists of standards such as "Lazy Afternoon," "Eleanor Rigby," "Tenderly" (featuring Beck on solo guitar), "Cherokee" and the like, along with one original by each of the guitarists. At first, you might think that you would miss the rhythm section, but from the first notes, that is not an issue. For those who want to hear the tradition of electric jazz guitar, as well as its future, this is the place to go. -by Ross Boissoneau

1. How Long Has This Been Going On 4:36
2. Lazy Afternoon 4:33
3. Polarity 4:10
4. I've Grown Accustomed To Her Face 4:13
5. Eleanor Rigby 5:15
6. Estate 5:57
7. Summertime 3:48
8. Tenderly 4:20
9. Carioca Blue 4:47
10. Emily 4:05
11. I Don't Stand A Ghost Of A Chance With You 4:16
12. Cherokee 4:14
13. Poem For #15 5:00

Jimmy Bruno - Guitar
Joe Beck - Alto Guitar

Oct 20, 2016

Warner Jazz - Les Incontournables - Guitare (3 cd Set)(2000)

3 cd sets in a pack - Wes Montgomery + Joe Pass + George Benson. Wes's selection from Riverside. Pass from Pablo and Benson from Warner Bros. An essential set for great Jazz Guitar.

Garrison Fewell - A Blue Deeper Than The Blue (1992)

Garrison Fewell - A Blue Deeper Than The Blue (1992) 
(Accurate Records, issued 1994)
The Bill Evans of the Guitar. - Todd Kennedy, WFIT Melbourne, FL

The very title of Fewell's CD - A Blue Deeper Than the Blue - suggests the layered indigo shades and poetic echoes heard from his guitar. Each note has shape and substance, each solo definition and flexibility... legato phraseology, ripe emotions, pristine beauties of sound. - Fred Bouchard, JazzTimes

His beautiful tone and effortless, fluid lines draw the listener in as only a select few have done... a fine guitarist who appeals on the sublime, emotional level of a Bill Evans or a Jim Hall. - James Rozzi, Wired Magazine

Garrison Fewell's mainstream guitar sound goes back through Grant Green and Jim Hall... But only Fewell’s tone is retro. His active imagination is restless; his musical intelligence is acute; his standards are high. Are You Afraid of the Dark? has prettiness with plenty of brains and balls. **** four stars. - James Conrad, Downbeat
Boston electric guitarist Fewell (pronounced "Fuel") had his first recording live at Sculler's Jazz Club, with a formidable backup band of pianist Fred Hersch, bassist Cecil McBee, and drummer Matt Wilson. His sound is amplified but not treated, quite reflective of his influences: Pat Martino, Jim Hall, and to a lesser degree, endorser Larry Coryell. Single lines are much more prevalent than chords, and speed demon excesses take a backseat to beauty and melodic substance on these seven lengthy selections. Fewell seems most comfortable with ballads; here there are three. He wrote "Moon Over Mt. Sumeru," in which the guitar's loping lines are set up by the tumbleweed-rolling piano of Hersch. Another original "U Mandara Ke" (Mandara Flower) is a bit more resonant in its resolve, very similar to the style of Sonny Greenwich. Benny Golson's "Park Avenue Petite" further displays Fewell weaving thick cotton threads through tapestries of sky and seascapes. McBee is the standout as usual. His bold solo on the bop-infused "Blues Update" -- penned by Fewell -- along with Wilson's reticent or lavishly embellished, traded-four drum witticisms, makes this one a keeper. The bassist is also all over a lengthy intro for the busy bossa (again courtesy of Wilson) "Brazilian Breeze" where the guitarist/author uses more chordal accents while Hersch's solo doubles the time at will, presenting the band at their melodic best. McBee's midsection bridge solo for the quick Frank Foster waltz "Simone" is pure delight, with Hersch and Fewell hammering out bronzed solos in a harder swing. This piece unexpectedly fades out after 11 and a half minutes (during a club date? bad editing, or time saving?) Another Golson composition, "Out of the Past," kicks off the CD in an easy swing with much interplay, offering a nice precursor for the rest of the set. Overall, this is a good to very good first effort from a player who seems to have a voice, but doesn't exploit it to its fullest capacity, as if he were leaning on his clearly virtuosic sidemen. It's also a bit on the laid-back side, yet, as a very pleasing outing, it should hip the world to one of the better unknown jazz guitar heroes. Recommended. ~ Michael G. Nastos, All Music Guide
1. Out Of The Past
2. Moon Over Mt. Sumeru
3. Simone
4. U Mandara Ke
5. Brazilian Breeze
6. Park Avenue Petite
7. Blues Update

Garrison Fewell (Guitar), Fred Hersch (Piano), Cecil McBee (Bass), Matt Wilson (Drums).

Guitar Workshop in L.A. (1988)

Nice jazz-fusion guitar work, it features Jeff Baxter, Buzzy Feiten, James Harrah and Teddy Castellucci.

1 Take It All (4:43)
2 Hyper Stork (5:14)
3 Donna (4:31)
4 Bawls (3:28)
5 Beverly Hills (4:18)
6 Bull Funk (5:31)
7 Vicky's Song (4:16)
8 Roppongi (4:47)
9 Blues for Ronnie (5:44)
10 Skunk Blues (2:05)

Jeff Baxter Bass, Guitar, Producer, Bass Programming, Programming, Drums
Howard "Buzz" Feiten Guitar
James Harrah Guitar
Teddy Castellucci Guitar

Jeff Porcaro Drums
John Pena Bass
Suzanne Sherman Coordination, Production Coordination
Steve Tavaglione Synthesizer, EWI
Carlos Vega Drums
Robert Vosgien Digital Editing, Editing
David Gibb Graphic Design
Dan Serrano Graphic Design
Andy Baltimore Graphic Design, Creative Director
Takashi Misu Producer
Tetsu Hoshika Producer
Larry Kilmas Sax (Tenor)
Jimmy Johnson Bass
Yoshinobu Kojima Synthesizer, Piano
Lenny Castro Percussion
Luis Conte Percussion
Brandon Fields Synthesizer, Keyboards, Sax (Alto)
David Garfield Arranger, Producer, Keyboards, Sequencing
Larry Klimas Sax (Tenor)
Yasuo Kojima Piano
Yoshinobu Kouma Piano
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