Browse Titles - 4 results
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Charlie Byrd With Voices: Byrd Song
performed by Charlie Byrd, 1925-1999, Keter Betts and Bill Reichenbach (Riverside, 2003), 36 mins, 12 page(s)
"Charlie Byrd With Voices" is an odd subtitle for this mid-'60s album, considering that vocals are only heard sporadically; that voices aren't even heard on some of the tracks; and that, when the vocals are heard, they're wordless background choral bits, not a vocalist or vocalists actually singing lyrics. In trut...
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performed by Charlie Byrd, 1925-1999, Keter Betts and Bill Reichenbach (Riverside, 2003), 36 mins, 12 page(s)
Description
"Charlie Byrd With Voices" is an odd subtitle for this mid-'60s album, considering that vocals are only heard sporadically; that voices aren't even heard on some of the tracks; and that, when the vocals are heard, they're wordless background choral bits, not a vocalist or vocalists actually singing lyrics. In truth, it seems like a gimmick or an attempt to sell the album to a crossover audience, the vocal component of the record feeling like an a...
"Charlie Byrd With Voices" is an odd subtitle for this mid-'60s album, considering that vocals are only heard sporadically; that voices aren't even heard on some of the tracks; and that, when the vocals are heard, they're wordless background choral bits, not a vocalist or vocalists actually singing lyrics. In truth, it seems like a gimmick or an attempt to sell the album to a crossover audience, the vocal component of the record feeling like an afterthought. And not an especially inspired one, either; the white-bread soothing choruses sound like refugees from straight easy listening records. The album's actually for the most part a typical, if low-key, Byrd session, on which his only instrumental accompaniment consists of Keter Betts on bass and Bill Reichenbach on drums. Just a couple of Byrd originals, "Action Painting" and "Swing 59," are on a collection slanted toward covers of popular standards, including "I Left My Heart in San Francisco," Lionel Bart's "Who Will Buy?," Antonio Carlos Jobim's "Felicidade," Rodgers & Hart's "This Can't Be Love," Cole Porter's "Let's Do It," Rodgers & Hammerstein's "My Favorite Things," and Billie Holiday's "God Bless the Child." When played just by the trio, it's fine, with sterling Byrd guitar, though the less sappy and more forceful material (like "Wildcat") overshadows the more conventional romantic standards. When those voices enter, though, it treads on the annoyingly saccharine. ~ Richie Unterberger, All Music Guide
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Date Written / Recorded
1965
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Charlie Byrd, 1925-1999, Keter Betts, Bill Reichenbach
Author / Creator
Charlie Byrd, 1925-1999, Keter Betts, Bill Reichenbach
Date Published / Released
2003
Publisher
Riverside
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Joe Pass: Blues for Fred
performed by Joe Pass, 1929-1994 (Pablo, 2004), 56 mins, 11 page(s)
Joe Pass recorded at least a dozen sets of unaccompanied guitar for the Pablo label, and although one can have a very viable jazz collection without owning all of them, none of them are throwaways. This fairly late effort finds Pass paying tribute to the magic of Fred Astaire on his "Blues for Fred" (which is play...
Sample
performed by Joe Pass, 1929-1994 (Pablo, 2004), 56 mins, 11 page(s)
Description
Joe Pass recorded at least a dozen sets of unaccompanied guitar for the Pablo label, and although one can have a very viable jazz collection without owning all of them, none of them are throwaways. This fairly late effort finds Pass paying tribute to the magic of Fred Astaire on his "Blues for Fred" (which is played in a medley with "They All Laughed") and a variety of top standards from the 1930s. As usual, Pass interprets the music with taste,...
Joe Pass recorded at least a dozen sets of unaccompanied guitar for the Pablo label, and although one can have a very viable jazz collection without owning all of them, none of them are throwaways. This fairly late effort finds Pass paying tribute to the magic of Fred Astaire on his "Blues for Fred" (which is played in a medley with "They All Laughed") and a variety of top standards from the 1930s. As usual, Pass interprets the music with taste, solid swing, and constant creativity within the bop tradition. His versions of "Cheek to Cheek," "Night and Day," "Lady Be Good" and "The Way You Look Tonight" in particular are quite enjoyable and make one appreciate the uniqueness of this classic guitarist. ~ Scott Yanow, All Music Guide
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Date Written / Recorded
1988-02-03
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Joe Pass, 1929-1994
Author / Creator
Joe Pass, 1929-1994
Date Published / Released
2004
Publisher
Pablo
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Joe Pass: Meditation, Solo Guitar
performed by Joe Pass, 1929-1994 (Pablo, 2002), 53 mins, 12 page(s)
Joe Pass achieved extraordinary balance in his career. Because he remained grounded in bop and swing, his guitar work was more conservative than many fusion and post-bop players, but his solo guitar work also ventured into unexplored territory, combining the single-note dexterity of Charlie Christian with the bloc...
Sample
performed by Joe Pass, 1929-1994 (Pablo, 2002), 53 mins, 12 page(s)
Description
Joe Pass achieved extraordinary balance in his career. Because he remained grounded in bop and swing, his guitar work was more conservative than many fusion and post-bop players, but his solo guitar work also ventured into unexplored territory, combining the single-note dexterity of Charlie Christian with the block chords of Carl Kress. Meditation: Solo Guitar offers a fresh release from Pass, recorded live at Yoshi's in 1992, two years before hi...
Joe Pass achieved extraordinary balance in his career. Because he remained grounded in bop and swing, his guitar work was more conservative than many fusion and post-bop players, but his solo guitar work also ventured into unexplored territory, combining the single-note dexterity of Charlie Christian with the block chords of Carl Kress. Meditation: Solo Guitar offers a fresh release from Pass, recorded live at Yoshi's in 1992, two years before his death. As Ken Dryden points out in the liner notes, the release isn't just "a case of posthumously cleaning out the vaults." Like the critically acclaimed Virtuoso series, Meditation exhibits a number of intricate interpretations of classic pieces by one man and his guitar. The title also captures the intimacy of Pass' work on "Everything Happens to Me" and "Mood Indigo." He seems so absorbed in his work, so alone, that it comes as a shock when the audience applauds at the end of each piece. Pass also covers Cole Porter's "It's All Right With Me," Irving Berlin's "How Deep Is the Ocean?," and the Gershwin brothers' "They Can't Take That Away From Me." Pass' technique manages to follow his own muse, changing tempos at will without ever losing the rhythm of the tune. Meditation is a fine album and a superior addition to the guitarist's catalog. ~ Ronnie D. Lankford, Jr., All Music Guide
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Date Written / Recorded
1992-02-01
Field of Study
Jazz
Content Type
Music recording
Performer / Ensemble
Joe Pass, 1929-1994
Author / Creator
Joe Pass, 1929-1994
Date Published / Released
2002
Publisher
Pablo
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Ragtime Guitar: Ten Classic Rags by Scott Joplin and Joseph Lamb
performed by David Laibman (Rounder Records, 1997), 39 mins
Sample
performed by David Laibman (Rounder Records, 1997), 39 mins
Field of Study
American Music
Content Type
Music recording
Performer / Ensemble
David Laibman
Author / Creator
David Laibman
Date Published / Released
1997
Publisher
Rounder Records
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