Joe Pass ‎• Intercontinental

Review by Ken Dryden

Joe Pass recorded almost exclusively for American record labels during his long career, so this 1973 studio date for BASF is a rare exception. With bassist Eberhard Weber and drummer Kenny Clare's brushwork, the legendary guitarist plays a half dozen or so standards, including gently swinging takes of "Chloe" and "Stompin' at the Savoy," a soft arrangement of Jobim's Meditation," and a very lively version of "I Love You" (also featuring solos by his rhythm section). He also improvises the tasty "Joe's Blue's," plays a light samba written by the session's recording director ("El Gento"), puts some life into the normally tame 1960s pop hit "Ode to Billie Joe" by playing it in a Latin groove, and concludes with the very familiar standard from the Count Basie songbook, "Lil' Darlin'," which he must have performed hundreds of times during his career. While his playing is rather reserved compared to his later extensive recordings for Pablo, and this release is by no means near the top of the late guitarist's considerable discography as a leader or soloist, fans of Joe Pass who listen to this set won't be disappointed.

https://www.allmusic.com/album/intercontinental-mw0000471342

Artist Biography by Scott Yanow

Joe Pass did the near-impossible. He was able to play up-tempo versions of bop tunes such as "Cherokee" and "How High the Moon" unaccompanied on the guitar. Unlike Stanley Jordan, Pass used conventional (but superb) technique, and his Virtuoso series on Pablo still sounds remarkable decades later.

Joe Pass had a false start in his career. He played in a few swing bands (including Tony Pastor's) before graduating from high school, and was with Charlie Barnet for a time in 1947. But after serving in the military, Pass became a drug addict, serving time in prison and essentially wasting a decade. He emerged in 1962 with a record cut at Synanon, made a bit of a stir with his For Django set, recorded several other albums for Pacific Jazz and World Pacific, and performed with Gerald Wilson, Les McCann, George Shearing, and Benny Goodman (1973).

However, in general Pass maintained a low profile in Los Angeles until he was signed by Norman Granz to his Pablo label. 1973's Virtuoso made him a star and he recorded very prolifically for Pablo, unaccompanied, with small groups, on duo albums with Ella Fitzgerald, and with such masters as Count Basie, Duke Ellington, Oscar Peterson, Milt Jackson, and Dizzy Gillespie. Pass remained very active up until his death from cancer.

https://www.allmusic.com/artist/joe-pass-mn0000209773/biography

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Reseña de Ken Dryden

Joe Pass grabó casi exclusivamente para sellos discográficos americanos durante su larga carrera, por lo que esta fecha de estudio de 1973 para BASF es una rara excepción. Con el bajista Eberhard Weber y la pincelada del baterista Kenny Clare, el legendario guitarrista toca una media docena de estándares, incluyendo suavemente tomas de "Chloe" y "Stompin' at the Savoy", un arreglo suave de Jobim's Meditation", y una versión muy animada de "I Love You" (también con solos por su sección rítmica). También improvisa el sabroso "Joe's Blue's", toca una samba ligera escrita por el director de grabación de la sesión ("El Gento"), da vida al éxito pop "Ode to Billie Joe" de los años sesenta, que normalmente es manso, tocándolo en un ritmo latino, y concluye con el estándar muy familiar del cancionero Count Basie, "Lil' Darlin', que debe haber interpretado cientos de veces durante su carrera. Aunque su forma de tocar es bastante reservada comparada con sus posteriores grabaciones extensas para Pablo, y este lanzamiento no está de ninguna manera cerca de la cima de la considerable discografía del guitarrista fallecido como líder o solista, los fans de Joe Pass que escuchen este set no se sentirán decepcionados.

https://www.allmusic.com/album/intercontinental-mw0000471342

Biografía del artista por Scott Yanow

Joe Pass hizo lo casi imposible. Fue capaz de tocar versiones up-tempo de temas de bop como "Cherokee" y "How High the Moon" sin estar acompañado por la guitarra. A diferencia de Stanley Jordan, Pass utilizó una técnica convencional (pero magnífica), y su serie Virtuoso sobre Pablo sigue sonando notable décadas después.

Joe Pass tuvo una salida falsa en su carrera. Tocó en algunas bandas de swing (incluyendo la de Tony Pastor) antes de graduarse de la escuela secundaria, y estuvo con Charlie Barnet por un tiempo en 1947. Pero después de servir en el ejército, Pass se convirtió en un drogadicto, cumpliendo condena en prisión y perdiendo esencialmente una década. Emergió en 1962 con un corte discográfico en Synanon, causó sensación con su set For Django, grabó varios otros álbumes para Pacific Jazz y World Pacific, y actuó con Gerald Wilson, Les McCann, George Shearing, y Benny Goodman (1973).

Sin embargo, en general, Pass mantuvo un perfil bajo en Los Ángeles hasta que fue fichado por Norman Granz para su sello Pablo. El Virtuoso de 1973 lo convirtió en una estrella y grabó muy prolíficamente para Pablo, solo, con pequeños grupos, en álbumes a dúo con Ella Fitzgerald, y con maestros como Count Basie, Duke Ellington, Oscar Peterson, Milt Jackson, y Dizzy Gillespie. Pass permaneció muy activo hasta su muerte por cáncer.

https://www.allmusic.com/artist/joe-pass-mn0000209773/biography

Tracklist
A1 - Chloe - 5:24
A2 - Meditation - 5:25
A3 - I Cover The Waterfront - 4:15
A4 - I Love You - 5:00
A5 - Stompin' At The Savoy - 4:15
B1 - Watch What Happens - 5:25
B2 - Joe's Blues - 6:00
B3 - El Gento - 4:03
B4 - Ode To Billy Joe - 3:30
B5 - Lil' Darlin' - 3:45


Credits:
    Bass – Eberhard Weber
    Design – Heinz Bähr
    Drums – Kenny Clare
    Engineer – Rolf Donner
    Guitar – Joe Pass
    Photography By – Hubertus Mall
    Photography By [Inside Photos] – German Hasenfratz
    Producer – Hans Georg Brunner-Schwer
    Recording Supervisor – Willi Fruth

Notes:
Recorded June 1970 at MPS-Tonstudio, Villingen

Label: MPS Records ‎– CRM 738, BASF ‎– CRM 738
Country: Germany
Released: 1971
Genre: Jazz
Style: Bop




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