egroj world: Jimmy Raney • Here's That Raney Day

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Wednesday, September 21, 2022

Jimmy Raney • Here's That Raney Day

 



In 1953, just after the death of the somewhat foriqotten about Djaggo Reinhardt, guitarist Jimmy Raney visited Paris, appeared at the Blue Note and made two sensational records. A page seemed to be forever turned on a particular kind of lyricism and expressionistic approach to the instrument ("Django ? It’s mandolin !" Raney reportedly declared ; he probably meant that Django’s playing was too flowery). The fluid phrasing of the West Coast saxophonists was then preferred to the purely guitar-like effects by the french gipsy player. The mood was one of restraint and checked emotion. As the french jazz critic Lucien Malson wrote it : "Jimmy Raney seeks pure simplicity in the melodic line. No ornamental motives, no superfluity or notes irrelevant to the chords : solid, sober and elegant sketches, supported by a full tone and drawn by the skillful hand of a remarkable technician". In this game where effusion was banned, the guitar could hardly play a hand ; but Raney’s crystal-clear improvisations, almost like written masterpieces, fascinated and inspired all the guitarists of that time (including Tal Farlow). All in all, Charlie Christian's influence prevailed during this decade through Jimmy Raney’s playing, and only with Wes Montgomery, through a slow reversing process, did the jazz guitar rediscover the specific flavor of the instrument. Since then, it seems that Jimmy Raney has achieved a skillful synthesis of these trends, without losing any of his originality. After a rather long eclipse, Jimmy Raney has recently made a remarkable comeback. His touch, once somewhat unsubstantial, has now become full-bodied, his tone is more vibrant and his phrasing, where no difficult passage is skipped over, now uses the whole range of the instrument ; hence a chromaticism rarely heard before in his playing and which the american jazz critic Ira Gitler did not hesitate to term "djangoesque". This deep evolution is best revealed on this record...
Alain Antonio (booklet, original notes from the french reissue)

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En 1953, justo después de la muerte del algo olvidado Djaggo Reinhardt, el guitarrista Jimmy Raney visitó París, se presentó en el Blue Note y grabó dos discos sensacionales. Parecía que se pasaba página para siempre a un tipo particular de lirismo y enfoque expresionista del instrumento ("¿Django? Es una mandolina". Raney declaró, probablemente, que la forma de tocar de Django era demasiado florida). El fraseo fluido de los saxofonistas de la Costa Oeste era entonces preferido a los efectos puramente guitarreros del gitano francés. El ambiente era de contención y emoción controlada. Como escribió el crítico de jazz francés Lucien Malson: "Jimmy Raney busca la simplicidad pura en la línea melódica. Ningún motivo ornamental, ninguna superfluidad o notas irrelevantes para los acordes : esbozos sólidos, sobrios y elegantes, apoyados en un tono pleno y dibujados por la mano hábil de un técnico notable". En este juego en el que la efusión estaba prohibida, la guitarra apenas podía echar una mano ; pero las improvisaciones cristalinas de Raney, casi como obras maestras escritas, fascinaron e inspiraron a todos los guitarristas de la época (incluido Tal Farlow). En definitiva, la influencia de Charlie Christian se impuso durante esta década a través de la forma de tocar de Jimmy Raney, y sólo con Wes Montgomery, a través de un lento proceso de inversión, la guitarra de jazz redescubrió el sabor específico del instrumento. Desde entonces, parece que Jimmy Raney ha logrado una hábil síntesis de estas tendencias, sin perder nada de su originalidad. Después de un eclipse bastante largo, Jimmy Raney ha hecho recientemente un notable regreso. Su toque, antes algo insustancial, se ha convertido en algo con cuerpo, su tono es más vibrante y su fraseo, en el que no se salta ningún pasaje difícil, utiliza ahora toda la gama del instrumento; de ahí un cromatismo raramente escuchado antes en su forma de tocar y que el crítico de jazz americano Ira Gitler no dudó en calificar de "djangoesco". Esta profunda evolución se revela mejor en este disco...
Alain Antonio (folleto, notas originales de la reedición francesa)


Raney Legacy ...


Tracks
1 Chewish Chive and English (Raney)  5:15
2 Back Home Again in Indiana (Hanley, McDonald)  4:43
3 Au Privave (Parker)  5:48
4 Scrapple from the Apple (Parker)  7:12
5 You Don't Know What Love Is (DePaul, Raye)  7:37
6 All the Things You Are (Hammerstein, Kern)  7:35
7 Chasin' the Bird (Parker)  7:16
8 Back Home Again in Indiana [alt. take] (Hanley, McDonald)  5:38
9 Chewish Chive and English [alt. take] (Raney)  4:34


Credits:
Jimmy Raney - g
Hank Jones - p
Pierre Michelot - b
Jimmy Cobb - dr

Recorded at Black & Blue open air studio, Nice (France), Grande Parade du Jazz ; July 21, 1980






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2 comments:

  1. 𝙋𝙧𝙞𝙢𝙚𝙧𝙤 "𝙈𝙞𝙘𝙝"𝙖𝙢𝙚𝙣𝙩𝙚 𝙖𝙜𝙧𝙖𝙙𝙚𝙘𝙚𝙧 𝙚𝙡 𝙖𝙥𝙤𝙧𝙩𝙚, 𝙮𝙖 𝙦𝙪𝙚 𝙚𝙨 𝙤𝙩𝙧𝙖𝙨 𝙙𝙚 "𝙢𝙞𝙨" 𝙙𝙞𝙨𝙘𝙤𝙨 𝙨𝙞𝙣 𝙘𝙪𝙡𝙢𝙞𝙣𝙖𝙧 𝙮 𝙘𝙤𝙢𝙪𝙣𝙞𝙘𝙖𝙧𝙩𝙚, 𝙦𝙪𝙚 𝙣𝙤 𝙢𝙚 𝙚𝙭𝙩𝙧𝙖𝙣̃𝙖 𝙦𝙪𝙚 𝙚𝙨𝙩𝙚 "algo olvidado Djaggo Reinhardt", 𝙥𝙤𝙧𝙦𝙪𝙚 𝙥𝙤𝙧 𝙢𝙞 𝙥𝙖𝙧𝙩𝙚, 𝙣𝙞 𝙡𝙤 𝙘☺𝙣☻𝙯𝙘☺. 𝘼𝙗𝙧𝙖𝙯🤗. 🖖😎

    ReplyDelete
  2. Sí nuevos artistas del universo paralelo.
    ;)

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