It's no wonder that mandolinist David Grisman came up with the name "Dawg Music" to describe his style of playing, which draws from bluegrass, jazz, and many other forms of music. This 1978 recording has long been a favorite of Grisman's fans, as all of the compositions and performances have stood the test of time. Grisman's lively "Dawg's Bull" and guitarist Tony Rice's upbeat "Devlin'" set a high standard at the opening of the album, yet the remaining tracks continue to meet the high watermark of the first two songs. In addition to Rice's presence throughout the recording, Grisman utilizes five different bassists (only one song, "Dawgology," features two of them together), violinist Darol Anger, mandolinist Mike Marshall, and on two selections, the jazz violin master Stéphane Grappelli.
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Reseña de Ken Dryden
No es de extrañar que al mandolinista David Grisman se le ocurriera el nombre de "Dawg Music" para describir su estilo de tocar, que se inspira en el bluegrass, el jazz y muchas otras formas de música. Esta grabación de 1978 ha sido por mucho tiempo la favorita de los fans de Grisman, ya que todas las composiciones e interpretaciones han resistido el paso del tiempo. El animado "Dawg's Bull" de Grisman y el alegre "Devlin'" del guitarrista Tony Rice establecieron un alto nivel en la apertura del álbum, pero los temas restantes siguen cumpliendo con la alta marca de agua de las dos primeras canciones. Además de la presencia de Rice a lo largo de la grabación, Grisman utiliza cinco bajistas diferentes (sólo una canción, "Dawgology", presenta dos de ellos juntos), la violinista Darol Anger, el mandolinista Mike Marshall, y en dos selecciones, el maestro del violín de jazz Stéphane Grappelli.
Multiple award-nominated.record producer, Andrew A. Melzer, is releasing the album: "Don't Panic". "DON'T PANIC" is an acoustic jazz album of original compositions recorded by The Hot Club Of San Francisco at the iconic Coast Recorders (John Coltrane, Creedence Clearwater Revival, Grateful Dead, Dave Brubeck, Stan Getz). For over 30 years, The Hot Club Of San Francisco have been touring and dazzling audiences in North America and Europe. This ensemble of versatile and accomplished musicians celebrate the musical style of Django Reinhardt and Stephane Grapelli's Quintette du Hot Club de France.
Gerry Beaudoin is an American jazz guitarist who was a member of the New Guitar Summit with Jay Geils and Duke Robillard.
Beaudoin's father listened to Louis Armstrong, Count Basie, Andrés Segovia, and country music. Inspired by Chet Atkins and Johnny Cash, Beaudoin started playing guitar around the time he was ten-years-old. When he was fifteen, he began playing professionally with a country band. During the rest of high school, he played in blues bands, rock bands, and an Italian wedding band.
In 1972, he went to the Berklee College of Music in Boston. While visiting his sister in New York City, he saw performances by jazz guitarists Kenny Burrell, Jim Hall, Joe Puma, and Chuck Wayne. One night he saw Bucky Pizzarelli and was motivated to buy a seven-string guitar. Pizzarelli became a lifelong friend and mentor.
Beaudoin had the good fortune to work with two guitarists he admired when he was younger. In high school, he had seen a concert by blues guitarist Duke Robillard and Roomful of Blues that left a deep impression on him. During the 1980s, he worked with Roomful of Blues when it was led by Ronnie Earl and occasionally was accompanied by Jay McShann and Eddie Cleanhead Vinson. In high school, he was given the J. Geils Band's first album, which he tried to work out on guitar. In 1992, he met Jay Geils, who said he owned some of Beaudoin's albums. Years later, Beaudoin, Robillard, and Geils formed the New Guitar Summit, a swing trio with roots in the music of Charlie Christian and Benny Goodman. Their second album, Jazzthing II, featured guest performances by Randy Bachman.
https://en.wikipedia.org/wiki/Gerry_Beaudoin
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Gerry Beaudoin es un guitarrista de jazz americano que fue miembro de la New Guitar Summit con Jay Geils y Duke Robillard.
El padre de Beaudoin escuchaba a Louis Armstrong, Count Basie, Andrés Segovia y música country. Inspirado por Chet Atkins y Johnny Cash, Beaudoin empezó a tocar la guitarra cuando tenía diez años. A los quince años, empezó a tocar profesionalmente con una banda de country. Durante el resto de la escuela secundaria, tocó en bandas de blues, bandas de rock y en un grupo de bodas italiano.
En 1972, fue al Berklee College of Music en Boston. Mientras visitaba a su hermana en la ciudad de Nueva York, vio las actuaciones de los guitarristas de jazz Kenny Burrell, Jim Hall, Joe Puma y Chuck Wayne. Una noche vio a Bucky Pizzarelli y se sintió motivado a comprar una guitarra de siete cuerdas. Pizzarelli se convirtió en un amigo y mentor de toda la vida.
Beaudoin tuvo la suerte de trabajar con dos guitarristas que admiraba cuando era más joven. En el instituto, había visto un concierto del guitarrista de blues Duke Robillard y Roomful of Blues que le dejó una profunda impresión. Durante los años 80, trabajó con Roomful of Blues cuando era dirigido por Ronnie Earl y ocasionalmente era acompañado por Jay McShann y Eddie Cleanhead Vinson. En el instituto, le dieron el primer álbum de la J. Geils Band, que intentó grabar con la guitarra. En 1992, conoció a Jay Geils, quien dijo ser el dueño de algunos de los álbumes de Beaudoin. Años más tarde, Beaudoin, Robillard y Geils formaron el New Guitar Summit, un trío de swing con raíces en la música de Charlie Christian y Benny Goodman. Su segundo álbum, Jazzthing II, contó con la participación de Randy Bachman.
A 30 Year compilation of the best from America's longest-running and most amazing gypsy jazz band, led by internationally acclaimed guitarist/songwriter/producer/poet Paul Pazzo Mehling. Featuring 2-time Grammy Awarding winning violinist Evan Price and a host of other incredible musicians. A collection highlighting the breadth and depth of this venerable national treasure ensemble. A startlingly diverse program, '30 Years' captures the band's restlessly creative evolution with Hot Club arrangements of Thelonious Monk ('Round Midnight') and French Impressionism ('Claire de Lune'), Brazilian roots music ('Choros') and the Beatles ('Because'). Unmistakably inspired by the iconic Quintet of the Hot Club of France, the HCSF's book is unbounded by guitarist Django Reinhardt and violinist Stephane Grappelli's repertoire and rhythmic palette. 'People think of Gypsy jazz and think swing, but when you look closely there's not a lot of swing on this album,' Mehling says. 'We specialize in the unexpected. '
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Una recopilación de 30 años con lo mejor de la banda de jazz gitano más longeva y sorprendente de Estados Unidos, liderada por el guitarrista, compositor, productor y poeta de renombre internacional Paul Pazzo Mehling. Con la participación del violinista Evan Price, ganador de dos premios Grammy, y un elenco de otros músicos increíbles. Una colección que destaca la amplitud y profundidad de este venerable conjunto, auténtico tesoro nacional. Con un programa sorprendentemente variado, «30 Years» captura la incansable evolución creativa de la banda con arreglos del Hot Club de Thelonious Monk («Round Midnight») y el impresionismo francés («Claire de Lune»), la música tradicional brasileña («Choros») y los Beatles («Because»). Inspirado inequívocamente en el icónico Quinteto del Hot Club de Francia, el repertorio del HCSF no se limita al repertorio y la paleta rítmica del guitarrista Django Reinhardt y el violinista Stephane Grappelli. «La gente piensa en el jazz gitano y piensa en swing, pero cuando lo miras de cerca, no hay mucho swing en este álbum», dice Mehling. «Nos especializamos en lo inesperado».
David Grisman's self-named "Dawg" music defies traditional categories, as it is such a unique blend of many influences, including bluegrass, jazz, gypsy music, Latin, and so much more. He's joined by flutist Matt Eakle, percussionist and violinist Joe Craven, bassist Jim Kerwin, and guitarist Rick Montgomery. The veteran mandolinist wrote six of the eight songs, starting with the cheerful opener, which features everyone in turn. ... Full Description The intricate waltz "Dawgmatism" adds an exotic flavor with Craven's violin and Eakle's haunting flute. "Jazzin' (With Joe-Bob)" is a wild masterpiece (later appearing in slightly different form on his compilation DGQ-20 with jazz DJ Al "Jazzbeaux" Collins as "Jazzin' With Jazzbeaux"), with Craven providing percussion on bongos (and vocals with assorted hisses and comments) as well as overdubbing a slashing violin solo. "Steppin' With Stephane" was originally recorded by Grisman with its honoree, jazz violin great Stephane Grappelli. This version is lighter but every bit as swinging. "Bolero de Django," composed by Django Reinhardt, has a definite gypsy air, though Eakle's alto flute gives the piece a more modern flavor. "New Dawg's Rag" is an updated arrangement of an earlier Grisman chart; while the instrumentation has been changed, the impact of this brilliant performance is still pure magic. Throughout this release, Grisman's playing is nothing short of phenomenal. It should come as no surprise that fans of David Grisman should consider this CD an essential purchase. ~ Ken Dryden Live Recording David Grisman Quintet: David Grisman (mandolin); Rick Montgomery (guitar); Joe Craven (violin, percussion); Matt Eakle (flute); Jim Kerwin (bass). Composer: David Grisman. Personnel: David Grisman (mandolin); Rick Montgomery (guitar); Joe Graven, Joe Craven (violin, percussion); Matt Eakle (flute). Audio Mixer: David Grisman. Recording information: Dawg Studios. Photographer: Gary Nichols. Unknown Contributor Role: Steve Gilchrist
“Dawgwood features the David Grisman Quintet with David on mandolin, Jim Kerwin on bass, Matt Eakle on flute, Rick Montgomery on guitar, and Joe Craven on percussion and violin. The breadth and beauty of this collection-from David’s own award-winning dawg music to jazz by Django Reinhardt and Latin by Jacob do Bandolim - make it one of Grisman’s most satisfying yet. Dawgwood captures the personality, talents, and charm of a band that has been captivating audiences for several years. On it you will hear some of the finest acoustic music played by some of the best acoustic musicians of our time.” Dawgnet “Again, the DGQ has given us a C.D. of “dawg music” that combines the best of jazz, classical, and mountain string music. The entire C.D. can be enjoyed as “background” music, but it is difficult to listen to it without being distracted to it because of all the intricate solos and complicated duets, trios, etc. There is not a “bad” track on the entire C.D. and each song is uplifting to the spirit much as the Dogwood blooming in Spring. AMAZON
Unlike some of the gypsy jazz groups that are around today and very much dedicated to the music of Django Reinhardt and Stephane Grappelli, the Hot Club of San Francisco have added quite a few new originals and offbeat material to their repertoire. The quintet/sextet, which differs from the Quintet of the Hot Club of France in its use of two violins on five of the 13 selections, plays tangos, waltzes, and some more modern tunes in addition to Django swing tunes. Guitarist Paul Mehling and violinist Evan Price are the main soloists, but all of the musicians are quite talented. Whether it be the heated "Lover's Leap," the haunting "Alle Prese Son una Verde Milonga," a vocalized version of "Nuages" (renamed "Theme from Gypsyland"), or "Song of India," this CD is a consistent delight that is full of surprising moments and fresh material. ~Scott Yanow
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A diferencia de algunos de los grupos de jazz gitano que existen hoy en día y que se dedican en gran medida a la música de Django Reinhardt y Stephane Grappelli, el Hot Club of San Francisco ha añadido bastantes temas originales y poco convencionales a su repertorio. El quinteto/sexteto, que se diferencia del Quinteto del Hot Club de Francia por el uso de dos violines en cinco de las trece selecciones, toca tangos, valses y algunas melodías más modernas, además de las melodías swing de Django. El guitarrista Paul Mehling y el violinista Evan Price son los solistas principales, pero todos los músicos tienen mucho talento. Ya sea el apasionado «Lover's Leap», el evocador «Alle Prese Son una Verde Milonga», una versión vocalizada de «Nuages» (rebautizada como «Theme from Gypsyland») o «Song of India», este CD es un deleite constante, lleno de momentos sorprendentes y material fresco. ~Scott Yanow
Stephane Grappelli/David Grisman Live is album by musicians David Grisman and Stephane Grappelli, released in 1981. It was recorded live on September 20, 1979 at Berklee center, Boston except for "Satin Doll", which was recorded on September 7, 1979 at the Great American Music Hall, San Francisco.
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Stephane Grappelli/David Grisman Live es un álbum de los músicos David Grisman y Stephane Grappelli, publicado en 1981. Fue grabado en vivo el 20 de septiembre de 1979 en Berklee center, Boston, excepto "Satin Doll", que fue grabado el 7 de septiembre de 1979 en el Great American Music Hall, San Francisco.
In early 1980 David Grisman recorded the first of four studio albums for Warner Brothers Records. Quintet ‘80 introduced a newly formed quintet featuring multi-instrumentalists Mike Marshall and Mark O’Connor, bassist Rob Wasserman and founding member Darol Anger on violin and cello. The original LP has been out of print for nearly three decades and this Deluxe Edition presents all of the original master takes plus five previously unissued alternate takes, all newly transferred to the highest quality sound format available (24 bit, 96khz) at Acoustic Oasis.
http://www.acousticoasisdownloads.com
Grisman grew up in a Conservative Jewish household in Hackensack, New Jersey. He started his musical career in 1963 as a member of Even Dozen Jug Band. His nickname "Dawg" was affectionately assigned by his close friend Jerry Garcia in 1973 (the two met in 1964 at a Bill Monroe show at Sunset Park in West Grove, Pennsylvania). "Dawg Music" is what he calls his mixture of bluegrass and Django Reinhardt/Stéphane Grappelli-influenced jazz, as highlighted on his album Hot Dawg (recorded Oct. 1978, released 1979). Stephane Grappelli played on a couple of tracks on Hot Dawg and then the 1981 recording Stephane Grappelli and David Grisman Live. It was Grisman's combination of Reinhardt-era Jazz, bluegrass, folk, Old World Mediterranean string band music, as well as modern Jazz fusion that came to embody "Dawg" music.
Grisman's father had been a professional trombonist at one time and had young David begin piano lessons at the age of seven. In the early 1950s, Grisman heard the beginnings of rock 'n' roll and was influenced by pop music and everything he heard. Following his father's death, when David was 10, he drifted away from the piano. He took it up again when he was about 13 or 14, soon discovering folk music through the Kingston Trio, a group that became popular during the American folk music revival.
David and three friends from his school then met folklorist and musician Ralph Rinzler in Passaic, New Jersey, and became greatly influenced by Rinzler's vast knowledge about traditional music. During this period, Greenwich Village in New York City was already bustling with folk musicians, and David realized what he wanted to do with his life. In 1963, Grisman played in the Even Dozen Jug Band, who recorded an album that year on Elektra Records.
Grisman did a Red Allen and Frank Wakefield session for Folkways Records in 1963 but didn't perform with Red Allen and the Kentuckians until 1966. Also in 1966, Grisman recorded Early Dawg, a live recording from a show in New York that featured the talents of Del McCoury on guitar and vocals, and Jerry McCoury on bass. The album was not released until 1980. Grisman then played mandocello on Tom Paxton's album Morning Again (Elektra, 1967).
In 1967, Grisman was in a psychedelic rock group called Earth Opera with Peter Rowan. In 1973, Grisman joined Rowan, Vassar Clements, Jerry Garcia and John Kahn to form the bluegrass group Old and in the Way. It was while with this group that Garcia gave him his nickname, after a dog he saw behind Grisman while they were driving in Stinson Beach. In 1974, Grisman, Rowan, and Richard Greene joined Bill Keith, and the late, great Clarence White, in the group Muleskinner. In 1974, Grisman was also in The Great American Music Band. Then in 1975 he started his own band, the David Grisman Quintet (DGQ), which released its first album in 1977.
Grisman also played mandocello on Bonnie Raitt's album Sweet Forgiveness (1977).
David Grisman Bluegrass Experience at DelFest, May 30, 2010
In addition to performing with the Quintet, Grisman also performs with his bluegrass group, the DGBX (David Grisman Bluegrass Experience). Other members of the DGBX are Keith Little on banjo, Chad Manning on fiddle, Jim Nunally on guitar and Samson Grisman on upright bass. He has also recorded an album and toured as a duo with John Sebastian.
http://en.wikipedia.org/wiki/David_Grisman
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A principios de 1980 David Grisman grabó el primero de cuatro álbumes de estudio para Warner Brothers Records. El quinteto '80 presentó un quinteto recién formado con los multi-instrumentistas Mike Marshall y Mark O'Connor, el bajista Rob Wasserman y el miembro fundador Darol Anger en violín y cello. El LP original ha estado agotado durante casi tres décadas y esta edición de lujo presenta todas las tomas originales del maestro más cinco tomas alternativas no publicadas anteriormente, todas recién transferidas al formato de sonido de más alta calidad disponible (24 bits, 96khz) en Acoustic Oasis.
http://www.acousticoasisdownloads.com
Grisman creció en un hogar judío conservador en Hackensack, Nueva Jersey. Empezó su carrera musical en 1963 como miembro de Even Dozen Jug Band. Su apodo "Dawg" le fue asignado cariñosamente por su amigo cercano Jerry García en 1973 (los dos se conocieron en 1964 en un show de Bill Monroe en Sunset Park en West Grove, Pennsylvania). "Dawg Music" es lo que él llama su mezcla de bluegrass y jazz con influencia de Django Reinhardt/Stéphane Grappelli, como se destaca en su álbum Hot Dawg (grabado en octubre de 1978, publicado en 1979). Stéphane Grappelli tocó en un par de temas en Hot Dawg y luego en la grabación de 1981 Stephane Grappelli y David Grisman Live. Fue la combinación de Grisman de Jazz de la era Reinhardt, bluegrass, folk, música de bandas de cuerda del Mediterráneo del Viejo Mundo, así como la fusión de Jazz moderno que llegó a encarnar la música de "Dawg".
El padre de Grisman había sido trombonista profesional en un momento dado e hizo que el joven David comenzara a tomar clases de piano a los siete años. A principios de los 50, Grisman escuchó los comienzos del rock 'n' roll y fue influenciado por la música pop y todo lo que escuchaba. Tras la muerte de su padre, cuando David tenía 10 años, se alejó del piano. Lo retomó cuando tenía 13 o 14 años, y pronto descubrió la música folclórica a través del Kingston Trio, un grupo que se hizo popular durante el resurgimiento de la música folclórica americana.
David y tres amigos de su escuela conocieron al folclorista y músico Ralph Rinzler en Passaic, Nueva Jersey, y se vieron muy influenciados por el vasto conocimiento de Rinzler sobre la música tradicional. Durante este período, Greenwich Village en Nueva York ya estaba lleno de músicos folclóricos, y David se dio cuenta de lo que quería hacer con su vida. En 1963, Grisman tocó en la Even Dozen Jug Band, que grabó un álbum ese año en Elektra Records.
Grisman hizo una sesión de Red Allen y Frank Wakefield para Folkways Records en 1963, pero no actuó con Red Allen y los Kentuckians hasta 1966. También en 1966, Grisman grabó Early Dawg, una grabación en directo de un espectáculo en Nueva York que contó con el talento de Del McCoury en la guitarra y la voz, y Jerry McCoury en el bajo. El álbum no se publicó hasta 1980. Grisman luego tocó el mandocello en el álbum de Tom Paxton Morning Again (Elektra, 1967).
En 1967, Grisman estuvo en un grupo de rock psicodélico llamado Earth Opera con Peter Rowan. En 1973, Grisman se unió a Rowan, Vassar Clements, Jerry García y John Kahn para formar el grupo de bluegrass Old and in the Way. Fue mientras con este grupo que García le dio su apodo, por un perro que vio detrás de Grisman mientras conducían por Stinson Beach. En 1974, Grisman, Rowan y Richard Greene se unieron a Bill Keith, y al difunto gran Clarence White, en el grupo Muleskinner. En 1974, Grisman también estaba en la Great American Music Band. Luego, en 1975, comenzó su propia banda, el David Grisman Quintet (DGQ), que lanzó su primer álbum en 1977.
Grisman también tocó el mandocello en el álbum Sweet Forgiveness (1977) de Bonnie Raitt.
David Grisman Bluegrass Experience en el DelFest, 30 de mayo de 2010
Además de actuar con el Quinteto, Grisman también actúa con su grupo de bluegrass, el DGBX (David Grisman Bluegrass Experience). Otros miembros de la DGBX son Keith Little en el banjo, Chad Manning en el violín, Jim Nunally en la guitarra y Samson Grisman en el bajo vertical. También ha grabado un álbum y ha hecho una gira a dúo con John Sebastian.
The
Hot Club of San Francisco is an American gypsy jazz band. Led by
guitarist, songwriter, and arranger Paul 'Pazzo' Mehling, the group uses
the instrumentation of violin, bass, and guitars from Django Reinhardt
and Stephane Grappelli’s Quintette du Hot Club de France and performs
arrangements of gypsy jazz standards, pop songs, and original
compositions by Mehling. The Hot Club of San Francisco includes
violinist Evan Price, the vocals of various members, and a swing rhythm
section. In the book, Django Reinhardt and the Illustrated History of
Gypsy Jazz, Michael Dregni refers to the Hot Club of San Francisco as
"one of the first American gypsy jazz bands."
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El
Hot Club de San Francisco es un grupo estadounidense de jazz gitano.
Liderado por el guitarrista, compositor y arreglista Paul 'Pazzo'
Mehling, el grupo utiliza la instrumentación de violín, bajo y guitarras
del Quintette du Hot Club de France de Django Reinhardt y Stephane
Grappelli e interpreta arreglos de estándares de jazz gitano, canciones
pop y composiciones originales de Mehling. El Hot Club de San Francisco
incluye al violinista Evan Price, las voces de varios miembros y una
sección rítmica de swing. En el libro Django Reinhardt and the
Illustrated History of Gypsy Jazz, Michael Dregni se refiere al Hot Club
of San Francisco como "una de las primeras bandas americanas de gypsy
jazz".
Early Dawg originally released on LP by Sugar Hill Records in 1980. This deluxe edition includes the original 16 tracks, combined with 13 previously unpublished tracks and David’s first recorded mandolin instrumental, “Mandolin King Rag” from the Even Dozen Jug Band LP, released on Elektra Records in 1964. Among these performances are the earliest recordings of Dawg’s first original compositions, “Cedar Hill”, “Fanny Hill”, “Opus 57”, “Opus 38” and his only banjo tune — “New York Ramble”, played by Winnie Winston and later renamed “Dawggy Mountain Breakdown”, the “Car Talk” theme recorded with Earl Scruggs. This music is presented chronologically, spanning the decade between 1963-1973 and features Del and Jerry McCoury, Bill Keith and many other incredible musicians who inspired the “early Dawg.” https://acousticdisc.com/product/early-dawg-deluxe-david-grisman-hi-def-download/
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Early Dawg fue lanzado originalmente en LP por Sugar Hill Records en 1980. Esta edición de lujo incluye las 16 pistas originales, combinadas con 13 pistas inéditas y el primer instrumental de mandolina grabado de David, "Mandolin King Rag" del LP Even Dozen Jug Band, lanzado por Elektra Records en 1964. Entre estas actuaciones se encuentran las primeras grabaciones de las primeras composiciones originales de Dawg, "Cedar Hill", "Fanny Hill", "Opus 57", "Opus 38" y su única melodía de banjo," New York Ramble", interpretada por Winnie Winston y más tarde rebautizada como "Dawggy Mountain Breakdown", el tema "Car Talk" grabado con Earl Scruggs. Esta música se presenta cronológicamente, abarcando la década entre 1963-1973 y presenta a Del y Jerry McCoury, Bill Keith y muchos otros músicos increíbles que inspiraron el " early Dawg.” https://acousticdisc.com/product/early-dawg-deluxe-david-grisman-hi-def-download/
On Dawganova, Grisman and his quintet add Latin and bossa nova rhythms
and melodies to their distinctive blend of bluegrass, folk, and jazz;
the results are energetic, and usually quite successful.
Dawganova is a 1995 all-instrumental album by American musician David
Grisman, recorded with his group The David Grisman Quintet. It's a
unique collection of Latin rhythms and melodies inspired by the group's
newest member, Argentine guitar virtuoso, Enrique Coria. Five Grisman
originals are accompanied by classical Latin standards: "El
Cumbanchero", "Tico Tico", "Manha de Carnaval" and the Nat "King" Cole
classic "Nature Boy".
In his Allmusic review, Stephen Thomas Erlewine stated "Grisman's
distinctive blend of bluegrass, folk, jazz, and, in this case, latin
music is energetic and very impressive."
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En Dawganova, Grisman y su quinteto añaden ritmos y melodías latinas y
de bossa nova a su distintiva mezcla de bluegrass, folk y jazz; los
resultados son enérgicos y, por lo general, bastante exitosos.
Dawganova es un álbum totalmente instrumental de 1995 del músico
americano David Grisman, grabado con su grupo The David Grisman Quintet.
Es una colección única de ritmos y melodías latinas inspiradas por el
miembro más reciente del grupo, el virtuoso de la guitarra argentina,
Enrique Coria. Cinco originales de Grisman están acompañados por
estándares clásicos latinos: "El Cumbanchero", "Tico Tico", "Manha de
Carnaval" y el clásico de Nat "King" Cole "Nature Boy".
En su reseña de Allmusic, Stephen Thomas Erlewine declaró: "La mezcla
distintiva de Grisman de bluegrass, folk, jazz, y, en este caso, de
música latina es enérgica y muy impresionante".
Review by Ken Dryden While mandolin master David Grisman and the equally talented guitarist Tony Rice may be better known in the world of bluegrass, jazz fans need to check out Tone Poems, an excellent collection of mandolin/guitar duets, performed with different vintage instruments on each track. The improvising by both men is never less than brilliant, transforming traditional folk tunes like "Grandfather's Clock" and "I Am a Pilgrim," plus the unlikely "O Solo Mio," into masterpieces. The lone track that's very familiar to jazz listeners is "Swing '42," played very convincingly by two men who are well-versed in jazz even if they don't play it exclusively. https://www.allmusic.com/album/tone-poems-mw0000115788
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Reseña de Ken Dryden Mientras que el maestro de la mandolina David Grisman y el igualmente talentoso guitarrista Tony Rice pueden ser más conocidos en el mundo del bluegrass, los fanáticos del jazz necesitan ver Tone Poems, una excelente colección de dúos de mandolina y guitarra, interpretados con diferentes instrumentos antiguos en cada pista. La improvisación de ambos hombres nunca es menos que brillante, transformando en obras maestras las melodías folclóricas tradicionales como "Grandfather's Clock" y "I Am a Pilgrim", además de la improbable "O Solo Mio". El único tema que es muy familiar para los oyentes de jazz es "Swing '42", tocado de forma muy convincente por dos hombres muy versados en jazz aunque no lo toquen en exclusiva. https://www.allmusic.com/album/tone-poems-mw0000115788
David Grisman doesn't stick exclusively to mandolin on this top-notch duo date with guitarist Martin Taylor, playing mandola, mandocello, tenor guitar, and guitar as well. As on this album's predecessor, the two artists play a different vintage instrument on each track, though the music this time is much more familiar to jazz fans. The interpretations of such classics as "Swanee," "Anything Goes," "Blue Moon," and "Over the Rainbow" are consistently both stunning and fresh. The gems among the jazz compositions include Django Reinhardt's "Tears" and a tour de force arrangement of Chick Corea's "Crystal Silence." Two surprising tracks are the usually trite "Mairzy Doats" (an irritating song that was a huge hit in the '40s) and the very snappy take of the often tedious "Besame Mucho"; when musicians the caliber of Grisman and Taylor can make something out of unpromising songs like these, it demonstrates how gifted they are. Highly recommended.
Tone Poems 2 is an album by American musicians David Grisman and Martin Taylor, released in 1995. It is Grisman's follow-up to his collaboration with guitarist Tony Rice on Tone Poems. This is a more jazz-oriented recording, on which Grisman and Taylor play on a variety of vintage fretted classic instruments (altogether they use 41 guitars, mandolins, mandolas, tenor guitars and mandocellos).
David Grisman no se ciñe exclusivamente a la mandolina en esta cita a dúo de primera categoría con el guitarrista Martin Taylor, tocando mandola, mandocello, guitarra tenor y guitarra también. Como en el álbum anterior, los dos artistas tocan un instrumento vintage diferente en cada canción, aunque la música esta vez es mucho más familiar para los fans del jazz. Las interpretaciones de clásicos como "Swanee", "Anything Goes", "Blue Moon" y "Over the Rainbow" son consistentemente impresionantes y frescas. Las joyas entre las composiciones de jazz incluyen "Lágrimas" de Django Reinhardt y un arreglo "tour de force" de "Silencio de Cristal" de Chick Corea. Dos temas sorprendentes son el usualmente trillado "Mairzy Doats" (una canción irritante que fue un gran éxito en los años 40) y la muy rápida toma del a menudo tedioso "Besame Mucho"; cuando músicos del calibre de Grisman y Taylor pueden hacer algo con canciones poco prometedoras como estas, demuestra lo dotados que están. Muy recomendable.
Tone Poems 2 es un álbum de los músicos americanos David Grisman y Martin Taylor, publicado en 1995. Es la continuación de la colaboración de Grisman con el guitarrista Tony Rice en Tone Poems. Se trata de una grabación más orientada al jazz, en la que Grisman y Taylor tocan una variedad de instrumentos clásicos antiguos con trastes (en total utilizan 41 guitarras, mandolinas, mandolas, guitarras de tenor y mandocellos).
