George Barnes-Carl Kress • Town Hall Concert

 

George Barnes • Guitars Galore

Biography by Scott Yanow

A major player who has always been underrated, George Barnes was one of the first to record on electric guitar (accompanying blues singers) and was a top studio guitarist during much of his career. His style was very much based in the 1930s, and his single-note lines predated Charlie Christian, although he had much less of an impact. A professional by the time he was 13, Barnes was working on the staff of NBC by 1938. Based in Chicago, he recorded with Big Bill Broonzy, Washboard Sam, and other blues performers. After a stint in the military during World War II, Barnes resumed his studio work and recorded radio transcriptions with his unusual octet. Although he performed in many types of settings in the 1950s, Barnes did not gain much recognition until he teamed up with fellow guitarist Carl Kress (whose sophisticated chord voicings perfectly complemented Barnes' solos) in the early '60s. After Kress' death in 1965, Barnes often collaborated with the younger guitarist Bucky Pizzarelli, but it was his period as co-leader of a quartet with cornetist Ruby Braff (1973-1975) that gave Barnes his greatest fame, shortly before his death. He recorded as a leader for OKeh (two numbers in 1940); Wolf; and Keynote (with his octet on a posthumously released Hindsight LP); commercial sides for Decca and Mercury; with Kress (and in one instance Bud Freeman) for Stash, United Artists, and Audiophile; with Pizzarelli for Columbia and A&R; and in the 1970s for Famous Door and Concord.

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Biografía de Scott Yanow

George Barnes, un jugador importante que siempre ha sido subestimado, fue uno de los primeros en grabar en guitarra eléctrica (acompañando a cantantes de blues) y fue uno de los mejores guitarristas de estudio durante gran parte de su carrera. Su estilo estaba muy basado en la década de 1930, y sus líneas de una sola nota eran anteriores a Charlie Christian, aunque tuvo un impacto mucho menor. Profesional a la edad de 13 años, Barnes estaba trabajando en el personal de NBC en 1938. Con base en Chicago, grabó con Big Bill Broonzy, Washboard Sam y otros artistas de blues. Después de una temporada en el ejército durante la Segunda Guerra Mundial, Barnes reanudó su trabajo en el estudio y grabó las transcripciones de radio con su inusual octeto. Aunque actuó en muchos tipos de escenarios en la década de 1950, Barnes no ganó mucho reconocimiento hasta que se unió a su compañero guitarrista Carl Kress (cuyas voces de acordes sofisticadas complementaban perfectamente los solos de Barnes) a principios de los años sesenta. Después de la muerte de Kress en 1965, Barnes a menudo colaboraba con el joven guitarrista Bucky Pizzarelli, pero fue su periodo como co-líder de un cuarteto con el cornetista Ruby Braff (1973-1975) lo que le dio a Barnes su mayor fama, poco antes de su muerte. Grabó como líder para OKeh (dos números en 1940); Lobo; y Keynote (con su octeto en un LP de Hindsight póstumamente lanzado); Lados comerciales para Decca y Mercury; con Kress (y en un caso Bud Freeman) para Stash, United Artists y Audiophile; con Pizzarelli para Columbia y A&R; y en la década de 1970 para Famous Door y Concord.

Al Caiola • Italian guitars

 

Benny Carter-George Barnes-Ruby Braff • Nice Jazz Festival [1975]

 

Jazz Renaissance Quintet • Movin' Easy

 

George Barnes ‎• Guitar Galaxies

 

Ralph Sutton & George Barnes • As Good As It Gets

Joe Venuti & George Barnes • Gems

This matchup between violinist Joe Venuti and guitarist George Barnes works quite well. With fine accompaniment from rhythm guitarist Bob Gibbons, bassist Herb Mickman and drummer Jake Hanna, the lead voices are free to romp on the ten standards. There are many high points, including "I Want to Be Happy," "Oh Baby," "Hindustan" and "Lady Be Good."

 

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Este encuentro entre el violinista Joe Venuti y el guitarrista George Barnes funciona bastante bien. Con un buen acompañamiento del guitarrista rítmico Bob Gibbons, el bajista Herb Mickman y el baterista Jake Hanna, las voces principales son libres de retozar en los diez estándares. Hay muchos puntos altos, incluyendo "I Want to Be Happy", "Oh Baby", "Hindustan" y "Lady Be Good". 

 

 

Dick Hyman & Mary Mayo • Moon Gas

En mi opinión, este album debe escucharse haciendo el ensayo de ubicarse en la época en que fue grabado, de esta manera creo puede apreciarse en su total plenitud.

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In my opinion, this album must be heard by the trial located at the time it was recorded, so I think can be seen in its fullness.

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Richard "Dick" Hyman (born March 8, 1927, New York City) is an American jazz pianist/keyboardist and composer, best known for his versatility with jazz piano styles. Over a 50-year career, he has functioned as a pianist, organist, arranger, music director, and, increasingly, as a composer. His versatility in all of these areas has resulted in well over 100 albums recorded under his own name and many more in support of other artists.

Hyman's career is pretty intimidating in its achievements and scope. He has scored, arranged and/or performend for roadway, movies, television and live radio, and he's recorded in every format, from 78s to CD-ROMs. He's got a whole gamut of music genres covered, from Jazz and Blues to Classical to Pop and Electronic Psychedelia. Hyman is exceptionally renowned as a professional musician, and was inducted into the Jazz Hall of Fame in 1995. His articulate and wry anecdotes, commentary on the business, and techniques of making music have been published along with sheet music in a series of books.

Beginning in the mid-1950s he started recording with his own name for MGM. His cover of "Moritat", on harpsichord with his trio, sold over a million copies in 1956 and was the most successful recording of the tune until Bobby Darin did it as "Mack the Knife". He was the musical director of The Arthur Godfrey Show from 1958 to 1961. He was an early staple of Enoch Light's Command label, for which he recorded light classical, swinging harpsichord, funky organ, and "now sound" combo albums. He also demonstrated his continuing interest in new keyboard instruments, releasing two of the earliest Moog albums.

The aforementioned albums, "Moog - The Electric Eclectics of Dick Hyman" and "The Age of Electronicus", will be the subject of other posts in the future here on Stereo Candies... For the time being let's take care about "Moon Gas", which is a great, Great, GREAT record from the Space Age era also due to the otherwordly vocals provided by Mary Mayo.

Born 20 July 1924 in Statesville, North Carolina, Mary Mayo first got started as a singer appearing on broadcasts from radio station WBT in Charlotte, just after the end of World War Two. Gifted with a four-octave range, she was soon spotted by talent scouts and wound up working for Tex Beneke, who was leading the post-war version of the Glenn Miller Orchestra. While singing with Beneke, she married Al Ham, an arranger and bass player in the band. Like that of other session singers, Mayo's work is largely uncredited outside her Musicians Union logs. She ghosted on the "original cast" albums of numerous Broadway musicals, and sang alongside Don Elliott in a short-lived vocal jazz combo known as the Manhattanaires. She released a couple of singles for Columbia in the 1950s and she earned a cover billing on one of Leroy Holmes' releases for MGM. Aside from "Moon Gas", her one noteworthy credited appearance of the '60s was at Duke Ellington's legendary 1969 jazz concert at the White House for President Nixon.

Dubbed "a glimpse at the possible sounds of the 22nd century" in the liner notes, "Moon Gas" was by far Mayo's most notable effort and remains much-prized by collectors of Exotica and early electronic recordings, although she enjoyed her greatest commercial success thanks to Coca-Cola: when the advertising agency McCann Erickson hired Ham to assemble a wholesome folk group to record their jingle "I'd Like To Give the World a Coke", he tapped Mayo and their daughter Lorri to lead the studio chorus, and when the commercial proved a cultural phenomenon, the song was re-recorded under the title "I'd Like to Teach the World To Sing", credited to the Hillside Singers. The Metromedia label subsequently released two full-length Hillside Singers LPs, including a Christmas recording, both featuring Mayo. In 1986 the label also issued "Time Remembered", a collection of songs she cut for the NPR radio series American Popular Song nine years earlier. Unfortunately, Mayo did not live to see the album's release, she died of cancer in December of 1985.

The following liner notes printed on the back cover of "Moon Gas" were written by Leonard Feather, a British-born jazz pianist, composer, and producer who was best known for his music journalism and other writing. Among his music releases we remember "Hi Fi Suite", recorded in 1957 with the Dick Hyman Orchestra; this is the album which contains the original version of "Space Reflex (Blues In 5/4)"...

«This is an album of amazing contrasts.

For Dick Hyman, brilliant 36-year-old pianist/organist, the album is a glimpse at the possible sounds of the 22nd century. For vocalist Mary Mayo, the setting is antithetical to almost everything she has ever known.

Says Hyman of the far-future sounds devised for Mary's environment: "A lot of electronic music has been created by making marks or cuts on the actual recording tape - the 'musique concrete' technique - as well as by using machines that make syntethic tones, or by recording various sounds and then changing them by tricks such as altering the tape speeds, playing tape backwards, adding echo and so forth. By the time you got the final product this way, it was the result of a great deal of editing and splicing of small lenghts of tape.

"We used a different approach here. The same results, we decided, can be produced by playing electronic instruments. So this is electronic music by live musicians, plus Mary's voice and a swinging rhythm section."

"The Lowrey organ has a built-in reverberation, plus a 'glide pedal' with which you can actually bend the notes. Then there's the AOC - the Accompaniment Orchestra Control - which is a feature of a smaller home model Lowrey organ that enables you to play a full chord by just hitting a single note, so that very rapid block-chord passages can be produced with just a single-finger technique."

"Then there's the Martinot, which in addition to a keyboard, has an adjustable ribbon with which theremin-like sounds can be made. And the Ondioline, a keyboard instrument with a wide variety of tones. ln addition, we used a pure-tone oscillator with a dial operated by a telegraph key."

"On top of all this, I was lucky enough to have the help of Vinnie Bell, who has some complicated home-made equipment attached to his guitar, operated by four foot-pedals; this enabled him to make a lot of the rustles, squeaks, rumbles and other inexplicable noises."

The album is a marked contrast to everything Mary Mayo has known right from birth - in a conservative Colonial-style house in Statesville, N.C. - through her upbringing, as a daughter of a concert soprano and an operatic tenor. Her own life in music, too, developed on a very different level. Irish songs, part of the family tradition, were her specialty, and a record of Molly Malone was her first big popular hit.

There is nothing illogical, though, in the radical new departure on these sides. Juilliard trained in voice, piano and theory, Mary has had every kind of experience in popular singing, from dance band work (with Tex Beneke) to theatres, supper clubs, television (with Frank Sinatra, Perry Como, Jackie Gleason, Jack Paar and the late Ernie Kovacs) and recordings with Ray Conniff, Kirby Stone and innumerable others.

Married to the talented arranger-conductor Al Ham, who doubles as manager of Oscar Brown Jr., Mary is the mother of a six-year-old daughter and in recent years has confined her activity chiefly to work in and around New York.

"I've done singing commercials ad infinitum", she reports, "and enjoy doing them; you get to work with the finest studio musicians around. But making this album with Dick Hyman was a ball - and an exciting challenge. We'd worked together on a lot of other people's records and it was great to be working on our own.

"I've been so thrilled about the whole album idea - the girl from outer space, or love music two hundred years from now. And it was a special kick, after being associated lately with so many dates on which I just sang oohs and aahs and obligatos, to know that this time I was going to be able to use real words too!"

The basic personnel comprises Dick Hyman on Lowrey organ, AOC and piano; Nick Tagg on Lowrey organ, Hammond organ, AOC and piano; Vinnie Bell on -what shall we call it?- super-electric guitar; Bob (Rosie) Rosengarden on bongos, tambourine, Martinot, oscillator, door buzzer, etc.; Osie Johnson on regular drums; and Joe Benjamin on bass (replaced on the first, third and fourth tracks on Side 2 by Milt Hilton).»

Ruby Braff & the George Barnes Quartet • Live At Nice, France

 

 

Ruby Braff-George Barnes Quartet • Salutes Rodgers And Hart

 

Review
by Scott Yanow
For the fourth of five recordings made by the classic Ruby Braff-George Barnes Quartet, ten songs by Rodgers and Hart are given melodic, swinging, creative treatment. Cornetist Braff and guitarist Barnes fed off of each other and worked very well together, while rhythm guitarist Wayne Wright and bassist Michael Moore always gave them impeccable support. Highlights of this enjoyable set include "Isn't It Romantic," "Blue Room," "You Took Advantage of Me" and "The Lady Is a Tramp."
https://www.allmusic.com/album/plays-rodgers-hart-mw0000201108

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Reseña
por Scott Yanow
En la cuarta de las cinco grabaciones realizadas por el clásico Ruby Braff-George Barnes Quartet, diez canciones de Rodgers y Hart reciben un tratamiento melódico, oscilante y creativo. El cornetista Braff y el guitarrista Barnes se alimentaron mutuamente y trabajaron muy bien juntos, mientras que el guitarrista rítmico Wayne Wright y el bajista Michael Moore les dieron siempre un apoyo impecable. Lo más destacado de este agradable set incluye "Isn't It Romantic", "Blue Room", "You Took Advantage of Me" y "The Lady Is a Tramp".
https://www.allmusic.com/album/plays-rodgers-hart-mw0000201108

       

Ruby Braff-George Barnes Quartet • Plays Gershwin

 

 

Review
by Scott Yanow
The Ruby Braff-George Barnes Quartet (comprised of cornetist Braff, Barnes and Wayne Wright on guitars and bassist Michael Moore) recorded five albums within a two-year period and all are well worth getting. For this live set from the 1974 Concord Jazz Festival, the group explores 11 Gershwin songs with consistent success. The melodic swing group (a perfect setting for Braff) is heard at its best on "'S Wonderful," "I Got Rhythm," "But Not for Me," "Love Walked In" and "They Can't Take That Away from Me."
https://www.allmusic.com/album/ruby-braff-the-george-barnes-quartet-play-gershwin-mw0000652536

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Reseña
por Scott Yanow
El Ruby Braff-George Barnes Quartet (compuesto por el cornetista Braff, Barnes y Wayne Wright en las guitarras y el bajista Michael Moore) grabó cinco álbumes en un período de dos años y todos ellos merecen la pena ser adquiridos. En este set en vivo del Festival de Jazz de Concord de 1974, el grupo explora 11 canciones de Gershwin con un éxito constante. El grupo de swing melódico (un escenario perfecto para Braff) se escucha en su mejor momento en "'S Wonderful", "I Got Rhythm", "But Not for Me", "Love Walked In" y "They Can't Take That Away from Me".
https://www.allmusic.com/album/ruby-braff-the-george-barnes-quartet-play-gershwin-mw0000652536

George Barnes • Guitar In Velvet

 

George Barnes (1921-77) was a pioneer of the electric guitar. In fact, he claimed to be utilizing a pickup and an amplifier on his guitar as early as 1931. In 1938 (on two records with Big Bill Broonzy) he was the first to record on electric guitar, predating Eddie Durham by 15 days and Charlie Christian by more than a year.

A superior swing guitarist, Barnes was a studio musician from the age of 17 and was versatile enough to perform in a countless number of settings through the years. In the jazz world, he is best known for his long-time guitar duos with Carl Kress (1961-65) and Bucky Pizzarelli (1969-72), and for the quartet that he co-led with cornetist Ruby Braff for a few years in the 1970s.

In 1946 for the fun of it, the guitarist formed the George Barnes Octet which performed his arrangements for an ensemble comprised of two clarinets and/or bass clarinetists, a musician on English horn, clarinet and oboe and another one on clarinet, flute and piccolo (the woodwind players were from the Chicago Symphony), plus piano, rhythm guitar, bass and drums-vibes. They were featured on Barnes’ 15-minute radio programs and recorded an extensive series of radio transcriptions (released decades later by Hindsight and Soundies), but it was a short-lived group.

In 1957, Barnes put together a new octet with four woodwinds, pianist Lou Stein, guitar, bass, and drums. They recorded one album, Guitar In Velvet, during their short existence. Recently the Modern Harmonic label released this long out-of-print album as an LP. As with the 1946 sessions, Barnes is virtually the only soloist (Stein gets a half-chorus on “Blue Moon”), his charts are both melodic and unpredictable, and there are plenty of surprises to be heard in his music. Only one arrangement (“September In The Rain”) is revived from his earlier octet with all of the other charts being newly written at the time.

The colorful music, which includes inventive versions of such songs as “Keeping Out Of Mischief Now,” “Love Is Just Around The Corner,” “Pardon My Southern Accent,” and “Did You Ever See A Dream Walking,” is rather unique and features George Barnes in top form. It is very good to have this rare album available again.
https://syncopatedtimes.com/george-barnes-guitar-in-velvet/

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George Barnes (1921-77) fue un pionero de la guitarra eléctrica. De hecho, afirmó que ya utilizaba una pastilla y un amplificador en su guitarra en 1931. En 1938 (en dos discos con Big Bill Broonzy) fue el primero en grabar con guitarra eléctrica, adelantándose 15 días a Eddie Durham y más de un año a Charlie Christian.

Barnes, un guitarrista de swing superior, fue un músico de estudio desde los 17 años y fue lo suficientemente versátil como para actuar en un sinnúmero de escenarios a través de los años. En el mundo del jazz, es más conocido por los dúos de guitarra que formó durante mucho tiempo con Carl Kress (1961-65) y Bucky Pizzarelli (1969-72), y por el cuarteto que codirigió con el cornetista Ruby Braff durante algunos años en la década de 1970.

En 1946, para divertirse, el guitarrista formó el George Barnes Octet, que interpretaba sus arreglos para un conjunto compuesto por dos clarinetes y/o clarinetistas bajos, un músico de corno inglés, clarinete y oboe y otro de clarinete, flauta y piccolo (los músicos de viento-madera eran de la Sinfónica de Chicago), además de piano, guitarra rítmica, bajo y batería. Aparecieron en los programas de radio de 15 minutos de Barnes y grabaron una extensa serie de transcripciones radiofónicas (publicadas décadas después por Hindsight y Soundies), pero fue un grupo de corta duración.

En 1957, Barnes formó un nuevo octeto con cuatro vientos de madera, el pianista Lou Stein, guitarra, bajo y batería. Grabaron un álbum, Guitar In Velvet, durante su corta existencia. Recientemente, el sello Modern Harmonic ha publicado este álbum, agotado desde hace tiempo, en forma de LP. Al igual que en las sesiones de 1946, Barnes es prácticamente el único solista (Stein tiene un medio estribillo en "Blue Moon"), sus gráficos son a la vez melódicos e imprevisibles, y hay muchas sorpresas en su música. Sólo un arreglo ("September In The Rain") se recupera de su anterior octeto, mientras que todos los demás temas son de nueva factura.

El colorido de la música, que incluye versiones inventivas de canciones como "Keeping Out Of Mischief Now", "Love Is Just Around The Corner", "Pardon My Southern Accent" y "Did You Ever See A Dream Walking", es bastante único y presenta a George Barnes en plena forma. Es muy bueno tener este raro álbum disponible de nuevo.
https://syncopatedtimes.com/george-barnes-guitar-in-velvet/

Bud Freeman, George Barnes & Carl Kress • Something Tender

 

 

Review:
by Ken Dryden
One of two unusual sessions featuring tenor saxophonist Bud Freeman with guitarists George Barnes and Carl Kress, this studio date for United Artists was recorded a year after a live performance in 1962, but it was issued decades sooner. Regardless whether the trio is playing a standard, a classic jazz composition, or an original of their own, they swing effortlessly together, with Freeman typically leading the way and a guitar solo to follow. The lively unison line between the tenor sax and the lead guitar combine to sound somewhat like an accordion in the lively opener, "The Eel's Nephew." Other highlights include "Doctor Paycer's Dilemma" (evidently composed at the session) and a perky take of Rodgers & Hart's "Mountain Greenery." The liner notes don't indicate which of the two guitarists is soloing on a track-by-track basis, although Kress can be identified by his advanced chordal approach. In the end, it doesn't really matter, however. All three musicians have been unjustly overlooked since their respective deaths, but this long unavailable LP is worth pursuing by serious jazz collectors.
https://www.allmusic.com/album/something-tender-mw0000896819

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Reseña:
por Ken Dryden
Una de las dos sesiones inusuales que presentan al saxofonista tenor Bud Freeman con los guitarristas George Barnes y Carl Kress, esta fecha de estudio para United Artists se grabó un año después de una actuación en vivo en 1962, pero se publicó décadas antes. Independientemente de si el trío está tocando un estándar, una composición clásica de jazz o un original propio, se balancean juntos sin esfuerzo, con Freeman normalmente liderando el camino y un solo de guitarra para seguir. La animada línea al unísono entre el saxo tenor y la guitarra principal se combinan para sonar algo así como un acordeón en el animado comienzo, "The Eel's Nephew". Otros temas destacados son "Doctor Paycer's Dilemma" (evidentemente compuesto en la sesión) y una alegre toma de "Mountain Greenery" de Rodgers & Hart. Las notas del disco no indican cuál de los dos guitarristas hace el solo pista por pista, aunque Kress puede ser identificado por su avanzada aproximación a los acordes. Sin embargo, al final, no importa realmente. Los tres músicos han sido injustamente pasados por alto desde sus respectivas muertes, pero este LP, que hace tiempo que no está disponible, merece ser buscado por los coleccionistas de jazz serios.
https://www.allmusic.com/album/something-tender-mw0000896819

George Barnes • Plays So Good

 

When George Barnes died, I lost a beautiful friend and the world lost a great musician. There have been and still are marvelous guitarists of whom l am well aware and highly respect, yet George Barnes always brought me a special sort of nourishment whenever he played — indeed, whenever I was with him. Notes, patterns, lines, call them what you will, always went where l wanted them to go. This may sound paradoxical since they always moved to unexpected places. He was certainly the wittiest jazz musician l have ever heard. As well, he was a true romanticist. And add to that, his extraordinarily acute and discerning ear resulted in some of the most brilliant solos l have ever heard. His warmth, stylishness and wit never failed to make me feel happy and fulfilled. l once suggested to him a title for an album he was planning to record. The title was Aspects of the Truth. For his concept of music was a constant series of facets of my definition of truth. l loved him very much, am desolated by his death but am delighted that his talent and taste may still be heard on this recording in which he plays the key role in a quartet of sympathetic and musically congenial fellow musicians.

Alec Wilder, from the booklet

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 Cuando George Barnes murió, perdí a un amigo hermoso y el mundo perdió a un gran músico. Ha habido y aún hay guitarristas maravillosos de los cuales soy muy consciente y muy respetado, sin embargo, George Barnes siempre me brindó un tipo de alimento especial cuando tocaba, de hecho, cuando estaba con él. Notas, patrones, líneas, llámenlas como quieran, siempre fueron a donde yo quería que fueran. Esto puede sonar paradójico ya que siempre se trasladaron a lugares inesperados. Fue sin duda el músico de jazz más ingenioso que he escuchado. Además, él era un verdadero romántico. Y a esto se añade, su oído extraordinariamente agudo y exigente resultó en algunos de los solos más brillantes que he escuchado. Su calidez, estilo e ingenio nunca dejaron de hacerme sentir feliz y satisfecho. Una vez le sugerí un título para un álbum que planeaba grabar. El título era Aspectos de la verdad. Para su concepto de música era una serie constante de facetas de mi definición de verdad. Lo quise mucho, estoy desolado por su muerte, pero estoy encantado de que su talento y gusto aún se puedan escuchar en esta grabación en la que desempeña el papel clave en un cuarteto de compañeros músicos compasivos y simpáticos.
Alec Wilder, del folleto.

 

VA • The Shadow Knows - 34 Scary Tales From The Vaults Of Horror

Halloween - from Ireland via the USA back to the European continent, the originally probably Celtic customs gained the status of a cult celebration before All Saints' Day. Halloween is celebrated every year on the night of October 31st to November 1st. At the same time it is a young epitome of pure horror and spookiness.

But Bear Family's 'Season Compilation' is not limited to the theme for one night, Halloween. We have the ubiquitous horror, the fear of terror, the born-again, the zombies and the ghosts that are in our heads and the phantoms from the horror stories and movies.

Dive into the realm of darkness and unexpected horrors with 'The Shadow Knows'! 'The Shadow Knows' delivers the perfect audio soundtrack not only for Halloween. Whenever you want to be closer to your demons, insert this CD into your player.
We wish you a scary and entertaining time.

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Halloween - desde Irlanda hasta el continente europeo, pasando por Estados Unidos, las costumbres originalmente probablemente celtas adquirieron el estatus de celebración de culto antes del Día de Todos los Santos. Halloween se celebra cada año en la noche del 31 de octubre al 1 de noviembre. Al mismo tiempo, es el epítome juvenil del horror puro y espeluznante.

Pero la "Recopilación de Temporada" de Bear Family no se limita al tema de una noche, Halloween. Tenemos el horror omnipresente, el miedo al terror, los renacidos, los zombis y los fantasmas que están en nuestras cabezas y los fantasmas de las historias y películas de terror.

¡Sumérgete en el reino de la oscuridad y los horrores inesperados con 'The Shadow Knows'! The Shadow Knows" ofrece la banda sonora perfecta no sólo para Halloween. Siempre que quieras estar más cerca de tus demonios, inserta este CD en tu reproductor.
Te deseamos que pases un rato terrorífico y entretenido.


 

George Barnes & Carl Kress • Guitars, Anyone? Why Not Start At The Top?

Joe Venuti & George Barnes • Live At The Concord Summer

Review by Scott Yanow

Violinist Joe Venuti and guitarist George Barnes (joined by pianist Ross Tompkins, bassist Ray Brown and drummer Jake Hanna) make for a very complementary team on this live session. Tompkins is featured on "Too Close for Comfort," Barnes is showcased on "I Can't Get Started," the ensemble romps on "Sweet Georgia Brown" and the full group plays a lengthy five-song Duke Ellington/Billy Strayhorn medley. Few surprises occur but there are enough fireworks to justify this album's acquisition, even by those who already own 20 Joe Venuti albums.

 

Note: On the cover, Venuti is seen using a curved violin bow.

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Reseña de Scott Yanow

El violinista Joe Venuti y el guitarrista George Barnes (junto con el pianista Ross Tompkins, el bajista Ray Brown y el baterista Jake Hanna) forman un equipo muy complementario en esta sesión en vivo. Tompkins aparece en "Too Close for Comfort", Barnes en "I Can't Get Started", el conjunto toca en "Sweet Georgia Brown" y el grupo completo toca una larga mezcla de cinco canciones de Duke Ellington y Billy Strayhorn. Pocas sorpresas ocurren pero hay suficientes fuegos artificiales para justificar la adquisición de este álbum, incluso por aquellos que ya poseen 20 álbumes de Joe Venuti.

Nota: En la portada, Venuti se ve lo utilizando un arco de violín curvado.

VA • Progressionsː 100 Years Of Jazz Guitar