Conference napalm::guitar

    Danny, isn't Lee Ritenour considered a jazz player?  What is your
    opinion of him?
    
    Mike

	What about Gabor Szabo?? A minimalist in the area of guitar jazz.
	For those of you who have never heard of him, if you've heard the
	'GIPSY QUEEN' part of the Santana cut 'BLACK MAGIC WOMAN/GIPSY QUEEN',
	you've heard Carlos Santana playing almost note for note Gabors
	guitar part. He died a few years ago, but his albums are still out
	there. He used only simple drums to back up his music, and as you
	might have guessed, he was Hungarian & merged Jazz and Gypsy
	Influences. Carlos Santana's sytle is highly influenced by
	Gabor Szabo.

							Jens

	What about Al DiMeola? Is this guy jazz or fusion or what?

    I'd consider both Lee Ritenour and Al DiMeola to be "Fusion" 
    players,and if you want to call them Jazz Fusion I suppose
    you could but not strict Jazz player's.
    
    						Rick
    

    
    	"Chromatic palette" by Tal Farlow is a nice album.
    
    	Joe Jasniewski
    

	I would add to this list with the following:

Herb Ellis- Hello Herbie(Oscar Peterson trio)

Jim Hall- Live

Joe Puma- Chuck Wayne/Joe Puma-Interactions

Jack Wilkins-?

	I totally agree with your All time greats,and most of the Almost
great's except for a few. I also agree with your opinion on the Overated
except for one,but I'm keeping mind it's really more of a public opinion
that these player's have become overated or a marketing ploy.
	I'd agree with you on George Benson also and so would a lot of
people if they heard "Cookbook" I believe. 
	Of course the up and coming players seem so few and far between,
I'll have to check out Collins and Forman.
	Joe Beck has been around for years doing the studio scene,I'm
kinda suprised he fall's into this category at all,he must have made some
changes.
	Alot of good guitarist's and music,now to find place's where these
recording's can be bought!!!!!!

						Thank's Danny!

							 Rick	

    I've been more or less disgusted with Pat Metheny's overall direction
    since about his second album, but have you checked out some of the
    solos on his latest ("Letter From Home")?  Just in terms of his
    command of jazz guitar technique and harmonic sophistication, I
    wouldn't relegate him to the overrated heap...
    
    Paul

    Random answers:
    
    Rick expressed my feelings about Rit and DiMeola. I think Al is a
    teriffic player and I have a number of his records, I just don't hear
    any jazz in them. Rit is technically excellent, but virtually
    everything I have heard from him is too pop for me.
    
    I mentioned Szabo in the basenote. His earlier records showed an
    incredible talent, and a strong, progressive bop flair. In the '60's,
    he moved to a psychedelic-flavored pseudo-Indian sort of music that I
    thing grew steadily more formulaic and boring.
    
    Joe Beck seems to veer between jazz, fusion and elevator music. I think
    he could be one of the greats if he would pick a direction and stick
    with it. Same with my other "Jury is out' choices. Eubanks first couple
    of records floored me, but his newer ones are synthed and vocalled
    beyond what I like. Johnson is a second-rate Benson right now, but he
    certainly has the chops to do better. Lagrene seems to have detoured
    completely into rock-jazz after his promising start. I still have high
    hopes for all these players, but it is true--the "Up & Coming" ranks
    are still thin.
    
    The recommended records are not necessarily the "best of". For example,
    most of Herb Ellis's records are excellent, but none stands out as
    being significantly better than his others. Kessel really only plays
    one way, but it's a great way, so if you like his style (I do), you'll
    like most of his records. Burrell, on the other hand, has a wide range,
    and I've selected records that reflect this.
    
    Danny W.
    
    
    

    
    Great to see Bruce Foreman get a nod. Bruce played in Richie 
    Cole's band for several years. Some great be-bop guitar can be heard
    on some of those Richie Cole albums. He got a mention in the downbeat
    musicians poll, although I don't know if he has any solo records
    out. 
    
    I agree with what's been said about DiMeola. He's great, but it's
    not what I would call Jazz. Always liked his acoustic guitar playing
    better than his electric playing. 
    
    McLaughlin has often played that style of Jazz (?) which borders
    on irritating, but for some reason I like it occasionally. Whatever.

    I can only hope that Pat Martino can continue his comeback.
    
    What about Tuck Andres ??? Has anyone heard of Fareed Hacque(sp)??
    He also got a mention in the downbeat poll, and plays here in Chicago
    fairly often. Haven't checked him out yet.
 
    This conference really needed this note! Thanks!
    
    Phil   
    
    
 
       
   
    
   
    Phil
    
    

    
re. 7 Paul....
	"Letter from Home" was a letdown for me and I find myself
wanting to listen to more of his earlier stuff or someone else... I
also felt "Still life Talking" was dissapointing,but his "Pat Metheny
Group" release I liked.(I realize I'm going backwards in release's)
I don't believe his technique or sophistication categorizes him as much
as his musical direction/musicality. His first couple of albums are
more guitar oriented,whereas his newer stuff is more ensemble focused.
              

    re: .10
    
    I agree with you.  I thought "Bright Size Life" was a classic for
    all time; to me, it was a really hopeful indication that the guitar
    trio format still has a lot of untapped potential (although sometimes
    overdubbing made it a quartet).  I've been kind of let down by his 
    direction since just because I really hoped he would keep developing 
    that.  I also thought Pat's playing on Gary Burton's "Dreams So Real" 
    was really good, not because of chops, but just because of the melodic 
    quality of his improvisations on some pretty challenging tunes.
    
    Paul

    RE: .0
    
    Maybe you're already aware of the existence of a volume in the
    Time/Life "Giants of Jazz" series (now discontinued) devoted to "The
    Guitarists".  It doesn't really address modern jazz guitar, but it's
    pretty good for what it covers.  A 3-LP set, available at Boston-area
    libraries.
    
    Noone seems to have mentioned the electric guitarist on the Lester
    Young Kansas City 5s/6s Commodore recordings -- the name escapes me at
    the moment, but I think I'd have recognized it if it was present. 
    1939, great music, with a couple of guitar solos that IMO almost match
    Prez's sax & clarinet contributions.  Maybe not one of the greats, but
    one of the first sounds (if not names) that came to mind when I saw
    this note.       - Jay

    re: .12
    
    Eddie Durham is the name of the guitarist on the KC5/6 sessions. Eddie
    is probably the first guitarist to make recordings using a pickup--in
    1935!
    
    His biggest claim to fame is that he influenced Charlie Christian to
    take up electric, therebye changing the course of jazz guitar history.
    
    Most of Eddie's career has been spent arranging, rather than guitar
    playing, so I didn't list him.
    
    Danny W.

    Scofield tonight at the Jazz Showcase.
    Well, I'm going to Chicago's premiere (only!!) be-beop club to see
    John Scofield. The only Scofield I ever heard was a few nice licks
    on a Jay McShann album. From the discussions that I heard in this
    notes file, Scofield doesn't seem to be a straight ahead jazzer.
    I'm assuming/hoping that since he is playing at the Showcase, he
    will playing JAZZ, not fusion, or blues. I'll enter a review on
    Monday. 
    
    The most overrated "jazz guitarist" must surely be Bill Frisel.
    Downbeat did a feature article on Frisel, and he was rated highly
    in the downbeat guitarist poll (this seems to be meaningless!).
    They focused on all the electronic MIDI stuff that he is into, and
    some of his musical interests/background. 
    A friend of mine bought a new CD and played it for me. What trash!!
    Some of this was painful electronic noise. 
    
    Phil

    
    Re: .14
    
    I guess it depends what you think "jazz" is.  I like Frisell, I like
    Jim Hall.  What Frisell does is nothing like what Hall does.  Are they
    both jazz guitarists?  Who knows, but Frisell's albums don't appear in
    the rock bins and he's played with artists known as jazz artists so you
    figure it....
    
    							Brian

    
    re. 15
    
    I guess you're right; labels give us expectations which may be 
    totally unreasonable. i.e. My thinking that Bill Frisell's new album
    would be a jazz album because he was in "downbeat". Record stores tend to
    classify a lot of music that's out of the mainstream (pop, F.M. rock, etc.)
    as jazz. "Gee, I don't where else to put it..." That's why so many
    diverse styles get thrown into the jazz bins at record stores. 
    
    Speaking of expectations, I saw John Scofield Friday night. It was
    interesting music, some of which I really liked; some of which 
    bored me. His band was a trio, with an upright bassist. Scofield
    played an Ibanez ES-335 copy. I forget the model number, but my
    friend had one 6-7 years ago. Highly figured wood, ebony fretboard,
    abalone inlays. I couldn't tell what kind of amps he was using,
    Two small black units each with 1 speaker. He also had foot switchable
    board with different effects. 
    
    Scofield's tunes were all new, so he didn't have names for them
    yet, just numbers. His playing reminded me of John McLaughlin, 
    with lots of short, complex lines, but much more melodic. He didn't
    play a lot of chords, and without a piano, the music often tended to 
    be harmonically void. Many of the tunes were fast and complex, some
    that were exciting, and some that were just lots of notes. Even
    the tunes that didn't sound very good to my ear, were interesting
    to watch. That's because I'm studying guitar now, I'm sure.
    The audience, which looked more like a rock audience than anything
    I've seen at the Showcase before, really dug it. 
    
    My favorite tune was a very slow number, with nice moving chords and 
    well thought out melodic lines. 

    His playing was really good, but two things about the bands sound
    bothered me. One was the lack of hamony. It's tiring hearing constant
    guitar solos. Also, Scofield used a chorus effect on EVERY tune!! After
    about the 4th tune, I was really wishing that he would shut the damn 
    thing off. There were times when he was playing some really nice
    stuff but I had to fight through all the effects just to hear what he 
    was doing. I would have liked his set much better, had he just played
    straight into the amp, so we could hear all the notes. While, I
    like the chorus, his effects were a nuisance after a while.

    All in all, it was worth the time and money to check this guy out.
    His playing didn't floor me, but I liked it. I'll buy something
    if I like the player enough. Scofield's latest album? I'll have to hear 
    it first!

    	Phil

    From Stereo Review, 12/89 issue, p142, re: "Letters From Home"
    
    "While I can admire guitarist Pat Metheny's musicianship, it is often
    difficult for me to admire his albums. This new Geffen release plods
    along listlessly and becomes interesting only on those rare occasions
    when Metheny takes charge, but even then the proceedings are marred by
    excessive echo... Why he allows his guitar to be drowned in a morass of
    trite background vocals and programmed synthesizers is beyond me"
     
    From Jazz notesfile , 8/89, by Danny W.  
        
    "My real problems  with Pat are his ...tone, which I find  overly
    processed and his reliance on folkish melodies that I find  both dull
    and forgettable.... mostly, the digital delays, the synthesizers and
    Nana Vasconcelos singing turn me off."
    
    Apparently I'm not the only listener who thinks that Pat could make
    better music if he got down to basics. Since he just won the db readers
    poll, I'd think we're in the minority, except that it only takes about
    0.5% of their readers to win!
    
      
    Danny W.
        

    	Has anyone heard or seen the new Jim Hall release from
    Concord?????

    
    -1,
    
    Haven't looked for it in the store, but this month's Jazz Times
    does a review on a new Jim Hall album. Check out the magazine, 
    or hell, just buy the record. What a great player!
    
    phil
    

    If you are referring to "All Across the City", I've only played it twice,
    but it seems typical of Jim recently--a mix of moods, a slightly
    outside feel to some of the numbers. Jim is working with a piano trio,
    which is an unusual setting for him.
    
    Jim sounds great, as usual. I like it a lot.
    
    GP this month has an article on Howard Alden. I have a few of his
    Concord CD's and he's very good, though his style is more swing than
    bop. He has a terrific sound (a Gibson HR Custom through a Mk II
    Boogie!!)  and swings like crazy.
    
    Also recent on Concord, "Doggin' Around"--Herbie and Ray Brown live--is
    great.
    
    Danny W.
     
    

    
    I was surprised to see the photo of Howard, he's so young!  I have the
    Benny Carter CD listed in the discography, and there's no pix, but from
    the sound I would have expected a 50 year old....wow!!
    
    							Brian

    
    
    Help! Does anyone know what Jim Hall is using for an amplifier now a
    days?
    
    Second question. (I think Danny might have the answer.) How does
    the Polytone Mini Brut II compare to a Roland JC-55?
    
    Thanks in advance.
    
    bob j
    
    

    re: -.1
    
    Jim Hall is using a Polytone MB.
    
    I've never played a Roland JC-55, but I haven't liked the JC's I have
    played.
    
    Danny W.

    One night Steve Dandrea used a JC55 (I think it was a 55)...  Man
    that little sucker ROCKED !  Blew my ears out, and thats not easy
    to do !
    
    jc

    RE:  JC 55
    
    I borrowed a JC55 one night for a gig.  It's rated at 25 watts per
    channel (RMS).  It really kicked ass volume wise, but the tone was very
    "different".  I had to use the tube screamer to get the sound I wanted.
    I wouldn't buy one for the stuff we're playing. (Classic rock).  I
    would envision the JC series sounding very "nice" for Jazz, using some
    hollow body electric Gibson or Guild or whatever.
    
    FWIW,
    
    Steve

    re: .20
    
    Oops--the bassist on "Doggin' Around" is Red Mitchell. Still great
    music, though the recording suffers from some distortion.
    
    re: Hall's amp. For many years, Jim used a Gibson GA50 from the late
    '50's, but I suspect he leaves it home most of the time.
    
    Danny W.

    
    Although I've heard his name for some time, I just listened to Grant
    Green for the first time. I bought a CD this weekend, although the
    name of the album escapes me. The guitar playing on this desk is
    outstanding. I've never heard such full, clear tones. Excellent.
    Grant is pictured on the front cover playing a hollowbody electric
    (17" I imagine) with no cutaway, but I can't see the name of the guitar. 
    
    I'm wondering what sort of guitar he is playing on this album. Again,
    the tone is incredible.
    
    Also, for Joe Pass fans out there... On the Virtuoso series (Pablo)
    did Joe play his D'Aquisto electric unamped, into a microphone??
    

    	Phil
    

    On the cover of Grant Green's "Idle Moments", he is pictured with what
    appears to be a  late '40's Gibson L-12  with a "Fingerrest Pickup".
    This was Gibson's first reasonably successful attempt at adding a
    pickup to an archtop without serious acoustic degradation, and until
    the Johnny Smith pickup was introduced, was available factory installed
    or for retrofitting.  The pickup is equivalent to a P-90.
    
    Green played as ES-330 on many of his recordings and still managed to
    get that beautiful tone, which just proves what I always tell players
    looking for the same guitar as their hero--it's mostly in the fingers.
    If I could sound like Wes just by playing a '60's L-5 CES, or Kenny by
    playing a Super 400, I'd be all set :-). Towards the end of his life,
    Green had a D'Aquisto New Yorker which really complemented his style. 
    
    Green seems to be unfairly overlooked by history. He was very
    influential in the '50's and recorded prolifically for a period, but he
    was eclipsed by Wes. Many people thought Green copied Wes, but in fact,
    the opposite was true--Wes took combined Charlie Christian's swing and
    blues feel with Green's legato, lush sound, and took it too new
    heights. I suspect that without Green's influence, Wes would have been
    more like Kessel: a highly skilled disciple of Christian.
    
    Danny W. 

    
    Thanks for the informative response Mr. Weber. I checked the album
    (CD really) and the name is "Born to be Blue", recorded in 1961 with
    saxophonist Ike Quebec. Aside from the title tune, a nice version
    of "Someday My Prince Will Come" in a boppin' 4/4 time, instead
    of the standard waltz. I dig those changes!
    
    You're so right about guitars/guitarists. I've got an L-5CES and
    I don't sound anything like Pat Martino. 
    
    But wait... Mine has a Venetian cutaway, Pat's has a Florentine...
    Right??!!! That must be it!! And to think I've been practicing scales
    and arpeggios and all I needed was a pointed cutaway!!! :-) ;-)
    
    Phil 

    

    
    re.28 (sort of)
    
    	Anyone noticed that on the title track "Idle Moments" the pianist
    (can't remember his name) about half way through the track plays
    typical ending sequences.  He tries about 4 times to wind the tune up
    but the rest of the band are in that lazy groove & keep going.  It's
    really funny, every time I hear it I imagine the pianist with a look of
    panic on his face & the rest all laid back with eyes closed soaking up
    the vibes.  I think my copy has some mention of it on the sleeve notes,
    I'll have to dig it out.  I love that album though, Grant Green is very
    much the cocktail bar Jazzman, really cool.
    
    Cheers
    		Pete.

    Another look at the cover shows that Grant's guitar is really an L-7.
    There isn't much of it showing, so it's hard to tell, but the binding
    looks like that on an L-7.
    
    I remember seeing him sometime in the early '60's with a non-cut, blond
    Epi Emperor, also fitted with a Gibson Fingerrest Pickup.
    
    Danny W.

    I had mentioned previously that I thought Eddie Duran to be very
    underrated. I had based this statement on having seen him once in SF
    and having a few of his records on the Fantasy label, both as leader
    and as sideman to Vince Guaraldi.
    
    During Concord's recent house-cleaning sale, I picked up "Ginza"
    (CJ-94).  Recorded in 1979, this is a fabulous  trio record. Duran's
    playing is teriffic, showing strong Raney & Montgomery influence,
    combined with a great sound and touch. Filled with excellent mainstream
    jazz guitar playing and highly recommended.
    
    Danny W.

    When asked to name my favorite guitarists I usually say Wes, Kenny,
    Barney ...Herb...uh, Tal...oh, Johnny...hmmm.
    
    Listening to Jim Hall's "Across The City" CD for the 40th time this
    week, it occurred to me just how good he really is. Considering that I
    have records of his from the '50's, it is amazing how modern he sounds.
    The range of the playing on his records is also amazing. (I counted 24
    in my collection with Jim as leader, many more as sideman.) He writes
    great tunes, too.
    
    On "Drop Shot", an rather atonal, quirky melody plays over an
    infectious bassline; Jim's solo starts with a perfect blues phrase,
    gets more and more non-linear over chromatic chords and winds up
    perfectly in tune in a nice bop flourish. I love it!
    
    Jim rarely plays fast, but he seems to have enough technique for what
    he plays, and every note he plays is perfectly selected, polished and
    displayed. Each new release moves him up in my estimation. Wes, Kenny,
    Jim...
    
     
    Danny W.

    
    Jim is great. On the recordings I have of him, he turns down his volume
    almost completely when comping. This "acoustic" comping really lets him
    bash out some extended harmony without getting in the way of the other
    musicians (trios in particular). D'Angelico New Yorker Danny??
    
    Phil

    re -.1
    
    D'Angelico New Yorker Special Electric. Jim's custom instrument graces
    the cover of a number of his records.
    
    Danny W.

    Short reviews of some recent jazz guitar CD's
    
    John Scofield's "Time On My Hands" has received excellent reviews,
    which referred to his return to playing bop and use of less distortion.
    I had high hopes for this album, but was extremely disappointed. I
    still can't figure out what John's fans like about his playing. To me,
    it seems rambling, unfocused and pedestrian. His tone on this recording
    has an ugly, distorted sound--not the kind of sweet, singing distortion
    most fuzak players would use, it just sounds like his amp is running
    out of steam. The originals are uninteresting and forgettable. I played
    this through three times to see if it would grow on me, but it didn't. 
    
    Pat Metheny's "Questions and Answers" is also billed as a return to
    roots concept. When I first played it, I was a little put off by the
    first track, on which Pat plays virtually no chords.  On later tracks,
    Pat remembers that guitars have six strings, and plays a nice mix of
    chords and single string lines. Overall, this is a great recording,
    showing that Pat doesn't need to hide behind electronics to get his
    message across. I suspect most Metheny fans will dislike this album. My
    only complaint is that Pat's tone is too dark and echoey--he can't
    quite bring himself to turn the reverb down. Oh, yeah--compare Roy
    Haynes playing on this date to that of the other drummers with whom Pat
    has played. Roy easily blows them all away. My thanks to Mr. Busenbark
    for recommending this to me.
    
    Yet another player getting back to jazz is Lee Ritenour on "Stolen
    Moments." I was knocked out by this record--it is truly excellent. A
    good variety of moods, great chops and sound from Rit, nice tunes.
    Outstanding! I hopes he keeps making records in this vein--the last
    record of his that I bought  ("Harlequin"? w/ Grusin) was dismal. I've
    played this one a lot. Nit--the liner notes claim that the guitar used
    is an "L-5 Electric." It's obviously an L-5C with a JS pickup.
    
    It would probably surprise many people to know that Andre Previn first
    made his reputation in the '50's as a jazz player; for at least 25
    years, he has been renown as a classical musician. "After Hours" shows
    that Previn is still an outstanding jazz musician; his playing alone
    would make this record worthwhile. Teamed with Joe Pass and Ray Brown,
    he produces one of the standout jazz records of the last few years.
    Every track is a gem. Pass does some of his best playing since the
    Quadrant sessions and Brown is flawless as both bassist and drum
    substitute. His playing is so solid that I almost won't complain about
    the lack of drums :-).  The surprise is Previn, who is in excellent
    form. 
    
    Previn also carries the day on "Uptown", which replaces Pass with
    Mundell Lowe. This record has more of  a swing sound, and has a little
    lower energy level. Lowe is not as good a soloist as Pass, and the
    overall interaction is not as good, either. Not a bad record, but not
    quite great.
    
    Discovering a "new" Grant Green record is always exciting, especially
    when he is standing in for John Coltrane with John's 1965 group. The
    results are not as I'd hoped--Grant's spare solo style doesn't fill in
    enough of the spaces that McCoy Tyner leaves. Elvin Jones is also not
    the quite the right drummer for Green. A good example of the problem is
    on "My Favorite Things", which Coltrane would tear up on Soprano--Green
    just doodles over the modal vamp. Again, this isn't terrible, but it's
    obvious why it wasn't released when it was recorded.
    
    Guitar and vibes together makes my favorite instrumentation. From the
    Montgomery Brothers to "Bags Meets Wes", to the band with which I
    played in the mid-'60's, to Kessel's great album with Bobby Hutcherson,
    I've never gotten enough of this sound. I was especially excited to
    find Kenny Burrell's "Guiding Spirit": I can't remember him ever teamed
    with a vibes player before. I wish I liked the results more, but Kenny
    seems very laid back and introspective on this live recording. It's
    very pretty, but I'd have to put it in the category of great background
    music.
    
    I'll readily agree that Tuck Andress is an incredible player. The start
    of the first track of "Reckless Precision" made me sit bolt upright:
    halfway through the track, I realized it wasn't going anywhere else; by
    the middle of the CD I was bored. This reminds me of that other
    wunderkind, Stanley Jordan, in that the technique is more amazing than
    the end product. Like Jordan's, his tone is bright and tinkly. Some
    parts of the record remind me of Hedges' "Aerial Boundaries." 
    "Precision" is a fine album when taken in small doses, but I prefer to
    hear Andress in the company of other musicians.
    
    Danny W.

    re:  Scofield

    Isn't it great that music has something for everybody?  I would apply
    the adjectives you used on John Scofield to some jazz guitarists I
    know you think highly of.  And to me, the originals on "Time On My
    Hands" are interesting and distinctive...I found out about the album
    because I tuned into the middle of one of them on the radio.  I knew
    immediately that Scofield had something new out.  I also think Sco's
    approach to self-accompaniment on this album is a refreshing break from
    business as usual in that area.

    I will agree with you to an extent about his tone...I think he's looking
    for a degree of distortion that will let him play chords and single
    notes whenever he wants.  That would be a real problem if he used typical
    fuzak (see?  I have my biases, too 8^) distortion.  Why he wants to use
    distortion at all in this context is beyond me.  I'd rather hear a nice,
    clean archtop.

    I haven't read any reviews of "Time On My Hands", but if critics are
    billing it as a return to bebop, I think they're being very misleading.
    Probably they're trying to relate everything they hear to a current
    trend whether it applies or not.

    Paul

	Since I picked up Q an A,I have also picked up "Stolen Moments"
and "Reckless". 
	I've probably played Metheny to death,to the point that my 11yr
old son can identify him playing. But specifically Q and A,gets a couple
of plays a week instead of a daily dose. I've never been a tremendous
Metheny fan(sacrilege where I came from)but I no doubt rate his Q and A,
as the best I've heard him on record. I also picked up Burton's "Reunion"
which features GB,Pat and a bunch of NYC studio musicians,I actually
enjoy "Reunion" more.......with "Reunion" it seems like Burton and 
Metheny sound out of place of the back up band...
	"Stolen Moments" is without question a nice release for Lee
Rit,and about time. The L5C tone/sound is impressive and one of my favorites 
on "SM" which has nice instrumentation arrangements/solo's other than
guitar... I got kinda tired of Rit after 1980....this was a pleasant
suprise....
	After some play time I was more impressed with Tuck Andress's playing 
ability of some of the more pop-ish and standard tunes,than anything he 
composed. His compositions lack direction and are boring. I'd be hard pressed 
to compare him to SJ who I've never heard anything he played that I liked....
to muzakish for me....
	Now to John Sco....still a mystery to me as I have never heard him,
but have heard other people playing his tunes...... :^) I guess someday 
I'll take a chance as I've gotten a couple of recomendations of his 
release's.
	I've noticed that "Guitar Player" Mag is advertising some kind of 
Jazz guitars greatest CD,has anyone heard this yet?  Opinion's?
		



							Rick

    As a sometime couch potato who watches "Nick at Night" a fair
    amount, I have one question ...
    
    Who is the guitarist in Fernwood Tonight's Happy Kine and the
    Mirthmakers? Every time they get a chance to play he goes nuts
    with all these amazing jazz runs. He looks like he's trashed
    most of the time, but when it comes time to play, he's great.
    
    - Dave

    The  Fernwood guitarist is studio great, GP columnist and part-time
    jazz musician Tommy Tedesco. Tommy has some albums out under his own
    name, a few of which I own. I'd call them very good, but not great.
    Tommy's playing on them is first rate, but they're somewhat low-key and
    one occasionally veers towards New Age.
    
    Tommy is a very versatile player who has made a studio speciality of
    non-classical nylon-string guitar. Almost any pop tune or movie score
    from the late '60's or '70's that had a nylon-string part probably
    featured Tommy. "Up,Up & Away" is a good example of the kind of playing
    he likes to do. 
    
    The joke with the Mirthmakers is that they're all outstanding musicians
    and far hipper than they pretend.
    
    Danny W.
    

    Re: Tommy Tedesco
    
    Our summer music camp teacher used a lot of info out of T.T.'s music
    theory book.  From what I saw of the few pages he used, it looks like 
    a decent book.  Anyone have it?  Would you recommend it?
    
    Thanks,
    Mike

    wow! I thought it looked like TT (albeit a much younger TT). After
    all, how many big greasy italian-looking guys are also great guitar
    players?
    
    thanks - Dave

    re: .42
    
    Just off the top of my head:
    
    Joe Puma, Joe Pass, John Pisano, Carmen Mastren, Remo Palmier(i), Joe
    Diorio,Tony Mottola, Al Caiola, Al Viola, Bucky & John Pizzarelli, Sal
    Salvador and Tony Rizzi.
    
    ;-)  ;-)
    
    Danny W.
    

    re:  .-1
    
    Wow!  I never thought of that.
    
    Geez, no jewish sports legends, no jewish guitar greats,...
    
    If we're the "chosen people" tell me what the hell we were chosen
    for?

    There are a lot of great Italian guitarists!  As for my heritage, there
    are a lot of great German composers, but that is old news ;-)
    
>    Geez, no jewish sports legends, no jewish guitar greats,...
    
    what about lawyers, doctors, etc.?  The ones that make consistent,
    decent livings.  Maybe the music industry is too unstable for them ;-)
    
>    If we're the "chosen people" tell me what the hell we were chosen
>    for?
    
    God's people!
    
    Mike

    
     Wasn't Sandy Koufax Jewish?

    Koufax, yes.
    
    In the guitar world, we have David Bromberg.

    well, there's Mike Bloomfield for starters

    How about Barney Kessel and Emily Remler? Feel better now?
    
    Danny W.

    I believe there are lot's of Jewish performers in the folk music
    world. Isn't Bob Dylan Jewish? I think his real name is something
    like Robert Zimmerman.
    
    BTW, didn't EMily Remler recently die ? I remember reading about
    a female jazz player that died at an extremely young age, like
    32.
    
    Mark

    Emily Remler died about 2 months ago from a heart-attack.
    
    
    
    
    
                                                STAYNZ

    Blues ace Ronnie Earl is really named Ronnie Earl Horvath. If that
    ain't Jewish, I don't know what is!

    Re: .52
    
    Ronnie says he changed his name because the guys from Chicago couldn't
    pronounce it...I still remember when he went by "Little Ronnie
    Horvath".
    
    						Brian

    
    Isn't Leslie West Jewish also?  I'm fairly sure "West" isn't
    his complete last name.
    
    I *still* love the "Misssissippi Queen" riff...
    
    Brian

    Yeah, good one.  I remember an interview with Leslie where
    he mentions buying his first guitar with his bar mitzvah money!

    Two recent Concord Jazz CD releases by Howard Alden:
    
     " Snowy Morning Blues"  is excellent--Alden has been steadily
    improving and on this record he is starting to look like a star. My
    favorite track is the infectiously swinging "Bye-Ya" which has had my
    synapses tied up for weeks. Great rhythm section, nice solos, good
    album.
    
    "13 Strings" is a surprise. The other 7 strings in the title are
    supplied by the legendary George Van Eps, who practically invented
    chord-melody guitar playing, and has been shamefully under-recorded (by
    his own choice, most likely, but a shame nonetheless). At 78, George
    still cooks, and he and Alden are extremely well matched. This
    extremely pleasant set shows how well George does with a rhythm
    section, a rare setting for him.. Alden cooks throughout. Another
    winner. 
    
    
    Danny W.

	"The Concord Jazz Guitar Series Collection I and II" Some of
the featured Guitarist's  are Kenny Burrell,Howard Roberts,Joe
Pass,Herb Ellis.... to name a few. This release which seems
to be a collection of recordings in the late seventies and early
eighties and is a nice variety of players. I noticed later it was a 
1990 release and with each player they mention brand and model of 
guitar used......

	Jim Hall's All across the City,one of Jim's more interesting 
recent releases with a suprise of Gil Goldstein on piano this CD seems 
to be pretty good. It has a tendancy to go to the edge of being a bit 
outside. But having listened to Jim Hall for some time I can still hear 
some "classic" Hall tone and chops I remember from his "Live" release.

	Just Friends(a tribute to Emily Remler)Herb Ellis,some real
traditional tone on this CD,but the first cut has a fusion type sound
musically,without the typical distortion/chorus etc. Dave Benoit is
on a couple of cuts.There are a few unknown to little known players 
(to me anyway)on this one. There are some really good cuts with some 
players which have some nice lines. 
	
	Alien Army,Jack Wilkins,a total dis-appointment from a guitarist
I heard in the 70's and liked. Even though he still seems to have lot's
of chops,I find the arrangements and background of the music aggravating
with poorly done string arrangements(synthe)and obvious mixing problems.
The use of a distortion pedal makes some of this a real sleeper for me,as
it definately sounds like he needs to replace his MXR Distortion+. A definate 
dust collector to my ears. 

There are actually 2 Oscar Peterson Reunion CD's both recorded at the Blue 
Note in NYC with ,OP,Herb Ellis,Ray Brown(on Telemarc)Having been a fan 
of OP for some time and especially with Herb Ellis it was nice to see a 
reunion CD,however being a live recording I found it very hard to hear 
Herb Ellis at times.

	13 Strings,Howard Alden and George Van Eps,has already been 
reviewed,real good stuff!



						Rick

    It is not often that a real jazz guitarist shows up on network TV, but
    those of you who watched Johnny Carson on Wednesday got to see one of
    the best. Jim Hall appeared with his quartet doing two tunes. The first
    was one of his typically quirky, angular, atonal pieces, the name of
    which escapes me now (it wasn't "Careful") and the second was a
    lovely reading of "Skylark", which is on my list as one of the most
    difficult (albeit beautiful) tunes ever written.
    
    I didn't think Jim was at the top of his form, but even subpar Jim Hall
    is light years beyond anything else I've heard on TV recently. Too bad
    TV guide listed him as "Comedian Jim Hall".
    
    Danny W.

    In 1987 I wrote to Guitar Player, asking them to consider doing an
    issue dedicated to Wes Montgomery during 1988, the 20th anniversary of
    his untimely death. No reply (quoting The Beatles).
    
    With the 25th anniversary approaching, I wrote them again, enclosing my
    original letter, and pointing out that there has been precious little
    in the pages of GP for jazz fans. I received a letter from Dominic
    Milano, the editor, saying that they are considering such an issue for
    sometime in '93.  Watch for it.
    
    The name of the Jim Hall tune I mentioned in .58 is "Subsequently",
    which is the title of a CD full of really nice stuff by Jim. The title
    tune is a standout, but I like most of the rest of it, too.
     
    Danny W.
        

    
    	Danny, I wrote to them years ago when I found out about
    	Pat Martino's blot clot (forget the lingo).  I couldn't
    	believe that they wouldn't write about him considering
    	his impact on so many guitarists.
    
    	Never answered.  Finally I called.  They said they had
    	been in touch with Pat and he asked that they not write
    	about his illness.
    
    	Not sure what this has to do with your note but it reminded
    	me of my thing with GP.
    
    	Btw, if anyone hears of anything new by Pat (after his comeback
    	live album), I'd love to know about it.
    
    	Thanks - Tom
    

I stoped reading GP because thier emphasis was too much on agressive
Rock & Metal. Back in the late 1970's and early 1980's this wasn't the
case. I haven't even looked at a GP in the last 5 years. If Wes Montgomery
were on the cover, I'd pick it up immediately.

							Jens

    Ditto. To this day I hvae avoided purchasing any issues of any of the
    music rags with a poser on the cover. A magazine called "Guitar Player"
    ought to at least have a real player on the cover. If not then some
    hardware or something.

    Danny, I've got a few Wes Montgomery LPs that I bought back in the 60s.
    I think they're both CTI productions which I thought were a bit over
    produced sounding (strings, etc.). I have a Brian Auger LP with a Wes
    tune on it called (I think) "Boppin' Down Sunset". Do you know which if
    any Wes album contained this tune?
    
    --Ron

	That's interesting Danny they called me several months ago wondering
why I had let my subscription elapse again since I had a subscription since
the beginning of the magazine. I just simply said I was not happy with the 
magazine figuring they would just say ok and hang up on me,but instead this 
guy wanted detail's. I spent 20 minutes with the guy talking about the in-
accuracies in reviews and how there advertising budget slanted towards the 
reviews. How the new page layout and color setup was poor and distracting 
and difficult to read. And how I wasn't interested in reading about pop metal/
headbangers and particularly the use of "rude" words in interviews.
	The technical hardware information just seemed to be too 
generalized,except for a couple of recent articles. 
	Finally I made mention of how instructional articles seem only to
appeal to a certain level of reader and there was not an awful lot of 
what I would consider to be intermediate or advanced information with a 
better level of detail. Of course I mentioned that they were stuck to 
meeting the needs of the masses,because of the almighty $$$$.
	Lastly I found that articles on Jazz players were few and far 
between.

    
    Can someone please recommend some entry level albums of Wes Montgomery?
    Are they on cd?  Does the Eric Johnson version of 'East Wes' do Wes
    justice?
    
    -pat

    His recordings for the (defunct) Riverside label show him in small
    groups to good effect, Fantasy and OJC have resissued this stuff in a
    number of packages over the years, so I'm not sure what actual titles
    to look for.  If you can find one called "Groove Brothers", that's a
    good one, has him playing with his brothers Monk (bass) and Buddy
    (vibes).
    
    There are Wes compilations on the Verve Compact Jazz label called just
    "Wes Montgomery" and "Wes Montgomery Plays The Blues" that are easy to
    find and budget priced.  Downside is that they feature a lot of string
    and horn section backups which detract a bit.
    
    There's also some Wes CDs on the A&M label but these have him in
    watered down pop arrangements and should be avoided.
    
    						Brian

    Bags Meets Wes, Full House and Incredible Jazz Guitar are among his
    best and are available on CD. Anything originally on Riverside is worth
    owning, the Fantasy stuff is okay but low key & inconsistent, the Verve
    and A&M stuff is pop dross with an occasional flash of brilliance. If
    you want to try just one, get Full House.
    
    Danny W.

    
    	Thanks guys, I will try out Full House.

    	Smokin at the Half Note,is one Wes M's easy to find CD's...
    
    							Rick
    

Thanks

I am in a jazz guitar mood at the moment... 

So I printed out Danny's note .0 (very helpful!) and went to the shops last 
Saturday. I listened to a couple of CDs (in good Swiss record shops you can 
pick a pile of CDs and listen to them on a player in the shop and then buy 
what you like).

Finally I got a Joe Pass (one with lots of acoustic guitar) and an Emily 
Remler album. Nice!

FeliX.

The Joe Pass's CD mentioned in .-1 is "Summer Nights". As I said, 
Joe plays an acoustic on most of the tracks, and I must say he gets an 
incredibly nice sound out of his instrument! 

I wonder what guitar this is... and there is probably a noter who knows 
(guess who...) :-)

And I am in the mood for more - any recommendations for fine acoustic jazz 
guitar CDs (I have got a couple of Django Reinhardt records)?

FeliX

P.S: Merry Xmas!

	I won't pretend to know great from crap, but one CD I've enjoyed
	quite a bit over the last year is "Earl Klugh Trio, Volume One."

	The instrumentation sounds to be nylon-stringed guitar, acoustic
	bass and drums. There's some good schmaltz value here - a rendition
	of the theme from "Bewitched", Henry Mancini's "Days of Wine and
	Roses" and a Jobim number or two.

I have spent a bit of money on jazz guitar CDs recently - this notes 
conference proved unvaluable to find the right things like

- Wes Montgomery: Full House
- Emily Remler: East to Wes, Firefly
- Lee Ritenour: Stolen Moments

and other favourites.

Thanks for suggesting these!

FeliX.

P.S. By the way: does anybody know how Mr. Ritenour's name is pronounced ?

    I had just picked up Mike Stern's "Standards" which is pretty good 
    if you listen to the notes and not the chorus or effects sound's
    

    		
    	re - 1, I picked up Mike Sterns' "Standards" this weekend.
    	Yeow, they say he has "chops of doom" or something like
    	that and man, does he rip.  If you're looking for extremely
    	fast jazz guitar (mostly him, upright bass, and drums), then
    	this one is it!  He plays so fast that I wish he'd slow
    	down and play more of a melody.
    
    	I know I'd never be able to play any of this stuff - file
    	it under "unattainable, go listen to Johnny Winter".  ;^)
    
    	Tom
    

    Does anyone know of any Record or Music stores in NH/MA which
    have any Pat Martino CD's in stock? I've tried several times to
    get a catalog from Fantasy, who owned Pat's Prestige label for
    at least some of his stuff. Any pointers?
    
    - Dave

    
    	Dave - if you get mail offline about Pat's CD's, please let
    	me know.  I would kill for Joyous Lake, Exit... heck, just
    	about all of them.
    
    	My favorite guitarist, by far!
    	Tom
    

    re .77
    
    will do - Dave

    	I have the fantasy catalog somewhere at home,I've bought most
    of the Pat CD's from Tower Records in Boston and a couple from
    Lechemere. 
    
    
    						Rick
    

    Last time I was at Tower Records in Burlington, MA they had a bunch of
    Pat Martino CDs.
    
    Paul

I just saw that Lee Ritenour has got a brand new album out, I think it's 
called "Wes Bound" - sounds like a tribute to Wes Montgomery. From what 
I have seen, there are a couple of Wes standards ("4 on 6" among others). 

Has anybody heard the album yet? 

FeliX (who would like another Rit album in the "Stolen Moments" style)

    	I had heard that his new album is dedicated to Wes,plus I also
    heard that Fantasy is putting out a Wes Montgomery box set containing
    10 CD's of a variety of different studio takes..... Anyone seen this 
    in stores yet?
    
    
    							Rick
    

    I haven't seen the WM box set in stores yet, but it was discussed on
    NPR radio where they interviewed Wes's producer from the the early
    riverside (I think) label. He was the one that put together the box
    set. Apparently Wes was quite a perfectionist and many times did
    retakes of otherwise great stuff. The box set contains many of the
    outtakes which the producer felt were better than the actually released
    stuff.
    
    He also told a story of how Wes was discovered. Apparently, Cannonball
    Adderly saw Wes during while touring in Indianapolis. CA went straight
    to NYC and told the producer he had seen a fantastic guitarist and to
    get on a plane and go sign him up. Producer went to Indy, and saw
    Wes and then followed him to after-hours gig and in the wee hours of
    the morning, like 6AM, whipped out the standard contract and Wes was
    signed.

    When I saw Lee Ritenour's new CD entitled "Wes Bound," I couldn't wait
    to listen to it. Although I'm not a big fan of Lee, I am of Wes, and
    even "tribute" albums attract my attention.
    
    Unfortunately, Ritenour has chosen to emulate Wes at his worst; the pop
    star era. Most of the tunes consist of Lee playing octave melodies over
    lush, typical GRP studio backing.  Lee is a good guitarist and has a
    great sound on this CD, but he is no Wes Montgomery: where pop star Wes
    brought genuine drive and jazz feel to otherwise undistinguished
    arrangements, Lee's playing is dull and lifeless.
    
    Don't get me wrong. This a very pretty, well-recorded album. If you
    like pop music pretending to be jazz, this is an excellent example. I
    might listen to it again while awaiting "The Complete Riverside
    Recordings", the 12-disc boxed set of the real thing which I ordered
    directly from Fantasy (don't send mail--it lists for $175)
    Danny W.
      

    Thanks Danny.... another $15 saved....  
    
    				Rick

    
    Thanks to the tremendous amount of information in this note, 
    I was able select a few nice jazz guitar recordings last weekend. 
    
    Current Favorite: "Straight Ahead", Barney Kessel with Ray Brown and
    Shelley Mann.  This swings really hard.  Its a 
    reunion of the original poll winners from 1960, recorded in
    1975. Is Barney mostly a pick player? Or does he use his
    fingers also?
    
    I also found copies of "The Return of Tal Farlow", and Pat Martino's
    "East".  These two I'm still getting into.
    
    Dave
          

        
    Recently I checked out the first of the two Emily 
    Remler instructional videos.  I liked it.  She talked
    about how to develop your swing feel, using a metronome, 
    guide tones (3rds and 7ths through the blues), and there
    is some nice playing.  They didn't quite get the split
    camera to cover both her hands at one point in it, but generally 
    the camera work is OK.   
    
    At first I thought her sound was rough, but now I think
    she gets a great rhythmic, percussive sound.
    
    This is from Hot Licks videos.  Apparantly there is an Advanced
    Improv and Latin tape by Remler, as well as tapes by Joe Pass, 
    Larry Coryell, and Joe Beck.  
    
    Regarding the recordings I mentioned in the previous reply: 
    
    Having listened more to the Pat Martino "East" disc, I have to 
    say that I find the piano playing throughout a real distraction, 
    plus the piano sounds out of tune.  But the guitar playing is
    excellent, so I might keep listening to it with one 
    channel turned down.  
    
    Dave

    Bireli Lagrene's first album, "Routes To Django" was a stunning homage
    to a guitarist who seemingly had neither peers nor worthy disciples. 
    Lagrene's uncanny evocation of Reinhardt was made all the more
    startling by the fact that he was only 13 years old when the session was
    recorded. His follow-up album two years later was equally impressive. 
    
    Lagrene deciding to mine a different lode, soon switched to fuzak, and
    after several disappointments, I stopped buying his records. A recent
    release called "Acoustic Moments" caught my attention, but the moments
    were all too few.
    
    Earlier this summer I picked up a CD called "Standards," against my
    better judgment; while the song titles looked good, the pointy-headed
    guitar in the cover photo made me nervous. I put it aside while
    spending several months listening to "The Complete Riverside Recordings
    of Wes Montgomery" a few thousand times (more on this in the future.)
    
    Anyway, while editing some of the thousands of slides we've taken this
    summer, I dropped it in the player for background music. Although I
    was, of course, enthralled by the beauty of our photography, I couldn't
    help but notice that Lagrene's record is quite good. He really does
    play standards, in a style that incorporates bop, Django-style swing
    and more modern elements, with a sound that is slightly processed and
    bright, but pleasant, and with the same monster chops that made his
    first few albums so impressive. The European rhythm section is fine, as
    is the mix of tunes. The overall sound reminds me one of Joe Beck's
    early CD's, but Lagrene is a more interesting player.
    
    I've only played it once, though, so I don't know if it will hold up to
    repeat plays, but the first hearing was a very pleasant surprise. I
    hope there's more where this came from.
    
    Danny W.
     

    
    Did anybody hear the show with Gray Sargent Friday night
    at the Regatabar in Cambridge? I've been told this guy is 
    great, but I couldn't make it down to check it out.   
    
    On Thursday night, Aug. 5, Mick Goodrick will be playing at Ryles with 
    Wolfgang Mothspiel, Gary Chaffee on drums and Jerry Bergonzi on tenor. 
    
    August 18 John Abercrombie will be with Goodrick at the same
    place.  
    
    Dave
              

    
    	Danny - there was a great review of Bireli's "Standards" in some
    	Jazz mag (with Metheny on the cover).  They used words like
    	"astonishing" - really raved.  They were also glad he didn't
    	use his distortion pedal.  I have to get this one!
    
    	2nd impressions?
    
    	Tom
    

    re: "Standards"
    
    "Astonishing" works for me. My 2nd impression is that it's really good,
    with some of it being amazing and the rest merely excellent. Some of
    the arrangements seem a little sloppy, like it was a pick-up session,
    but everyone plays well and Bireli smokes. Unlike some of the other
    "back to jazz" records (like Metheny's, which I like, BTW), Lagrene
    plays chords as well as lines, so every once-in-awhile he plays a
    really nice Django-ish chord solo. Neat
    
    re: .89  I have several recordings by Gray Sargent on which he is
    outstanding. Sounds like he's well worth seeing.
    
    Danny W.

	I just picked up a CD recorded in '92 by George VanEps and
	Howard Alden - Hand-Crafted Swing.  Lots of old standards
	like "Stompin' at the Savoy", "Tenderly", "I've Got a Crush
	on You", "All the things You Are" - 14 cuts in all.

	These are tunes by Benny Goodman, Richard Rogers, Hoagy
	Carmichael, George Gershwin, Oscar Hammerstein...

	It's George on 7 string Gretsch and Howard with a Gibson
	Howard Roberts accompanied by Dave Stone on upright bass
	and Jake Hanna on drums.

	This is a really nice CD with tons of back and forth playing.
	Howard is much more single note and George is unreal with his
	chordal/single note playing.  After 2 listens, I actually enjoy
	Howard's playing more but they're both terrific.  Howard's tone
	sounds better to my ears also.  It doesn't take long to figure
	out who's who.

	This is obviously not way-out jazz.  But it's constant guitar
	playing and every solo is very tasty.

	Great listening music in the car.

	Tom

    
    Recently I saw a video of "Rob Conti" (sp? maybe Bob Conte?) playing
    with Jimmy McGriff at the Jacksonville jazz festival.  Really
    swingin.  Any recommended recordings? 
    
    Dave
    

    Conti is an oustanding guitarist who has not recorded much. There are
    supposed to be one or two CD's, but I haven't found them yet.
    
    Danny W.

    I recently picked up a Django CD at Tower Records (I wanted a recording
    of Mystery Pacific), only to return home and find a completely
    different CD inside. Tower agreed to an exchange but was out of stock
    on that particular CD, so I rummaged around and dug up the 
    Birelli Lagrene recording "Routes to Django" mentioned elsewhere in
    this topic, and took it home instead. I was stunned. This level of
    guitar by a 13 year old! It is some great music in the style of Django.
    I'd certainly recommend this CD to Django fans.
    
    While browsing, I also happened upon a CD by a fellow by the name of
    John Jorgenson (sp?). He's not the tele-picking Jorgenson. The CD 
    caught my eye cause it had a selmer style maccaferri guitar on the
    cover. It had one Django tune on it, and well as some stuff by
    Fats Waller. I didn't pick this one up but was curious if anyone
    out there has heard-of/heard this fellow???
    
    thanks,
    
    jim

	This review appeared in the Boston Herald this past weekend.
	Does anyone have any info about this guy?  Buck, do you
	know of him?

	Thaks - Tom

	...

	Garrison Fewell
	A Blue Deeper Than the Blue - **** (out of 4)

	Boston-based guitarist Garrison Fewell has cut a subtle jewel 
	of a debut album, one that instantly places him in the top
	rank of straight-ahead jazz guitarists anywhere.

	Fewell, a professor at Berklee, has a tone lyrical sensibility
	that links him to Jim Hall and Pat Martino (with whom he
	studied) without chaining him to them.  And thanks to Fewell's
	grat taste in sidemen - Boston-based drummer Matt Wilson, 
	bassist Cecil McBee and especially Bill Evans-steeped pianist
	Fred Hersch - "A Blue Deeper Than the Blue" is a model not
	only of individual virtuosity, but of group communication
	and support as well.  

	Fewell plays Tuesday at the Regattabar.

    Re: .96
    
    I heard some of this CD on the radio this weekend.  The track they
    played was called (I think) "Update to the Blues" and was a nice blues
    variation.  
    
    							Brian

    I heard Garrison live on one occasion.  I enjoyed his playing, but it
    surprizes me to hear that he studied with Pat Martino; based on the
    night I heard him, I wouldn't say much of Pat's harmonic daring rubbed off.
    
    Paul

    I happened to see the CD for sale at Cambridge Music's downtown store;
    don't know if it's easily available in the record shops, but you can at
    least pick it up there if you want.

    
    	re: .98 - hmmm, interesting.  The comparison to Pat Martino
    	is exactly why I was asking about him.  I've been re-listening
    	to Pat in my car for the last month or so - constantly.  I picked
    	up "East" and "El Hombre" from '68 and also made a tape of "Joyous
    	Lake" and tracks from "Exit" and others from '76.
    
    	Maybe Bob Conroy can comment on his impressions of that tape...
    
    	Btw, Garrison was the "Wingo" celebrity in yesterday's Herald.
    	Weird to see the picture the same day I ask about him!
    
    	... Also, anyone know of anything new from Pat since the live
    	"Return"?  Luckily, he did survive an aneurism, but it had
    	major impact.
    
    	Tom
    

Yes, Tom turned me on to Pat Martino. I had never heard his playing before.

I did like it immediately. I like the more traditional straight ahead jazz
tunes better than the stuff on "joyous Lake" (he uses wa-wa, distortion,
synthesizers etc.). The music (not the guitar playing) on Joyous Lake reminded
me a bit of Alan Holdsworth.

The straight jazz tunes are pretty amazing though. He plays long melodic
lines over complex changes, sounds like he can just extend these complicated
phrases out for days.

And the emotional intensity of his playing grabbed me right away. Boy, does
he swing! I like the slow tunes the best though. (don't know any titles, my 
tape is unlabeled!) His perfect sense of melody and phrasing comes out. Just 
beautiful playing.

This week I got the Steve Kahn book, "Pat Martino, The Early Years". It's
got transcriptions of his solos. Should be fun to read some of those great
lines. Hope I can learn something from it....

I also borrowed "The Return" from Tom, but I was a bit disappointed in that.
The technique was definitely there but it was lacking something to my ears.

Bob

    My guitar instructor recommended Lenny Breau as someone I might like to
    listen to.
    
    I've never heard of him; does anybody have any recommendations before I
    go buy something blind? (I know, I should have asked him, but I didn't
    think of it till later.)
    
    thanks
    -johnb

    Lenny Breau was a Canadian guitarist, sorta "discovered" by 
    Chet Atkins. He sorta startled the country and Jazz genres. He
    is well known for his use of harmonics. He unfortunately was
    into booze and drugs bigtime and died I believe in the late 80s.
    I think he might have been murdered but I don't recall the sordid
    details.
    
    I've got his "Last Sessions" CD, which is OK, but the one I'm 
    trying to get my hands on is the "Living Room sessions". I've
    just heard a couple of cuts off it, but it had some acoustic stuff
    that blew me away. If anyone knows how to get a hold of it, please
    drop me a line.
    
    I've also been informed that Gene Lees wrote a chapter on Breau in
    his book "Waiting for Dizzy". I've not read it yet, but it might be
    interesting.  I also think there was a Chet Atkins interview in
    Acoustic guitar where he talks about Lenny.  Also I believe Danny
    Gatton got much of his Harmonic influences from Lenny. Note the
    tune "Lenny" on New York Stories (Blue Note).
    
    jim
    

    "Living Room Sessions" can be bought through the Jazz Hertitage Society
    or the Musical Heritage Society.  I believe there are two volumes. 
    Duets with Lenny and a clarinetist.
    
    Not sure how much other stuff is in print.  He recorded some albums for
    Adelphi who are now out of business.
    
    He was found drowned but there was no suicide note, so foul play was
    suspected but never confirmed.
    
    							Brian

Lenny and Denny Breau are from Lewiston Maine. Born and bred according to
Denny.

I remember the suspected foul play when Lenny died but there were no leads
as I understand it.

If lenney was better than Denny then he was one hell of a guitarist.

dbii

    Just heard on WICN in Worcester that Larry Coryell is playing at the
    Vienne Coffee Haus in Westboro this Sunday - December 5th.  No other
    details were given.  Might want to call WICN for more info.
    
    Seems rare that someone like Larry Coryell would gig out in the 'burbs!
    
    /Paul
    

    or call the OVK (Old Vienna Kaffeehaus) 508-898-2230 or 2231
    
    OVK is a nice place to see an artist and from what Im told artist love 
    to play there too ! total sitting is @100 if that !
    
    Chris

    When I first heard of "The Complete Riverside Recordings" boxed Wes
    Montgomery set, my first reaction was that I already owned them and
    didn't need to spend so much just to get a fancy box for them. I
    changed my mind when I found that it contained alternate takes of many
    of my favorite Wes tracks. 
    
    These discs dominated my listening for months after I received them.
    "Bags Meets Wes" and "Full House" have been on my top 10 list for 30
    years and having different versions of many of the tracks has been like
    discovering that Wes was still alive and just hiding out for all these
    years. The difference between the solos he plays on many of the takes
    is startling, and a great revelation as to the true depth of his
    artistry. I actually prefer some of the alternates to the released
    tracks, perhaps because I haven't memorized them yet. The set also
    shows that even in his Riverside days, he turned out some recordings
    that were just pleasant background music--I would have preferred more
    alternate takes over the inclusion of the "Fusion" sessions.
    
    If you want to own the essential Wes Montgomery, it is not necessary to
    buy this set. The two records mentioned, along with "The Incredible
    Jazz Guitar," and "The Wes Montgomery Trio" are a good start, although
    all the original Riverside recordings have some good stuff. Add
    "Smokin' At The Half Note" on Verve and you've got him covered for much
    less than this set will set you back. 
    
    But, if you want to really get into the playing of one of the true
    masters of jazz guitar, the boxed set is worth every penny.
    
    
    Danny W.
      

    
    I've also been greatly enjoying the Complete Riverside collection of
    Wes Montgomery recordings.  It's a real challange, since it contains
    so much.  I like it especially because I'm a fan of the group with
    Mel Rhyne on organ, of which there are many tracks.  
    
    However, I seem to remember listening to a version of "Secret Love"
    done by Wes in an organ trio.  I had thought this was on the
    Guitar on the Go album.  But its not in the complete collection.  In
    the notes boxed set, Orrin Keepnews says he left some originally 
    issued stuff off the collection from the Guitar on the Go session.  
    
    Anyone know for sure if Wes recorded "Secret Love"?
    
    Dave   

    The songs on "Guitar On the Go":
    
    The Way You Look Tonight
    Dreamsville
    Geno
    Missile Blues
    For AllWe Know
    Fried Pies
    
    Adrian Ingram's book on Wes has a complete discography and "Secret
    Love" isn't mentioned. I certainly don't remember ever hearing it by
    Wes.
    
    Danny W.

    Wes recorded "Secret Love" in 1957 with the James Killiam trio.  This
    little know recording session occurred in a small studio in New York
    when Wes happened to be in town doing a live appearence at "The
    Downtown" club.  Wes used a rare Gibson ES175 for the session.  the
    guitar had been custom built for him by request, and was only used in
    that one session.  His daughter Elizabeth now owns the guitar....
    
    Steve (doing my best Rost/Weber impersonation; just made it all up)
    
    

    But seriously folks! I do appreciate your
    sharing the data.  I kinda figured D.W. could settle this one. 
    
    Now it looks like I'll have find the book mentioned
    in the previous reply, so that I too can become
    a consumate Wes-head. 
                 
    thanks again!
    
    Dave - who sometimes remembers things that happened before he
    was born 

    The best part about this session was that Wes replaced the input12AX7 in his
    amp with a 12AT7, and that the voltage drop through the Woolworth's
    extension cord left only 90 Vac at the amp, further softening Wes's
    famous "thumb" sound.
    
    The fact that he bought the strings in 1948 might have helped, too :-)
    
    Danny W.

    "Secret Love" seems like it would make a great jazz standard, but the
    only recording I can think of is on Joe Beck's "Relaxin'," on which I
    think it is the highlight of the record.
    
    I thought perhaps Herbie or Tal might have recorded it, but a quick
    look turned up nothing. My database, which is all in my head, doesn't
    do searches as well as it used to--perhaps the desktop needs
    rebuilding. This is why I don't try to compete against Brian Rost in
    the "Name that tune/band/player/obscure label/bass player's third
    cousin/lead singers favorite beer " sweepstakes.
    
    Now, if someone had asked about "All The Things You Are" or I'll
    Remember April," I could find a dozen of each. I'm sure I've got other
    versions of Secret Love--I'll just have to wade through the recordings.
    
    Danny W. 

    
    I guess I wouldn't have been surprised if Wes _had_ recorded
    it (Secret Lunch, er rather Love), because it seemed like a 
    commonly called tune in Indianapolis, where Wes and family 
    started out as I understand it.  Of course he was
    there many years before I ever heard the thing called. 
    
    I would be curious about any other recordings, thanks. 
    
    Dave 
    
    
    
    
    
      
    
    

    Saw John Mcglaughlin's trio at the Charles Hotel Ballroom last 
    night.  He's got Joey Defrancesco on organ and trumpet, and
    Dennis Chambers on drums.  Generally I'd have to say I wasn't
    completely thrilled, as I have been the previous three times
    I've seen him.  Maybe it was the room, maybe he was sick, 
    maybe the drummer isn't my favorite, whatever.  The most
    positive thing I'd say is that I'll be curious to hear more
    of the organ player, since I think he had the best night.
    Also made me think about how great George Benson was on those
    old Stanley Turrentine recordings, and how much I liked
    Shakti.  
    
    Anyways, did anyone else go? Any other impressions? Anyone
    identify the guitar? It was a soft cut (non-florentine), sunburst, 
    single-gold humbucker pickup Gibson archtop with I think a bigsby, 
    and the back of the neck had two lines in it, like it was made 
    from three pieces?  The controls were mounted on the pickguard, the 
    headstock looked large and had fancy inlay.  The cord
    plugged into the strap screw at the end.
    
    Dave       
        

    
    	Unfortunately, Joe Pass died Monday of liver cancer.  I have
    	about a dozen of his albums and especially like his recordings
    	with Oscar Peterson and Nils Henning Orsted Pedersen.
    
    	Saw him twice and don't think I recognized one chord!!
    
    	Guess the years of heavy drinking got to him.  I believe he was
    	also addicted to heroin at one time.  He was 65.
    
    

    >...and don't think I recognized one chord!!
    
    I'll bet you woulda caught right on if he used 3 tho...
    
    :^)
    
    Edd

    I remember when "Sounds Of Synanon" was released and Joe Pass becaome
    an overnight jazz sensation, because of both his playing and the
    circumstances of the recording. "Catch Me" secured his place in the
    roster of jazz guitar giants.
    
     After playing in a variety of settings,  he devoted a period of his
    career to playing solo. He did it extraordinarily well, but I find this
    type of playing boring and I lost interest in him. Awhile ago he
    started recording again with small groups, and recently turned out
    several of what I feel are his best records. "My Song", "Finally" with
    Red Mitchell, and "Appasionato" are each outstanding. The last has a
    substantial amount of acoustic playing, too, and this provides a nice
    contrast to Joe's electric playing.
    
    These recordings really renewed my enthusiasm for Joe and I had been
    looking forward to a steady stream of similar releases. Once again a
    vital force in jazz guitar is stilled and the world is a sadder place
    for it.
    
    
    Danny W.

    
    Do any of you ever feel like jazz guitar gets no
    respect? 
    
    A saxophonist friend of mine called me up last night, and
    when I told him I had been practicing guitar he said
    
    "Man, if you're going to spend so much time on it, 
    why don't you play an instrument that it would eventually 
    be possible to _swing_ on?"
    
    Cutting, very cutting... =B-)
    
    Dave
    
      

    I have no end of respect for Larry Carlton.

    I got Herb Ellis' new CD "Texas Swings" at Newbury Comics the other
    day. There's a guy who can swing on a guitar, even on such unlikely
    tunes as "The Old Rugged Cross" and "America the Beautiful".

    The guitar has never been a cutting edge jazz instrument--all the
    breakthroughs in jazz styles have been led by horn players.  In fact,
    the most significant guitar player* in the history of jazz made his
    contribution by learning to play lines like a horn player would. The
    guitar has often been segregated from mainstream jazz--there are many
    leaders who prefer not o work with one because they feel it is
    stylistically incompatible with their music. This includes most of the
    "hard bop" style--try to imagine the Jazz Messengers with one. So jazz
    guitar has mostly existed in its own niche (perhaps ghetto is more
    correct,) though some players, like Burrell, Kessel, Ellis, Farlow and
    Rainey, have been successful in so many settings that they prove that
    it is not the jazz guitar itself, but the small community of great
    players that might the root of the problem.
    
    I have worked with some musicians who felt that the presence of a
    rhythm guitar player in a jazz group was detrimental to swing, citing
    the often plodding rhythm sections of many of the (perhaps misnamed)
    "swing" bands, or of the Quintet of The Hot Club. The first example is
    easy to counter-- the Basie rhythm section swung like crazy, because
    of, not despite, Freddie Green. The second example is artificial--three
    rhythm guitarists are a little much, and these guys came from a
    background where swing wasn't as important as emotion. 
    
    As for the idea that the guitar can't swing, there are so many examples
    to disprove this that I suspect the motives of anyone who makes this
    claim. For a start, consider that even with The Quintet Of The Hot
    Club's leaden rhythm section, Django's playing is swinging as can be.
    Then listen to Christian's "Solo Flight", any of Kessel's "Poll Winner"
    albums and follow that up with Wes' "Full House." After that, anything
    by any of the other players mentioned previously, plus Jim Hall, Joe
    Pass, Howard Alden, Cal Collins...
    
    Danny W.    * I shouldn't have to tell you who this guitarist is

 * I shouldn't have to tell you who this guitarist is
    
    You're right, you shouldn't.........
    
    so who is it?
    
    

    re .-1
    
    uh, Mick Mars?

    re: .124
    
    For you, Bulldawg, Eric Clapton.
    
    Dave

    re: -1
    
    Thank you, Dave, I love EC's jazz stylings!
    
    .........you didn't know either, didya?
    
    dawg

    re: -1
    
    No, actually, I don't know.  My guess would be Charlie Christian.
    
    But jazz bassists?  Now lessee...  Peter Tork?
    
    D-D-D-Dave

    
    For those who enjoy older swing style guitar playing, 
    the "City Life" disc by Chris Flory, I believe
    previously of Providence R.I. is worth checking out. 
    
    It also features some nice straight ahead piano
    playing by John Bunch. 
                                                
    Dave

    Come on guys, even I know that Danny can only be referring to 
    Wes Montgomery. Who else fits that bill? I remember reading 
    somewhere that Wes studied horn charts. 
    
    Regarding your reference to the Quintet, I've always heard
    them referred to as "The Hot House 5".
    
    Mark
    
    

    Sorry Mark, you failed the midterm. Your punishment is to write
    descriptions of all the pawnshop prizes you snag at the guitar show!
    
    Charlie Christian is the man who learned how to play horn lines on a
    guitar, and is the wellspring from which all other jazz guitarists (all
    electric guitarists, for that matter) flow. Wes Montgomery's first
    forays into jazz found him learning all of Christian's solos.
    
    The Quintet Of The Hot Club and The Hot House Five are two different
    organizations, rather far apart in both time and repertoire. I doubt
    that Louis would have allowed a guitarist into the latter group, though
    banjo players might apply.
    
    
    Danny W.

    
    	Hmmm... I would have guessed Wes too, Mark!  I even thought it
    	was obvious from Danny's notes.  He is your favorite, Danny, yes?
    
    	On a different note, has anyone heard / seen Pat Martino's 
    	video?  Or anything about a new cd??
    
    	Tom
    

re.. On a different note, has anyone heard / seen Pat Martino's video? 

	A month or so ago I picked up Pat Martino's first instructional
video and have only had a chance to look at it once. The video has some
live footage of Pat playing. I'll probably pickup the second in the series
when I have the time. I believe I saw that an Audio version is available
also at a much lower price.
	I plan on looking down in the Philadelphia for a new or any release
from Pat this summer if I get a chance.
    	
    							Rick
    
    
    
							Rick

    I was looking through some of my old issues of Frets magazine and came
    across an 1981 article on rising star Howard Alden. What was
    interesting is that his instrument at the time was 4-string banjo!
    
    This explains the swing feel that permeates his style, and shows why he
    collaborates so well with George Van Eps, another ex-banjo player. 
    
    Danny W.

    In Lechmere a few weeks ago I came across two CDs by "New York Swing",
    with pianist Ralph Bunch, and guitar player Bucky Pizzarelli. One of
    the packages was a 2-CD set for $9.99, the other a single for 7.99.
    With a sale, the total was $14. For this price, the records didn't have
    to be great, but it turns out that they are. Bucky's playing is
    excellent throughout, and the rest of the group is fine, too. The tunes
    are a good selection of standards and there's an hour of music on each
    disc.
    
    This gets my "musical bargain of the year" award. 
    
    Danny W.

    I have heard Bucky Pizzarelli on WGBH, public radio in Boston.  He has
    been in the studio talking to the DJ, if I recall.  I suppose that
    means he is either from Boston or he gigs in Boston on occasion.
    
    	Willy
    	

    Bucky was just in town, backing up Stephane Grapelli.  Speaking of
    Stephane, I hope I'm still gigging when I'm 86!
    

    I saw Bucky and Stephane Saturday night at Jordan Hall in Boston. I had
    never heard Bucky before (well, I probably did and didn't know it), tho
    I did remember reading that he played a seven string. I saw the seven
    string on before they came out and thought, "well, either he's playing
    with Bucky Pizzarelli or Steve Vai." Anyway, Bucky was excellent and
    his chordal solos got great audience response.  A couple of guys in the
    row behind me were worshipping him, genuflecting in that "we're not 
    worthy" manner...
    
    Stephane was excellent, as always. He does sit down for the show now,
    and needs a little help getting up and down, but it hasn't effected his
    playing. I really lucked out and got second row center seats - so I was
    about 10 feet away from him - even though I ordered the tickets the
    day before!  I was just about hypnotized for the entire show...
    
    Tom

    
    	Make sure you're not confusing Bucky with Bucky Jr.  
    
    	Bucky Jr looks about 30ish or so to me and also plays a
    	7 string.  I believe he's trying to be the Harry Connick
    	of guitar.  Saw him one morning on the Today show and he
    	is a hell of a player too.
    
    	Tom
    

    Actually, I think his son's name is John.  Or maybe that's his middle
    name and he uses it to avoid confusion?  You're right about the
    "Harry Connick of the guitar" business.
    
    /rick

    I have John Pizzarelli's latest CD (I think it's called Splendid
    Splinter; that's the cut I remember off it). It's very good straight-
    ahead jazz. I think John needs to develop his vocals more (IMO). 

    Don't know how many of you read Jazz notes, but check out the note
    on Stow's own, Coffee, Tea and Melody.  I try to update it as I get 
    time, but just let you know in advance guitar virtuoso Garrison 
    Fewell comes to CTM Saturday nite November 5th.  I heard an interview
    a week ago on the WFNX Sunday Jazz Brunch with Jeff Turton and 
    Garrison mentioned this gig.  They were playing tunes from his latest
    CD on Accurate (the Cambridge label that Either/Orchestra's Russ
    Gershon owns/runs), entitled something " Blue " ?   It was a quartet
    (gtr/piano/bass/drums), and man, was Mr Fewell burnin'
    
    Actually, I *think* he said the CTM date was going to be a trio -
    even better !
    
    If you haven't been, check out CTM  - a great place to hear someone!
    
    /Paul
    

    >    Gershon owns/runs), entitled something " Blue " ?   It was a quartet
    
    It's something like "A Blues Deeper than the Blue", I think.  I've
    heard Garrison a couple of times around town...well worth checking
    out, IMO.
    
    Paul

    See JAZZ note #633 regarding the latest schedule for Coffee Tea &
    Melody's schedule.  This place is a treasure to have right here
    in Stow
    
    /Paul
    

    
    
    Haven't seen Martin Taylor mentioned in this notesfile. Is he well
    known in the US or restricted to a British/European audience ??
    He has played a lot with Stephane Grapelli, and at the moment is
    playing solo, plus also touring with his own quartet.
    
    I have seen him recently both solo and with his quartet. Last year I
    saw him playing with Joe Pass...........
    
    
    
    Anyone else heard him play ?
    
    
    David H. 
    

    Taylor is not exactly a household name in the US, but he is known for
    his work with Grapelli, and articles on him (and by him) have appeared
    in some US publications. He's a good player, but I've yet to hear
    anything from him that makes me think he's in the same league as Howard
    Alden, Ron Eschete or Bruce Foreman.
    
    Danny W.

    Hi,  I know this note is a LITTLE late, but I meant to say that I 
    heard Garrison Fewell's Trio at Coffee, Tea & Melody back in November
    and it was astonishing!  I have a tape copy of his latest CD and
    this performance (in my opinion) far exceeded the CD!  Matt Wilson
    was on drums and totally blew my mind. He came in with bass drum,
    snare and tom, hi-hat, ride, crash and a few little percussion 
    instruments and blew the place away - can you say imagination!
    Garrison's playing was awesome.  Right on and always thinking.
    Some inventive stuff.  Harvie Swartz was on upright bass - and what
    can I say ... he was amazing.  
    
    I just wish Fewell's CD had the open adventurism that this trio
    had.  A much nicer, more organic flowing feel than the album and
    less of a lounge vibe.  Wish I had a secret DAT player going in
    the audience!!
    
    /Paul
    

    ditto what Paul said.  And although it was Garrison's gig,
    Matt Wilson's drums are what really made that night; you
    could tell the whole audience thought so too.  See these
    guys, especially if Matt's with em.
    
    /ricki  

    
    
    		Hi,
    No luck when I did a dir/title=jazz and dir/key=jazz so I post:
    
    	Where is located the JAZZ conference ? It was in my notebook
        before I delete it !!    ;-)
    
    		-Fred-

re: .149
    
>    	Where is located the JAZZ conference ? It was in my notebook
>        before I delete it !!    ;-)
    
It's at EICMFG::JAZZ.  Press SELECT or KP7 or whatever to add it to your
notebook.

-Hal

    The current issue of downbeat has a truly depressing article about Tal
    Farlow. This giant of jazz guitar, certainly in the top 10 guitarists of
    all time and one of the most influential, recently lost his gig at a
    seaside restaurant playing cocktail music and doesn't have a steady gig
    nor a recording contract.
    
    Although he has never wanted to be in the limelight, I find it amazing
    that one of the jazz guitar labels (Concord, perhaps) can't figure out
    a way to make him some kind of a deal that would allow the rest of us
    to listen to his music.
    
    Danny W.

    
    	Did he lose the gig due to failing ability [doubtful] or the
    	closing of the restaurant ... or something else?
    

    The place closed. He plays as well as ever, according to the article (a
    friend of mine who knows Tal confirms this)
    
    Danny W.

    
    Another recent favorite of mine that may not 
    already be listed in here is Joshua Breakstone's
    Tribute to Grant Green CD.  Big sound, bebop 
    lines, guitar/organ/drums line up.  Plus two
    tracks with Kenny Barron on piano instead of 
    the organ.  I'll be looking into more of this
    guy's recordings. 
    
    Dave
    

    Garrison Fewell and Lazlo Gardony, this Friday night at the Acton Jazz
    Cafe.  Haven't checked out the AJC yet but they seem to have a nice
    little jazz thing growing.  Garrison and Lazlo are no doubt promoting
    their new live duet release.  By all means, go.
    
    /rick
    

    I just got Hank Garland's "Jazz Winds from a New Direction" on
    CD the other day. This is certainly a hard one to find! I know
    most of you jazz afficionados probably have this one already, but
    I'd never heard it. This is definately a 'must have'. I've played
    'All the things you are' quite a few times, and can kind of 
    struggle through the changes. Hank (and a 17-year old Gary
    Burton) just soar, on this and all the other tunes. Enough
    material here to keep me busy for a couple years. 
    
    Hank was a country session guy who fooled around with jazz on
    the side. This was his first attempt at a serious jazz recording.
    He could have been one of the greats but he was in a serious 
    car accident less than 2 years after this recording was made.
    He never fully regained his abilities, and left the music
    business.

    Correct me if I'm wrong, but I believe Hank is the "land" part of
    the name given to the Gibson "Byrdland" model.
    

    
    I've only heard him in a sampler and it was many, many years ago but
    I remember loving his style.  Clean, fast and very melodic.  
    
    I know I'd be into it it just as much as you, Dave!  Great find!
    Tom

    Re. .165
    
    Correct! Garland was the "land" part; the "Byrd" was, of course, Billy
    Byrd, who was lead guitarist for Ernest Tubb's Texas Troubadours.
    
    				Eric (aka Joe Bob) ;^)

        
    Ernest Ranglin is a Jamaican jazz guitarist with
    a CD called Below the Bassline (available through BMG)
    
    One of the few times I've heard a jazz/ska fusion!
    Its all instrumentals, with some great grooves and 
    very distinctive guitar solos.
    
    Can anyone recommend any other recordings by him?  
    
    Dave