Time: 61:42
Size: 141.2 MB
Styles: Guitar jazz
Year: 2013
Art: Front
[5:58] 1. One Hundred Ways
[6:47] 2. Bock To Bock
[5:03] 3. Saucy
[6:44] 4. Ted's Groove
[7:42] 5. Bridge Over Troubled Water
[4:31] 6. Always Around
[7:43] 7. My Secret Love
[7:21] 8. Ceora
[5:05] 9. The Big Bailout
[4:43] 10. Pat-A-Tat-Tat
There's something about the sound of the guitar with the Hammond B3 organ. It's often hard to explain. The nuances of the timbres found in both instruments when combined together in musical interplay that is rooted in the blues, creates a sonic palette like no other. It is this sound that initially attracted me to the jazz guitar. The first recording that I heard of the jazz guitar was Smokin' at the Half Note by Wes Montgomery. While this recording didn't contain the organ/guitar combination in the instrumentation, it soon led me on a musical journey. Being exposed to Wes Montgomery at such a young age led me to this unique relationship between the organ and guitar that I found with Wes Montgomery and Jimmy Smith on The Dynamic Duo and Wes with Melvin Rhyne on Boss Guitar. These records eventually led me to Kenny Burrell and Jimmy Smith together on the record Back At The Chicken Shack. After that I was hooked.
Upon moving to NYC in 1991, I spent many years playing with various organ players. There was Augie's where I played and hung out regularly. But it was in Harlem was where I worked with several different organ players almost nightly. From Showman's Lounge to Lickety Split, Perks, La Famille and others, the music that was coming out of these clubs embodied all that I loved about music. Honesty, self-expression, the blues, raw emotion and virtuosity were all coupled with a social environment that welcomed people from all backgrounds into a collaborative discussion. This opportunity, which continues today, was made possible by the music, the food and the people assembled. This recording showcases the evolution of my experience playing jazz. The tradition of the jazz canon and the lineage of the standard of jazz performance handed down from my heroes (Wes Montgomery, Kenny Burrell, George Benson, Jim Hall and Grant Green) remain at the root of my soul as a musician. But there are many other interests, sounds and musical palettes that resonate inside me.
Upon moving to NYC in 1991, I spent many years playing with various organ players. There was Augie's where I played and hung out regularly. But it was in Harlem was where I worked with several different organ players almost nightly. From Showman's Lounge to Lickety Split, Perks, La Famille and others, the music that was coming out of these clubs embodied all that I loved about music. Honesty, self-expression, the blues, raw emotion and virtuosity were all coupled with a social environment that welcomed people from all backgrounds into a collaborative discussion. This opportunity, which continues today, was made possible by the music, the food and the people assembled. This recording showcases the evolution of my experience playing jazz. The tradition of the jazz canon and the lineage of the standard of jazz performance handed down from my heroes (Wes Montgomery, Kenny Burrell, George Benson, Jim Hall and Grant Green) remain at the root of my soul as a musician. But there are many other interests, sounds and musical palettes that resonate inside me.
Saucy
Excellent musicians with nice grooves. Pretty good record. Merci
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