Time: 54:32
Size: 124.8 MB
Styles: Bop, Guitar jazz
Year: 1956/2000
Art: Front
[4:09] 1. It's A Blue World
[2:30] 2. Maybe It's Because I Love You Too Much
[4:04] 3. Lincoln Tunnel
[4:43] 4. Night Cruise
[2:58] 5. Too Marvelous For Words
[3:38] 6. Lady Estelle's Dream
[3:11] 7. You'd Be So Nice To Come Home To
[3:44] 8. When It's Sleepy Time Down South
[3:37] 9. The Way You Look Tonight
[3:57] 10. Lullaby Of The Leaves
[2:10] 11. Blue Mist
[3:48] 12. The Way You Look Tonight (alt 1)
[3:50] 13. The Way You Look Tonight (alt 2)
[3:50] 14. The Way You Look Tonight (alt 3)
[4:15] 15. Lullaby Leaves
Bass – Milt Hinton; Drums – Osie Johnson; Guitar – Billy Bauer; Piano – Andrew Ackers. Recorded 1956 at Fine Sound, New York City: tracks 1-4 on January 23; tracks 5-15 on March 12. Tracks 12-15 previously unissued.
Bauer had a natural, swinging style that was essential for keeping 1940s big-band rhythm sections on track. A superb sight-reader, Bauer had great taste in chord structures and improvisational lines. What's more, he was confident and clear, which is why he was in such demand.
As the big bands gave way to smaller ensembles in the late 1940s and early 1950s, guitarists increasingly were called upon to keep tempos and set moods. Like Mundell Lowe, Barney Kessel, Kenny Burrell, Johnny Smith, Dave Barbour, Chuck Wayne, Jimmy Raney and many other guitarists, Bauer was a journeyman, joining groups for brief periods and record dates before being yanked away by another leader or record producer, especially in the 10-inch LP era.
Right after the turn of the year in 1956, Bauer finally relented to Norman Granz's nagging and agreed to record Plectrist. The word "plectrist" was made up by the session's producer and means one who skillfully uses a plectrum or a triangular plastic pic on the guitar's strings. The first four tracks of Plectrist were recorded on January 23, 1956, with another six captured on March 12. Bauer's playing swings on the up-tempo tracks and features gorgeous chords on the ballads. Bauer is so good on the album that he sounds as if he's accompanying himself. What you notice throughout, in addition to Bauer's beautiful taste, is Osie Johnson's drums. Johnson appeared on dozens of recordings in the 1950s, but it's rare to hear his drumming style and technique so distinctly. On Plectrist, you can hear clearly just how gifted a beat-keeper he was and why he was a favorite of so many session leaders of the period. Milt Hinton, of course, keeps rock solid time all the way through. Again, because this is a small group with guitar as the lead, you hear exactly why Hinton was so beloved by session and club artists. Andrew Ackers is the least-known player on the date. Ackers was a session pianist who worked steadily in the 1940s with bandleaders Jerry Wald and George Paxton, and with Carmen McRae in 1955.
Plectrist is a snapshot of the level of taste and talent that existed in early 1956, especially among guys who went from studio to studio earning a living on record dates. It's a sleeper album that's a must-own for any collection.
Bauer had a natural, swinging style that was essential for keeping 1940s big-band rhythm sections on track. A superb sight-reader, Bauer had great taste in chord structures and improvisational lines. What's more, he was confident and clear, which is why he was in such demand.
As the big bands gave way to smaller ensembles in the late 1940s and early 1950s, guitarists increasingly were called upon to keep tempos and set moods. Like Mundell Lowe, Barney Kessel, Kenny Burrell, Johnny Smith, Dave Barbour, Chuck Wayne, Jimmy Raney and many other guitarists, Bauer was a journeyman, joining groups for brief periods and record dates before being yanked away by another leader or record producer, especially in the 10-inch LP era.
Right after the turn of the year in 1956, Bauer finally relented to Norman Granz's nagging and agreed to record Plectrist. The word "plectrist" was made up by the session's producer and means one who skillfully uses a plectrum or a triangular plastic pic on the guitar's strings. The first four tracks of Plectrist were recorded on January 23, 1956, with another six captured on March 12. Bauer's playing swings on the up-tempo tracks and features gorgeous chords on the ballads. Bauer is so good on the album that he sounds as if he's accompanying himself. What you notice throughout, in addition to Bauer's beautiful taste, is Osie Johnson's drums. Johnson appeared on dozens of recordings in the 1950s, but it's rare to hear his drumming style and technique so distinctly. On Plectrist, you can hear clearly just how gifted a beat-keeper he was and why he was a favorite of so many session leaders of the period. Milt Hinton, of course, keeps rock solid time all the way through. Again, because this is a small group with guitar as the lead, you hear exactly why Hinton was so beloved by session and club artists. Andrew Ackers is the least-known player on the date. Ackers was a session pianist who worked steadily in the 1940s with bandleaders Jerry Wald and George Paxton, and with Carmen McRae in 1955.
Plectrist is a snapshot of the level of taste and talent that existed in early 1956, especially among guys who went from studio to studio earning a living on record dates. It's a sleeper album that's a must-own for any collection.
Plectrist
Hi! Mat, me again to thank you for this fine guitarist who made too few solo discs. Roger.
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