Swedish trombonist Eje Thelin and French tenor saxophonist Barney Wilen were two of the top European jazz musicians for several decades before their deaths in the 1990s. They first joined forces briefly in Thelin's quartet in 1963. Based in bop and earlier forms of jazz, Thelin and Wilen were open to freer improvising and music from other countries. In 1966 they joined forces, and two sessions are included on the 1966 With Barney Wilen CD. The first one features a quintet with pianist Lars Sjösten, bassist Erik Lundborg, and drummer Rune Carlsson that is joined by eight brass, bass clarinet, and flute for four inventive Thelin originals. While those performances are excellent, it is the other five numbers (which include second versions of a pair of Thelin's tunes plus "It Could Happen to You" and "Dear Old Stockholm") that are of greatest interest. The playing by the pianoless quartet (comprised of Thelin, Wilen, Carlsson, and bassist Palle Danielsson) is looser and freer with plenty of fireworks occurring in the often intuitive music. This set is easily recommended, particularly to listeners who are not aware that talented Europeans had been playing creative jazz for decades.
Features 24 bit remastering and comes with a mini-description. A wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar ! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time ! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".
Reissue with the latest remastering. Comes with liner notes. One of Barney Kessel's greatest albums ever – a rare Italian-only session that has a sparkly Brazilian groove! The record was recorded in Rome in 1970, and it's got Kessel's guitar fronting a combo with organ and some very tight percussion – all dancing around in a fast samba mode that's different from virtually anything else he ever recorded – very groovy, very upbeat, and very much what you might expect when the talents of a west coast guitar giant meets the best of the Italian studio scene of the time! There's loads of original tracks on the set – like "Freeway", "Lison", "BJ's Samba", and "On the Riviera" – and the whole thing has a breezy dancing feel that's really wonderful!
The second Great Guitars album features guitarists Charlie Byrd, Barney Kessel, and Herb Ellis matching wits and generally inspiring each other throughout this studio set. The trio, along with bassist Joe Byrd and drummer Wayne Philips, are heard together on four numbers (best are "Undecided" and Ellis' "H & B Guitar Boogie"; Ellis and Kessel duet on "Down Home Blues"; Byrd has two features to himself; and a medley combines together short versions of "Benny's Bugle & and "Latin Groove" with the typically exuberant "Charlie's Blues" A fine all-around effort.
When musicians in the New York folk scene of the 1960s grew tired of city life, they decided to "get it together in the country." They headed for Woodstock-not the site of the infamous music festival of 1969 but to the Catskills, to Bearsville, to Woodstock proper. Counterculture revolutionaries like Janis Joplin, Richie Havens, and Paul Butterfield got "back to the land," turning the once sleepy hollow into a funky Shangri-La. Small Town Talk tells the town's musical history, from its earliest days as a bohemian arts colony to its ongoing life as a cultural satellite of New York. Woodstock, the bucolic artists' enclave, has earned its place in rock music history; Small Town Talk is a classic study of a vital music scene in a magical place during a revolutionary time.