Father and son duos are relatively rare in jazz but there's no generation gap apparent between Bucky and John Pizzarelli. The two have made a number of strong LPs and CDs together (and individually as well), although it is tough to lavish sufficient praise on this duo-guitar date, played primarily on seven-string electric guitars. Each man adapts equally well, whether in the lead, providing rhythmic support for the other, or matching his partner's lyricism while playing the head of a song. An invigorating "Three Little Words" introduces the two masterful guitarists with a flourish, followed by a lightly swinging take of "Jersey Bounce," the bluesy "Two Funky People," and the strutting acoustic duet "Test Pilot."
At the age of 71, Johnny Frigo finally had his debut as a leader on record, with the exception of an obscure effort in 1957. Although he had spent much of his career as a studio bassist, Frigo successfully switched full-time to his first love, the violin, and was immediately considered one of the top swing-based violinists. Joined by both Bucky and John Pizzarelli on guitars, either Ron Carter or Michael Moore on bass, and drummer Butch Miles, Frigo is in wonderful form on 14 standards, including "Pick Yourself Up," "Detour Ahead" (which he had co-written while with the Soft Winds in the late '40s), "Stompin' at the Savoy" and "The Song Is You." This recommended CD launched the Chesky label.
Intelligent, moving, jazz influenced, progressive rock performed by a stellar cast of musicians including amongst others and in addition to Pip himself is: Dave Stewart, Barbara Gaskin, Phil Miller, Jakko M Jaksyk, Richard Sinclair, John Greaves, Fred Thelonious Baker, Hugh Hopper, Paul Rogers, Didier Malherbe and Elton Dean. Pip Pyle has played drums with amongst others Gong, Hatfield and the North, National Health and In Cahoots and this album shows also what a great composer he is. Quite simply this album contains some of the best examples of the Canterbury/Prog Rock music that has been heard on CD…
Just prior to signing with RCA/Novus, John Pizzarelli recorded two sets for Chesky that featured him playing in the swing style that he would soon make quite popular. Although joined by all-stars (pianist Dave McKenna, bassist Milt Hinton, drummer Connie Kay, his father, guitarist Bucky Pizzarelli, and flugelhornist Clark Terry) rather than his regular trio, Pizzarelli's likable vocals and relaxed guitar solos are not overshadowed. In fact, this is a delightful date, with memorable renditions of such songs as "I'm An Errand Boy for Rhythm," "Lady Be Good," "The Best Man," "Gee Baby Ain't I Good to You" and "Candy." Easily recommended to John Pizzarelli fans.
Rysanov’s ONYX debut is of two extraordinarily beautiful and haunting works for viola and chorus/orchestra: both written for Bashmet, and the Tavener is a world-première recording! Giya Kancheli’s Styx is already renowned as a choral masterpiece for the 21st century, The River Styx in Greek mythology separates the living from the dead and the solo viola mediates between the two. John Tavener’s The Myrrh-Bearer is another epic, this time based on the Troparion of Cassiane, a Byzantine poet and composer. Here the viola represents the sin of Mary Magdalen. Both works were recorded in the amazing Dome Cathedral in Riga, Latvia, the largest medieval church in the Baltics, has just the right expansive acoustic for this music.
Jazz guitarist/vocalist John Pizzarelli is a technically proficient fretman with a soft voice, charming stage presence, and knack for uptempo swing. Most often performing in a trio setting sans drums, Pizzarelli has found his niche covering jazz standards and American popular song in his own urbane style. He has recorded over 20 solo albums and has appeared on more than 40 albums of other recording artists, including Paul McCartney, James Taylor, Rosemary Clooney; his father, jazz guitarist Bucky Pizzarelli; and his wife, singer Jessica Molaskey.
John McLaughlin & Paco de Lucia: Paco and John - Live at Montreux 1987 it's truly a shame that, all too often, artists with diverse careers become pigeon-holed, defined by the primary genre in which they first achieved notoriety. Take guitarist John McLaughlin, for instance. Ask most jazz fans about him and what will first come out of most of their mouths will include either the words "fusion," "jazz-rock" and/or Miles Davis, in any permutation/combination (not that there's anything wrong with that). Those a little further in the know might also be aware of his longstanding investigation into the nexus of eastern and western music with his Indo-collaboration, Shakti.