Jazz guitar legend Jimmy Bruno has launched an online jazz guitar video instruction website. “After almost a year of planning and development, and many weeks of testing, the Jimmy Bruno Guitar Institute is now open for enrollments.” The lessons are geared towards guitarists of all levels: jazz guitar students, jazz guitar teachers, professional guitarists, rock guitarists and fusion guitarists, through a series of instructional videos featuring Jimmy Bruno.
Jimmy Giuffre may not have gotten his due with American audiences outside very specific kinds of jazz circles, but he was loved and respected by other musicians and the audiences of Europe and Asia. His reputation among those groups of listeners and players is well deserved for the radical, if quiet and unassuming path he walked throughout his seven-decade career. These sides, recorded between 1956 and 1959 with guitarist Jim Hall, his most symbiotic collaborator and foil, are at the heart of his reputation as a pioneer – even more so than his killer early-'60s sides (à la Free Fall) with Paul Bley and Steve Swallow.
Proof that at his start, Jimmy Smith had a greatness that knew no bounds – as the album's one of a few that Blue Note recorded in the late 50s, but never issued until many years later – even though they had already released so many amazing records from this period! The set has Jimmy really cooking away – playing live at Small's Paradise, in a group that has Lou Donaldson's alto on just about every track, and tenor from Tina Brooks on most of the others too. Tunes are tighter and shorter than on the more jam session albums, which makes for a nice change – and titles include "Groovin At Smalls", "Dark Eyes", "Cool Blues", and "A Night In Tunisia" – which begins with an announcement from Babs Gonzales! 8 tracks in all – 4 more than on the 1980 album – with better sound than before as well!
Page's debut solo album is a heavy guitar treat employing a varying cast of sidemen, including drummer Jason Bonham and Page's old Led Zeppelin partner Robert Plant, who co-writes and sings one song. ~ William Ruhlmann
In the 1960s, San Francisco’s KQED produced an innovative thirty-minute jazz program hosted by local music critic, Ralph J. Gleason. The "Jazz Casual" shows featured a variety of well-known musicians. Koch Jazz has reprised these recordings using two thirty-minute sets, including interviews by Mr. Gleason. This "Jazz Casual" edition initially focuses on a 1962 session featuring blues vocalist Jimmy Witherspoon. The first song, "Times Getting Tough," is a strong whiff of urban pathos that say "Money’s getting’ cheaper, prices are getting’ steeper and times gettin’ tougher than tough, things getting’ rougher than rough."
Features 24 bit digital remastering. Comes with a description. On this interesting LP, Four Brothers Sound refers to the four overdubbed tenor saxes Giuffre uses throughout the session. The effect is similar to that achieved by Bill Evans on his similar effort, Conversations With Myself. The chief differences between the two might be this: where Evans layered wholly different improvisational lines to the same changes, Giuffre generally sticks to ensemble work. Also, Evans was the only performer on his set, while pianist Bob Brookmeyer and guitarist Jim Hall join Giuffre on several cuts.
Features 24 bit remastering and comes with a mini-description. Jimmy Guiffre 3 features the first version of Giuffre's 3. With guitarist Jim Hall and either Ralph Pena or Jim Atlas on bass, Giuffre is heard on clarinet, tenor, and baritone. The generally introverted music is wistful, has a fair amount of variety, and is melodic while still sounding advanced. In addition to the nine original songs (including the earliest recording of Giuffre's classic folk song "The Train and the River"). An excellent introduction to Jimmy Giuffre's unique music.
Jimmy Bruno has played guitar with some of the all time greats, including Frank Sinatra, Barbara Streisand and Elvis Presley. He makes even the most daunting techniques accessible to anyone who wants to learn. Jimmy covers II/V/I progressions, changing chord colors, training hands and ears to work together, natural picking techniques, adding bass lines to chords and much more. No nonsense-just great jazz guitar!