Acoustic swinging string quartet with blazing guitars, soaring violins and pumping double bass. ‘Dukkah’ seemed an appropriate name for a spicy mix of music created and performed live in the studio by four musicians with diverse backgrounds and interests. Shenzo Gregorio is a master musician. Classically trained, he has written operas, ran masterclasses and performed all over the world. Nigel Date is a professional guitarist. …’
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A wonderful little record from pianist Joanne Brackeen – unlike anything the artist ever recorded, as it's just a set of duets with guitarist Ryo Kawasaki, who brings in some really beautiful elements to the mix! Ryo plays an acoustic nylon string guitar, but with a dexterity that most other players would use on electric – and the balance of his instrument with Brackeen's piano is sublime – full of colors and imaginative tones, but also a fair degree of rhythmic impulses too – which guide the duo in ways that are completely refreshing throughout!
Guitar players from two generations in jazz always seem to find common ground, no matter their styles or orientation. Old guard nylon-string acoustic master Gene Bertoncini meets electric guitarist Roni Ben-Hur in this series of duets without a rhythm section to play standards and four new compositions, all performed in the spirit of their mutual friend, veteran bassist Earl May…
Andreas Oberg's "Six String Evolution" CD features a host of fine players including Oberg on electric and acoustic guitars plus vocals on "Papa Gato" (penned by L.A.'s own Poncho Sanchez). He has Darmon Meader on saxophone and vocals on "Maniac;" Filo Machado, vocals and vocal percussion; Dave Kikoski, Rhodes piano; John Patitucci, acoustic and electric basses; Decebal Badila, electric bass; Lewis Nash, drums; Charlie Bisharat, violins; Enzo Todesco, percussion; Antal Steixner, cajon; Marius Preda, cymbalom; and John Beasley, synthesizer, percussion, vibes.
…The first thing that struck me was how comfortable Lams appeared to be with the material. One gets the impression that he has lived with this music for many years, absorbing it deeply into his unconscious so that it reemerges in his playing with minimal intellectual intervention. Of course, this all-important spiritual dimension must be combined with exceptional technical ability and seasoned performance skills to create lovely music and I'm happy to report that's the case. A novel take on Bach's timeless reperto ire.