Ed Ed Bickert

42 at the time, guitarist Ed Bickert (who had been a top Canadian studio musicians since the late '50s) finally had an opportunity to lead his own record date in 1975; fortunately, there would be many more. The cool-toned guitarist sounds fine on six sophisticated standards (including "Come Rain or Come Shine," "When Sunny Gets Blue" and "It Might as Well Be Spring") with two other versatile Canadian players, bassist Don Thompson and drummer Terry Clarke. Subtle and lightly swinging music.

42 at the time, guitarist Ed Bickert (who had been a top Canadian studio musicians since the late '50s) finally had an opportunity to lead his own record date in 1975; fortunately, there would be many more. The cool-toned guitarist sounds fine on six sophisticated standards (including "Come Rain or Come Shine," "When Sunny Gets Blue" and "It Might as Well Be Spring") with two other versatile Canadian players, bassist Don Thompson and drummer Terry Clarke. Subtle and lightly swinging music.

After hooking up with the Concord label in 1977, Rosemary Clooney had a renaissance. On this enjoyable set, she interprets ten of Irving Berlin's songs (including a couple of obscurities) with fine backup from a swinging septet that includes tenorman Scott Hamilton, cornetist Warren Vache, both Chris Flory and Ed Bickert on guitars and pianist John Oddo. Highlights include "Be Careful, It's My Heart," "Cheek to Cheek," "The Best Thing for You Would Be Me" and "What'll I Do."

After hooking up with the Concord label in 1977, Rosemary Clooney had a renaissance. On this enjoyable set, she interprets ten of Irving Berlin's songs (including a couple of obscurities) with fine backup from a swinging septet that includes tenorman Scott Hamilton, cornetist Warren Vache, both Chris Flory and Ed Bickert on guitars and pianist John Oddo. Highlights include "Be Careful, It's My Heart," "Cheek to Cheek," "The Best Thing for You Would Be Me" and "What'll I Do."

Although Dave Brubeck and Paul Desmond made many rewarding recordings together, this was their only duo album; it was inspired by several duo performances on board a cruise ship. Their magical ESP is evident from start to finish. Brubeck's lyricism throughout these sessions will surprise critics who label him as "bombastic," while Desmond, known for his pure dry-toned alto sax, throws a few curves to his longtime fans.

Paul Desmond - Pure Desmond (1974) {CTI Masterworks Jazz 88697 80378 2 rel 2011}
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© 1974, 2011 CTI / Sony Music / Masterworks Jazz | 88697 80378 2
Jazz / Cool / Mainstream Jazz / Saxophone

With the Skylark "experiment" behind him, Paul Desmond reverted back to the relaxed quartet format that suited him well in the past. The reason? Through Jim Hall, he found a little-known, splendid guitarist in Toronto named Ed Bickert who became his new gigmate in 1974, and this album was meant to show his discovery off. In fact, it sparked a Desmond renaissance where he regained a good deal of the witty spark and erudite cool of his collaborations with Hall, no matter how unfashionable it was to play this way in 1974.

This is a somewhat unusual Oscar Peterson record (a CD reissue) in a number of ways. Peterson (along with flugelhornist Clark Terry, bassist Dave Young, drummer Jerry Fuller and either Peter Leitch or Ed Bickert on guitar) performs 13 songs either written or popularized by Canadians. In addition he sings the majority of the tunes in his Nat King Cole-influenced voice and contributes two new songs of his own. The repertoire includes some familiar standards ("Some of These Days," "I'll Never Smile Again," "The World Is Waiting for the Sunrise" and "Sweethearts on Parade"), jazz versions of a few pop tunes (including "Spinning Wheel") and a few obscurities.