Joe Pass Virtuoso 3

This film, which opens with Pass playing alone on six wonderful tunes, was made during a European tour that took place some months before the recording of their second album as a duet, titled precisely Fitzgerald & Pass Again, taped on February 8, 1975. Thus, it presents some tunes that would be part of that LP, making this program (and probably the whole tour) a kind of rehearsal for the songs to be included on the studio album.

Laid back, jazz of great subtlety and artistry by two masters of their instruments.
Joe Pass did the near-impossible. He was able to play up-tempo versions of bop tunes such as "Cherokee" and "How High the Moon" unaccompanied on the guitar. Unlike Stanley Jordan, Pass used conventional (but superb) technique, and his Virtuoso series on Pablo still sounds remarkable decades later.
Joe Pass had a false start in his career. He played in a few swing bands (including Tony Pastor's) before graduating from high school, and was with Charlie Barnet for a time in 1947. But after serving in the military, Pass became a drug addict, serving time in prison and essentially wasting a decade…

Joe Pass - The Complete Pacific Jazz Quartet Sessions (2001) {5CD Box Set, Mosaic MD5-207 rec 1963-1964}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 2.12 Gb | MP3 @320 -> 877 Mb
Full Artwork @ 300 dpi (jpg) -> 29 Mb | 5% repair rar
© 1963-64, 2001 Pacific Jazz / EMI-Capitol / Mosaic Records | MD5-207
Jazz / Cool / Hard Bop / Guitar

Guitarist Joe Pass was known for his forthright, straight-ahead style, gorgeous tone, and melodic concepts. This magnificent five-CD set collects his entire output in 1963 and 1964 as a leader, with additional sessions in which Pass plays in a trio led by Les McCann. Most of the tracks feature a quartet (the five exceptions adding the saxophone or flute of Bill Perkins), with the guitarist virtually always a key voice.

Virtuoso guitarist Joe Pass didn't need sidemen on any recording, but when he used them, he chose wisely. Tenor saxophonist Plas Johnson, keyboardist Gerald Wiggins and drummer Tootle Heath had not recorded with Pass previously, but along with bassist Andy Simpkins, they achieve a perfect first-take sound on each track. The title cut features Pass with Johnson's bluesy sax and a soft organ and brushed background. Two Pass originals are lengthy blues vehicles with plenty of solo space for all. "I Remember You" is an unlikely choice that developed from Wiggins' jamming in the studio; the ballad is a relaxing detour from the blues that dominate the CD. Joe Pass was without peer on guitar the last 20 years of his life; his playing here won't disappoint.

Long-awaited reissue of an interesting and rare masterpiece by jazz guitar virtuoso Joe Pass, who took on jazz funk! This is the first release on Gwyn Records, a minor label in California, and features a very impressive lineup. Paul Humphrey and Earl Palmer on drums, Carol Kaye (label owner) and Ray Brown on bass, J.J. Johnson, Tom Scott, and Conte Candoli on horns, this is truly a historical session that brought together the top musicians of the West Coast at the time. From the cool funk of "Better Days" at the beginning of the session, almost the entire album was a storm of jazz funk. "Free Sample" by Joe Sample, "Burning Spear," with its impressive undulating beat, "Head Start," with its too-subtle bass line, and the boogie shuffle "Gotcha!"…

Joe Pass did the near-impossible. He was able to play up-tempo versions of bop tunes such as "Cherokee" and "How High the Moon" unaccompanied on the guitar. Unlike Stanley Jordan, Pass used conventional (but superb) technique, and his Virtuoso series on Pablo still sounds remarkable decades later.
Tony Rizzi was a prolific Hollywood guitarist who started recording in the mid-1940s with bands led by Boyd Raeburn, Les Brown and Harry James. By the early '50s, Rizzi also was on many small-group sessions that included the Dave Pell Octet and Paul Smith Quartet. Rizzi had a confident, swinging technique and superb taste, as evidenced on his small number of leadership albums. There were just four in all - two are superb while the latter two are sticky pop efforts and largely forgettable.

Here is a second brace of solo Pass tracks from the sessions that have already yielded Songs for Ellen. The ambience is ruminative and extremely intimate; the menu consists entirely of much-explored standards at mostly unrelieved slow tempos. Several notes are not cleanly struck, but the musical imagination that previously yielded several solo recordings is still very much in gear, albeit a very subtle gear. A general bit of advice: it is better to listen to this album in small doses (a few tracks at a time), try to mentally filter out the very closely recorded mechanical noises the fingers make on the guitar, and not expect anything startling to leap out at you. Better yet, try some of Pass' earlier solo albums (such as the Virtuoso series, also on Pablo) before embarking upon this.

Eddy Palermo - My Latin Feeling
EAC+LOG+CUE | FLAC: 224 MB | Full Artwork: 44 MB | 5% Recovery Info
Label/Cat#: Inakustik "Compact Disc Reference Edition" # inak 8806 CD | Country/Year: Germany 1987
Genre: Jazz | Style: Contemporary, Guitar Jazz

…In the same year he participated in the Jazz Festival of Messina. In 1987, he collaborated with George Garzone on tenor and trumpeter Jimmy Owens. But the meeting is what will have the most significant in 1988 with Joe Pass, who calls him to play as a guest during several concerts in a club in Rome. Inspired by this great jazz guitar virtuoso, talent Eddy Palermo is increasingly oriented towards the "one guitar"…

What's a guitar hero to do now that the masses prefer electronic beats and rap-metal to killer scale runs? Joe Satriani seeks that answer on Strange Beautiful Music. Satriani set himself apart from other would-be kings of the six-string in the 1980s by combining impeccable technique with great feel and pop hooks. With those qualities, he produced great guitar-driven albums like Surfing With the Alien and Flying in a Blue Dream. On his 2002 release, Satriani tries to make his music fresh by incorporating world music influences and a bit of techno flava. To his credit, he succeeds more than he fails. "Belly Dancer" combines straight-up rock riffs with Middle Eastern-twinged melodies and faster-than-sound runs up and down the fretboard………..