Total Guitar 90

Founded in 1942 by Herman Lubinsky, Savoy grew to become one of the great reputable jazz and blues labels. Reaching its zenith in the bebop ear, Savoy became renowned for its great recordings of Charlie Parker, Dizzy Gillespie, Erroll Garner, Miles Davis, The Ravens, George Shearing, Art Pepper and countless other famous names of Fifties Jazz. This compilation of Great Trumpets is drawn entirely from the famous Savoy Jazz Catalogue and is the first time that a compilation of this depth has been made available. Good jazz guitar recordings are rare birds and this compilation of standards from some of the "raves" and less popularly acclaimed guitar players of the last fifty years makes for welcome and relaxed listening.
Kenny Burrell, Pat Martino, Charlie Byrd, Grant Green and others.

Founded in 1942 by Herman Lubinsky, Savoy grew to become one of the great reputable jazz and blues labels. Reaching its zenith in the bebop ear, Savoy became renowned for its great recordings of Charlie Parker, Dizzy Gillespie, Erroll Garner, Miles Davis, The Ravens, George Shearing, Art Pepper and countless other famous names of Fifties Jazz. This compilation of Great Trumpets is drawn entirely from the famous Savoy Jazz Catalogue and is the first time that a compilation of this depth has been made available. Good jazz guitar recordings are rare birds and this compilation of standards from some of the "raves" and less popularly acclaimed guitar players of the last fifty years makes for welcome and relaxed listening.
Kenny Burrell, Pat Martino, Charlie Byrd, Grant Green and others.

Founded in 1942 by Herman Lubinsky, Savoy grew to become one of the great reputable jazz and blues labels. Reaching its zenith in the bebop ear, Savoy became renowned for its great recordings of Charlie Parker, Dizzy Gillespie, Erroll Garner, Miles Davis, The Ravens, George Shearing, Art Pepper and countless other famous names of Fifties Jazz. This compilation of Great Trumpets is drawn entirely from the famous Savoy Jazz Catalogue and is the first time that a compilation of this depth has been made available. Good jazz guitar recordings are rare birds and this compilation of standards from some of the "raves" and less popularly acclaimed guitar players of the last fifty years makes for welcome and relaxed listening.
Kenny Burrell, Pat Martino, Charlie Byrd, Grant Green and others.

Originally issued on three 10-inch LPs, these albums feature three outstanding but underrated jazz guitarists: Lou Mecca, Bill de Arango and Chuck Wayne.
Crisp, inventive and fleet-fingered, Mecca found his own voice from his main inspiration, Tal Farlow, whom he replaced in the Gil Mellé Quartet. Lous classical guitar sound is complemented in this 1954 Blue Note recording by fine vibist Jack Hitchcock, bassist Vinnie Burke and drummer Jimmy Campbell.
De Arango, among the first of the modern jazz guitarists in 52nd Streets heyday, hadnt recorded for a while when he made his album for EmArcy in 1954. His full sound, great swing and consistently imaginative power were in the Charlie Christian tradition, but, as this date proves, he was also very individual…

Hungarian guitarist Elek Bacisk is a cousin of Django Reinhardt, and has continued his tradition of blending swing and gypsy elements into a coherent, expressive jazz mode. Bacisk initially studied classical violin and played gypsy songs in Budapest, then switched to jazz guitar. As a teen, he recorded in a band with alto saxophonist Geza Szabo and trumpeter Jozsef Quitter, then later toured Europe with Mihaly Tabanyi's band. Bacisk moved to Paris in 1959, and through the early and mid-'60s recorded and played with visiting American musicians, among them Art Simmons, Quentin Jackson, Lou Bennett and Dizzy Gillespie. He also did sessions heading his own bands. Bacsik came to America in 1966, and worked from 1967-1974 with Teresa Brewer before cutting his own sessions. He appeared at the 1974 Newport Jazz Festival and 1984 Olympic Games Jazz Festival in Los Angeles.

Another barn-burner mixing the guitarist's West-side roots with soul and blues shadings to present some of the fieriest contemporary blues on the market. Saxist Gordon Beadle and keyboardist Joe Krown distinguish themselves behind Johnson.

Johnson's third and final album for producer Ron Levy's Bullseye Blues diskery is every bit as spellbinding as the prior pair. Whether fronting his latest batch of Magic Rockers or going it alone, Johnson is totally convincing.
Luther "Guitar Junior" Johnson was a blues guitarist with an impressive résumé, backing Muddy Waters, Magic Sam, and John Lee Hooker before he found fame on his own, earning a following for his soulful vocal style and incisive guitar work. A solid performer in the Chicago style, Johnson found his greatest success while working out of New England, with 1990's I Want to Groove with You and 1992's It's Good to Me capturing his impassioned attack and wiry soloing. Latter-day efforts like 2001's Talkin' About Soul showed he'd lost none of his swagger with the passage of time, and 2020's Won't Be Back No More was an intimate acoustic set that captured the guitarist at his most personal.

The Concord Jazz Guitar Collective was a 1995 project that united Howard Alden with fellow guitarists and Concord artists Jimmy Bruno and Frank Vignola. For Concord, a three-guitar date was hardly unprecedented; back in 1974, the label had brought Barney Kessel, Charlie Byrd, and Herb Ellis together as the Great Guitars. Despite the fact that they all play the same instrument, Alden, Bruno, and Vignola prove compatible on this outing, which also employs Jim Hughart on upright bass and Colin Bailey on drums. Although Bruno tends to be more aggressive and forceful than Alden, he can be quite lyrical when he wants to; and while Alden isn't as hard a player as Bruno, he definitely swings. The two have a strong rapport on uptempo numbers like Charlie Parker's "Ornithology," Sam Jones' "Bittersweet," and Benny Goodman's "Seven Come Eleven," as well as on more relaxed performances like Django Reinhardt's "Song D'Autumne"…