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| 4.701 Ft
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| 1. | You Know You Know You Belong to Somebody Else
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| 2. | Feeling Free and Easy
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| 3. | Almost Like Being in Love
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| 4. | Autumn Leaves
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| 5. | I Want to Be Happy
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| 6. | Summertime
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| 7. | I Remember Joe
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| 8. | Angelina
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| 9. | An Interview with Tony Romano [*]
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| 10. | New England in the Fall [*]
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| 11. | It's Easy to Remember [*]
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| 12. | Tattle Tale Eyes [*]
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| 13. | Johnny Come Lately [*]
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Jazz
Joe Venuti - Violin
Claude Williamson - Piano
Frank Rosolino - Trombone
Nick Fatool - Drums
Ray Brown - Bass
Tony Romano - Guitar, Vocals
* Billy Szawlowski - Remastering
* Johnny Mercer - Producer
* Lisa Romano - Interviewer
* Richard Niles Romano - Liner Notes, Reissue Producer, Remastering
* Rob Jenkins - Remastering
Violinist Joe Venuti spent the 1950s and '60s largely in obscurity, and other than his appearances on the Bing Crosby radio programs in the early '50s, not much was heard from him. His only recordings during the period were for tiny or private labels. This 1979 LP released for the first time an unusual date in which Venuti and guitarist Tony Romano performed eight duets in 1954. There are only around 26½ minutes of music on the overly brief set, but the violinist shows throughout the date that he was still in prime form. The duo performs three basic originals and five standards (including "Almost Like Being In Love" and "I Want to Be Happy"); they clearly had a good time during the rare and very spontaneous but coherent session.
--- Scott Yanow, All Music Guide
Joe Venuti
Active Decades: '20s, '30s, '40s, '50s, '60s and '70s
Born: Sep 16, 1903 in Philadelphia, PA
Died: Aug 14, 1978 in Seattle, WA
Genre: Jazz
Styles: Classic Jazz, Dixieland, Mainstream Jazz, Swing
Although renowned as one of the world's great practical jokers (he once called a couple dozen bass players with an alleged gig and asked them to show up with their instruments at a busy street corner just so he could view the resulting chaos), Joe Venuti's real importance to jazz is as improvised music's first great violinist. He was a boyhood friend of Eddie Lang (jazz's first great guitarist) and the duo teamed up in a countless number of settings during the second half of the 1920s, including recording influential duets. Venuti moved to New York in 1925, and immediately he and Lang were greatly in demand for jazz recordings, studio work, and club appearances. Venuti seemed to play with every top white jazz musician during the segregated era and, in 1929, he and Lang joined Paul Whiteman's Orchestra, appearing in the film The King of Jazz.
Lang's premature death in 1933 was a major blow to Venuti, who gradually faded away from the spotlight. In 1935, after visiting Europe, the violinist formed a big band and, although it survived quite awhile and helped introduce both singer Kay Starr and drummer Barrett Deems, it was a minor-league orchestra that only recorded four songs (which Venuti characteristically titled "Flip," "Flop," "Something," and "Nothing"). His brief stint in the military during World War II ended the big band, and when he was discharged, Venuti stuck to studio work in Los Angeles. He was regularly featured on Bing Crosby's early-'50s radio show, but in reality the 1936-1966 period was the Dark Ages for Venuti as he drifted into alcoholism and was largely forgotten by the jazz world.
However, in 1967 Joe Venuti began a major comeback, playing at the peak of his powers at Dick Gibson's Colorado Jazz Party. His long-interrupted recording career resumed with many fine sessions (matching his violin with the likes of Zoot Sims, Earl Hines, Marian McPartland, George Barnes, Dave McKenna, and Bucky Pizzarelli, among others) and, despite his increasingly bad health, Venuti's final decade was a triumph.
---Scott Yanow, All Music Guide |
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