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| 3.726 Ft
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| 1. | Stompin' at the Savoy
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| 2. | What's New?
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| 3. | It's Wonderful
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| 4. | Lap Piano
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| 5. | Tenderly
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| 6. | Can't We Be Friends?
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| 7. | Lil' Darlin'
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| 8. | Just in Time
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| 9. | The Nearness of You
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| 10. | Forty-Eight
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| 11. | All the Things You Are
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| 12. | I Could Write a Book
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| 13. | I've Got a Crush on You
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| 14. | Moonglow
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Jazz
George Van Eps - Guitar
Howard Alden - Guitar
Dave Stone - Bass
Jake Hanna - Drums
The master of the seven-string guitar, George Van Eps, joins the rising young jazz guitarist Howard Alden, which works perfectly in spite of a 45-year difference in age and different approaches to the guitar. Van Eps' chordal style meshes perfectly with Alden's single note lines in part because of the younger man's study of the senior's recordings and Alden's quick ear and gift for harmony. In any case, it was an obvious thrill for Alden to play with the experienced Van Eps, who literally invented the seven-string guitar (also played by Bucky Pizzarelli) and would soon be added to Alden's musical arsenal. The second of four CDs that they would make together prior to Van Eps' death in 1998, they play a mix of popular standards and show tunes from the 1930s, '40s and '50s. Highlights include a lyrical "What's New." a deliberate "I Could Write a Book," and an intricate "All the Things You Are," along with less frequently played chestnuts like the swinging "It's Wonderful." Van Eps is unaccompanied on both of his original compositions, "Lap Piano" and "Forty-Eight." Bassist Dave Stone and drummer Jake Hanna, who sticks to brushes, are present on most of the tracks.
---Ken Dryden, All Music Guide
George Van Eps
Active Decades: '50s, '60s, '70s, '80s and '90s
Born: Aug 07, 1913 in Plainfield, NJ
Died: Nov 29, 1998
Genre: Jazz
Styles: Mainstream Jazz, Swing
George Van Eps was a quiet legend among jazz guitarists, one who as far back as the 1930s pioneered a harmonically sophisticated chordal/lead style that was eclipsed in influence by the single-string idioms of Charlie Christian and Django Reinhardt. Yet Van Eps, like his brassy colleague Les Paul, also stood apart from them as an iconoclastic inventor, designing a seven-string guitar in the late 1930s that adds an extra bass string. Thus, Van Eps was able to play bass lines simultaneously with chords and lead solos, a jazz equivalent of fingerpicking country guitarists like Merle Travis and Chet Atkins. Van Eps puckishly referred to his style of playing as "lap piano," and his seven-string guitar has been adopted by a select few figures like Howard Alden and Bucky and John Pizzarelli.
Van Eps came from a talented musical family; his father Fred was a famous master of the ragtime banjo and a sound engineer, his mother played the piano, and he had three brothers, Bobby, Freddy and John, who were also professional musicians. Self-taught on the banjo, Van Eps began playing professionally at 11, and after falling under the influence of Eddie Lang two years later, he learned the guitar well enough to play alongside Lang for six months as a teenager. From there, Van Eps worked with Freddy Martin (1931-33), Benny Goodman (1934-35) and Ray Noble (1935-36) before moving to Hollywood to become a freelance musician, author of a how-to guitar book, and instrument designer. After returning to Noble in 1940-41, Van Eps worked in his father's recording lab for two years before returning to the freelance arena, where, among other things, he worked for Paul Weston and took part in the 1950s film and TV series Pete Kelly's Blues.
Van Eps only made a handful of recordings as a leader or unaccompanied soloist, including Mellow Guitar (Columbia, 1956) and My Guitar, George Van Eps' Seven-String Guitar and Soliloquy for Capitol in the late 1960s. A bout of serious illness in the early 1970s, plus a 1977 hand injury that resulted in three broken fingers, reduced his activities. However, Van Eps returned to the studio in 1991 for the first of three exquisite duo albums for Concord Jazz with his former student Howard Alden, mixing venerable standards with a few Van Eps originals, and he shared a solo guitar album with Johnny Smith in 1994. Even in his 80s, he remained an eloquent exponent of easygoing modern swing, dying of pneumonia on November 29, 1998.
---Richard S. Ginell, All Music Guide
Howard Alden
Active Decades: '80s, '90s and '00s
Born: Oct 17, 1958 in Newport Beach, CA
Genre: Jazz
Styles: Mainstream Jazz, Swing
Howard Alden is to the guitar what Scott Hamilton, Warren Vache, Dan Barrett, and Ken Peplowski are to the tenor, trumpet, trombone, and clarinet. Part of a youthful swing movement that gained momentum in the 1980s, Alden plays the earlier pre-bop styles quite effectively but also has the ability to perform the music of Thelonious Monk and Bill Evans, and he is equally talented on electric guitar, acoustic guitar, and his rarely played banjo. Alden began playing guitar at age ten and he counts his early influences as guitarists Barney Kessel, Charlie Christian, and George Van Eps in addition to Louis Armstrong, Benny Goodman, and Count Basie. He began gigging professionally in Los Angeles as a teenager and became good friends with trombonist Dan Barrett. In 1979 Alden played with vibraphonist Red Norvo and, in 1982, followed Barrett to New York where he quickly became established as a major guitarist. He performed and recorded with the who's who of mainstream jazz (including Joe Bushkin, Ruby Braff, Joe Williams, Woody Herman, Benny Carter, Flip Phillips, Bud Freeman, Clark Terry, and Dizzy Gillespie) and by the mid-'80s was one of the most popular artists on the Concord label. A very consistent and inventive musician, Alden has since been in great demand for recording sessions, jazz parties, and festivals. His many recordings (which include a quintet co-led with Barrett, sessions on the seven-string guitar with his idol George Van Eps, and duets with Peplowski) are all enjoyable and perfect examples of modern swing.
---Scott Yanow, All Music Guide |
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