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| 4.236 Ft
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| 1. | Cheek To Cheek
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| 2. | They Can't Take That Away From Me
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| 3. | Easter Parade
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| 4. | A Shine On Your Shoes
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| 5. | I'm Putting All My Eggs In One Basket
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| 6. | They All Laughed
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| 7. | Be Careful, It's My Heart
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| 8. | I'm Old Fashioned
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| 9. | Isn't It A Lovely Day To Be Caught In The Rain
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| 10. | Top Hat, White Tie and Tails
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| 11. | Oh, That Kiss
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| 12. | With Time To Love
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| 13. | Looking At You
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| 14. | Old Folks
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| 15. | Liza
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| 16. | Here, There And Everywhere
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| 17. | Our Love Is Here To Stay
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| 18. | Nobody Else But You
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| 19. | It's Like The Fourth Of July
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| 20. | Everything's George
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Jazz / New Orleans Jazz
Ruby Braff - Trumpet
George Barnes - Guitar
Michael Moore - Bass
Wayne Wright - Guitar
Digitally remastered collection from the Jazz trumpeter and guitarist. The great Ruby Braff and George Barnes formed a rich and vital partnership, recording seven studio albums between 1973 and 1975. Our set presents their first and last works together for the first time ever on CD.
The final recorded collaboration between cornetist Ruby Braff and guitarist George Barnes (in a quartet with rhythm guitarist Wayne Wright and bassist Michael Moore) features concise versions of ten songs (all but one is under three minutes) introduced in the 1930s by Fred Astaire. Although this LP is not essential, the arrangements make the veteran standards (which include "Cheek to Cheek," "They Can't Take That Away from Me," "A Shine on Your Shoes" and "They All Laughed") sound fresh and lively. Astaire himself approved of the project. ~ Scott Yanow, All Music Guide
Ruby Braff
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Mar 16, 1927 in Boston, MA
Died: Feb 09, 2003 in Chatham, MA
Genre: Jazz
Styles: Swing, New Orleans Jazz, Mainstream Jazz, Standards, New Orleans Jazz Revival, Jazz Instrument, Trumpet Jazz
One of the great swingDixieland cornetists, Ruby Braff went through long periods of his career unable to find work because his music was considered out-of-fashion, but his fortunes improved by the 1970s. A very expressive player who in later years liked to build his solos up to a low note, Braff's playing was instantly recognizable within seconds.
Braff mostly worked around Boston in the late '40s. He teamed up with Pee Wee Russell when the clarinetist was making a comeback (they recorded live for Savoy), and after moving to New York in 1953, he fit easily into a variety of Dixieland and mainstream settings. Braff recorded for Vanguard as a leader, and with Vic Dickenson, Buck Clayton, and Urbie Green. He was one of the stars of Buck Clayton's Columbia jam sessions, and in the mid-'50s worked with Benny Goodman. But, despite good reviews and occasional recordings, work was hard for Braff to come by at times. In the 1960s, he was able to get jobs by being with George Wein's Newport All-Stars and at jazz festivals, but it was not until the cornetist formed a quartet with guitarist George Barnes, in 1973, that he became more secure. Afterward, Braff was heard in many small-group settings, including duets with Dick Hyman and Ellis Larkins (he had first met up with the latter in the 1950s), quintets with Scott Hamilton, and matching wits with Howard Alden. He remained one of the greats of mainstream jazz until his death in 2003.
---Scott Yanow, All Music Guide
George Barnes
Active Decades: '40s, '50s, '60s and '70s
Born: Jul 17, 1921 in Chicago Heights, IL
Died: Sep 05, 1977 in Concord, CA
Genre: Jazz
Styles: Swing, Mainstream Jazz
A major player who has always been underrated, George Barnes was one of the first to record on electric guitar (accompanying blues singers) and was a top studio guitarist during much of his career. His style was very much based in the 1930s, and his single-note lines predated Charlie Christian, although he had much less of an impact. A professional by the time he was 13, Barnes was working on the staff of NBC by 1938. Based in Chicago, he recorded with Big Bill Broonzy, Washboard Sam, and other blues performers. After a stint in the military during World War II, Barnes resumed his studio work and recorded radio transcriptions with his unusual octet. Although he performed in many types of settings in the 1950s, Barnes did not gain much recognition until he teamed up with fellow guitarist Carl Kress (whose sophisticated chord voicings perfectly complemented Barnes' solos) in the early '60s. After Kress' death in 1965, Barnes often collaborated with the younger guitarist Bucky Pizzarelli, but it was his period as co-leader of a quartet with cornetist Ruby Braff (1973-1975) that gave Barnes his greatest fame, shortly before his death. He recorded as a leader for OKeh (two numbers in 1940); Wolf; and Keynote (with his octet on a posthumously released Hindsight LP); commercial sides for Decca and Mercury; with Kress (and in one instance Bud Freeman) for Stash, United Artists, and Audiophile; with Pizzarelli for Columbia and A&R; and in the 1970s for Famous Door and Concord.
---Scott Yanow, All Music Guide |
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