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| Five O'Clock Bells / Mo Breau |
| Lenny Breau |
| első megjelenés éve: 1977 |
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| (1994)
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CD |
| 4.140 Ft
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| 1. | Days of Wine and Roses
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| 2. | Toronto
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| 3. | Amy (For Cinde)
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| 4. | Other Places, Other Times
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| 5. | Five O'Clock Bells
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| 6. | Little Blues
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| 7. | My Funny Valentine
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| 8. | Visions
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| 9. | Ebony Queen/Pam's Pad
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| 10. | Autumn Leaves
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| 11. | ...But Beautiful
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| 12. | Emily
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| 13. | New York City
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| 14. | I Remember Hank
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| 15. | Marlborough Street
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| 16. | Lone Pine
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Jazz / Post-Bop
Lenny Breau - Liner Notes, Guitar, Composer
Bob Blank Engineer
Chet Atkins Liner Notes
Chip Stern Liner Notes
Dan Doyle Producer
Gene Rosenthal Compilation, Producer
Geoffrey Himes Liner Notes
John Swenson Liner Notes
Kristin Harris CD Package Design
Terry Teachout Liner Notes
This compilation, consisting of two complete records originally made for the Adelphi label, showcases the talented but troubled guitarist Lenny Breau, whose drug problems caused a rather erratic career, which ended prematurely with his death in 1984. Breau introduces many of the tracks and converses with the engineer while warming up, giving the sessions an informal feel. Highlights include lyrical renditions of "Days of Wine and Roses" and "My Funny Valentine," a lively take on McCoy Tyner's "Visions," and a tasty acoustic medley of Tyner's "Ebony Queen" and Breau's own "Pam's Pad." While Breau's originals are enjoyable, his "Lone Pine" is a barely disguised reworking of "I'll Remember April," and "Toronto" borrows heavily from the mid-'50s Miles Davis composition "Milestones." Still, this is an enjoyable CD that should be picked up before it disappears from sight. ~ Ken Dryden, All Music Guide
Lenny Breau
Active Decades: '50s, '60s, '70s and '80s
Born: Aug 05, 1941 in Auburn, ME
Died: Aug 12, 1984 in Los Angeles, CA
Genre: Jazz
Styles: Bop, Post-Bop
An outstanding jazz improviser who performed on both acoustic and electric guitars, Lenny Breau's right hand drew on classical, flamenco, and country (TravisAtkins) finger-picking techniques. He was among the first guitarists to digest the impressionistic, post-bop chord voicings of pianist Bill Evans. Breau developed the ability to simultaneously comp chords and improvise single-string melodies, creating the illusion of two guitarists playing together. His facility with artificial harmonics remains the envy of many guitarists. Late in his career, Breau began using a seven-string guitar that extended the instrument's range in the upper register. Breau's early RCA recordings are eclectic and technically dazzling. His later work is less flashy, but communicates on a deeper level.
Born to Canadian country music singers, Lenny Breau started out playing country in a sophisticated manner. Chet Atkins himself helped Breau get an RCA recording contract in 1968. However, Breau's jazz-oriented style and remarkable technique quickly caused him to be uncategorizable. Problems with drugs made his career erratic and he is now considered an underground guitar legend. A new label (Guitararchives) was formed in 1995 specifically to release private tapes of his performances.
---Richard Lieberson & Scott Yanow, All Music Guide |
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