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| 4.616 Ft
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| 1. | I Love You
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| 2. | Satin Doll
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| 3. | My Funny Valentine
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| 4. | All the Things You Are
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| 5. | Conversation
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| 6. | What Is This Thing Called Love?
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| 7. | Broadway
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| 8. | My Foolish Heart
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Jazz / Post-Bop
Lenny Breau - Guitar
Tal Farlow
John Dildine Engineer
The one-time meeting between guitarists Tal Farlow and Lenny Breau came about because Lorenzo DeStefano, who was making a PBS documentary (Talmage Farlow) in 1980, wanted a meeting between the veteran and a rising star. Farlow suggested Breau, and an invitation was extended and immediately accepted by the younger man. After the musicians spent time conversing in Farlow's New Jersey home, they moved to The Sign of the Times, a small nightclub in the tiny town of Rumson, to weave their musical magic. Although this was their first and only performance together, they complement one another's playing as if they had worked as a regular duo. Farlow, on his seven-string guitar, is a bundle of energy most of the time, with flurries of notes accompanied by his flawless rhythm. Of course, the senior player is no slouch as a soloist on any of the eight standards heard on this CD, which include "I Love You," "My Funny Valentine," and "What Is This Thing Called Love?" Bassist Lynn Christie and drummer Nat Garrantano are added for the smoking interpretations of "All the Things You Are" and "Cherokee." There's also a brief excerpt of a conversation between Breau and Farlow in the middle of the disc, during which Breau explains a bit about his technique and his familiarity with Farlow's recordings. It's too bad that this enjoyable session was only a one-time affair. ~ 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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