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2 x CD |
| 8.053 Ft
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| 1. CD tartalma: |
| 1. | Blues for Carole
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| 2. | How High the Moon
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| 3. | You Needed Me
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| 4. | The Claw
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| 5. | Secret Love
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| 6. | Sweet Georgia Brown
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| 7. | My Foolish Heart
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| 8. | I Fall in Love Too Easily
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| 9. | Send in the Clowns
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| 10. | Nin Pound Hammer
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| 11. | Cannonball Rag
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| 12. | Flamenco
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| 13. | It Could Happen to You
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| 2. CD tartalma: |
| 1. | Visions
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| 2. | Remembering the Rain
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| 3. | Autumn Leaves
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| 4. | (Back Home Again In) Indiana
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| 5. | Stella by Starlight
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| 6. | Emily
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| 7. | My Funny Valentine [*]
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| 8. | Autumn Leaves [*]
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| 9. | Johnny Cash Sings Jazz? [*]
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| 10. | Lenny's Radio [*]
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Jazz
Lenny Breau: acoustic & electric guitar, vocals
Brad Terry: clarinet, whistling
Originally released as "The Living Room Tapes - Volume 1" "The Living Room Tapes - Volume 2", this two CD set brings together, for the first time, both volumes of "The Living Room Tapes" in one package, in addition to over 30 minutes of previously unreleased material. All tracks have been digitally re-mastered. The total playing time of both CD's combined is almost two and a half hours long. This two CD set contains 23 songs including 4 previously unreleased bonus tracks. The music contained on this two disc set is some of the best Lenny Breau ever recorded. This is a rare opportunity to hear Lenny play music by Merle Travis, Jerry Reed, Bill Evans, McCoy Tyner, and many well known Jazz Standards. Lenny also performs many solo pieces in addition to the duo material with clarinetist Brad Terry. Two of the bonus tracks reveal the humorous side of Lenny's personality and are sure to put a smile on your face.
Liner Notes
The original tapes for this album had been languishing on a shelf for several years; in fact, ever since I saw Lenny Breau. I would play them once in awhile for friends, who, upon listening to them, would say: "You should do something with this stuff." On a number of occasions Lenny came to stay with us in our ramshackle farm house in Maine. From the first time we played together, at the August Jazz Society, we felt a magic quality about our communication and a mutual respect for each other. October 1978 marks the first time we played together as a duo. It was a very informal gathering in my mother's living room with the tape running. We laughed and amused ourselves by making all this new material sound rehearsed. Subsequent visits produced some more taping at home and a few recordings of intimate concerts in the local area. In every instance, Lenny was in top form due to relaxed, country living. At the end of each session, we'd agree that "we should do something with this stuff." Then Lenny would be off to Boston to teach a master class at Berklee; or to Nashville, to record an album with Chet Atkins or Buddy Emmons; or to Los Angeles, to write another article for Guitar Player Magazine. I would play and savor the tapes in anticipation of Lenny's next trip to Maine. At the end of his last visit, we talked in more depth about "doing something with the tapes." My wife and I discussed with Lenny various ways to produce and promote an album. Not until I heard about Lenny's tragic death did the finality of his last statement to us, concerning the tapes, hit home. He said, "The tapes are yours: Do something with them." The duo pieces present a rare side of Lenny as a master accompanist. His effortless combining of bass lines and comping figures provides a full rhythm section. His ample use of space prevents him from getting in the way. The constant interplay brings out Lenny's sense of humor - I can clearly remember his impish grin. The solo pieces range from an outrageous version of "The Claw", to a no-holds barred "You Needed Me", to a wistful and poignant vocal of "My Foolish Heart." All of these tracks were recorded live, and are here, "as is." There were no rehearsals and no second chances. The flaws have not been covered up with electronics. I feel that the energy and just plain fun involved in our playing more than compensates. The original issue of both volumes of "The Living Room Tapes" were sold out. In this re-issue, two previously unreleased tunes have been added along with the original spoken "introductions" to some of the other existing tracks. There are also some hilarious moments from the actual "living room recordings" that, until now, have only been heard by family and a few friends.
---Brad Terry
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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