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| 5.893 Ft
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| 1. | Back in Indiana
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| 2. | You Needed Me
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| 3. | Bonaparte's Retreat
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| 4. | I Can't Help It If I'm Still in Love With You
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| 5. | I Love You Because
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| 6. | Please Release Me
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| 7. | Blue Moon of Kentucky
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| 8. | She Thinks I Still Care
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| 9. | I'm So Lonesome I Could Cry
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| 10. | Anytime
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| 11. | Blue Eyes Crying in the Rain [*]
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Jazz / Bop, Post-Bop
Lenny Breau - Guitar (Electric), Guitar (7 String Acoustic), Guitar, Vocals
Buddy Emmons Guitar (Steel), Pedal Steel, Liner Notes
Jim Ferguson Bass (Acoustic), Liner Notes, Bass
Jon Sievert Photography
Paul Kohler Reissue Producer, Digital Remastering, Art Direction, Graphic Layout
Paul Whitehead Producer
Phil Barnett Transfers
"Swingin' on a Seven-String" was recorded on August 12th & 25th in 1982 and originally released in 1984 as "When Lightn' Strikes" on LP. In addition to being the last studio album that Lenny Breau recorded before his untimely death in 1984, "Swingin' on a Seven-String" also remains as the only studio recordings of his seven-string acoustic guitar playing. In addition to the five tracks featuring Lenny and acoustic bassist Jim Ferguson performing duets, Lenny is joined by pedal steel guitar legend Buddy Emmons and drummer Kenny Malone on the remaining quartet tracks. Eight of the eleven tracks feature Lenny on seven-string acoustic guitar, while the other three tracks feature Lenny on six-string electric guitar. All tracks have been digitally remastered from the original analog master tapes using 24-bit digital technology. The CD also features one previously unreleased bonus track, "Blue Eyes Crying In the Rain". The 12-page booklet includes extensive liner notes by author Ron Forbes-Roberts as well as commentary from Buddy Emmons and Jim Ferguson.
Liner Notes
I first met Lenny Breau in the early eighties. We were introduced by the late guitarist, Richard Cotton, who was one of Lenny's biggest fans and sponsors. Richard often provided for Lenny's basic needs when he was visiting Nashville. Richard had booked some performance dates for Lenny in local venues and asked me to join him.
Playing with Lenny, particularly in a duo setting, was always a wonderful challenge. We might be floating along on a lovely 4/4 treatment of a well-known song when suddenly Lenny would go out of tempo and play it as a waltz for a chorus or two. As I recall, he did just that on You Needed Me, the lovely Anne Murray melody included in this collection of Country standards. Sometimes he'd take a left turn and play the melody with a Classical guitar treatment for 8 bars or so. I remember hearing a recording that Chet Atkins had of Lenny playing the old song, Freight Train. He covered so many musical styles in just a few choruses of that timeworn melody. I was always amazed and amused at his spontaneous imagination and on-the-fly compositional skills. One story I was told was that Lenny grew up listening to Chet Atkins and Bill Evans, the wonderful Jazz pianist. He was certainly a beautiful collage of many musical influences, but he melded all those into his own unmistakable voice.
I'll be forever grateful for the opportunities I had to work with Lenny. Despite his personal struggles I found him to be a sensitive and warm-hearted person as well as a giving musician. I miss him dearly.
Jim Ferguson
I was fortunate to have worked with Lenny on several occasions prior to this album, both live and in the studio; but what made this so special to me was Lenny's personal invitation to be a part of it. He was, is, and will always be an inspiration.
Buddy Emmons
Playing with Lenny was always a surprise, but it was always fun!
---Kenny Malone
In 1982 the great guitarist Lenny Breau decided to combine a couple of his strongest musical loves, recording country songs with jazz chords in a swinging setting. Half of the music on this set is comprised of duets with bassist Jim Ferguson, while the remainder is played in a quartet with Ferguson, steel guitarist Buddy Emmons and drummer Kenny Malone. It has long been an open secret that many country standards have fairly simple chord changes that are ideal for jamming. Breau, who splits his time between an acoustic seven-string guitar and a regular electric guitar (and takes a completely spontaneous off-mic vocal on "Bonaparte's Retreat"), is in exuberant form throughout this laid-back but happy release. But because jazz/country fusions were not exactly in vogue in 1982, this date was only released very briefly by the tiny Tudor label before the company failed and the record went out of print. Lenny Breau was killed in 1984 and this was his last studio album. It is a long-overdue joy to have this highly enjoyable music available again, and it is highly recommended to anyone at all interested in Lenny Breau's artistry. ~ Scott Yanow, 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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