Customer Reviews

Blues for Fred

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Joe Pass had done solo guitar discs before this one, most noteably the series of Virtuoso discs. In fact, some of the titles on "Blues for Fred" had been recorded by him as solo pieces before the late 80's session that yielded this disc. Susequent to Fred Astaire's death, Joe got the idea of paying tribute by way of a solo set of most of the best known songs from many of Fred's classic films and plays, often the ones written by Cole Porter.

Joe's earliest solo work often contained frenetic pacing and relied almost too heavily on numerous flights of fancy and note-crammed tangents shoved randomly into the song structures, particularly on the first of the "Virtuoso" discs.
On "Blues for Fred", and older, wiser and much more calm Joe Pass is evident. He had aged well to this point in his career; his choices in this set of standards reflects time and again the wisdom of letting fewer notes tell the story, of allowing the melody to shine through without heavy embellishment, of pacing the entire set at more of a trot than a sprint.

There is no question that Joe's virtuosity and mastery of his instrument is still evident. This is not as abrasive sounding as the first Virtuoso disc, but Joe still manages to display jaw-dropping inventiveness and prowess in how he negotiates keeping up with the simultaneous rhythm and lead guitar chores throughout. There is an overall mellow vibe to this set that makes it quite appropriate for accompanyment to a fine meal or time by the fire late at night, but this is not exactly easy listening music, either.

Anyone with a deep appreciation of fine songcraft performed and interpreted with excellence in a solo guitar setting is strongly encouraged to add this essential disc to their collection. You'd have to be a stone-hearted, tin-eared geek not to recognize the fine artistry and amazing depth of the performances on this disc. The world is a poorer place with both Fred's and Joe's departure from it. Someone needs to do a "Blues for Joe" disc to pay tribute the rich legacy of this underappreciated guitar master.

I like to think that if Segovia played jazz, he would have sounded a lot like this album. The virtuosity, tone and playful mastery of Pass's playing is as unsurpassed among jazz guitarists as Segovia's was in the classical realm.

This is Joe Pass solo, and it is simply jaw dropping. If you are an avid jazz listener, you will be amazed and delighted. If like me, you try to play jazz guitar yourself, you will be stupified.

Yes, the brilliant, flawless technique is here, but it isn't showy or forced. The tracks were recorded in 1988, late in Pass's career, and his restraint, taste and maturity reflect it.

The tune selection is a delight. Who could argue with any of them? And Joe's chord voicings, harmonic choices and rhythmic scamperings bring out the playful best in each. They are all played in the chord/melody style that I think no one does better than Joe Pass.

Fun for everyone and an eat-your-heart-out must for all guitar players.

If you could own just one Joe Pass album, this would be the one. It's all solo guitar, with Joe working through classics such as Night and Day, Cheek to Cheek and The Way You look Tonight. There is an astonishing level of melodic and harmonic inventiveness here, and the music swings, too.

I have been amazed by Joe Pass's playing for more than thirty years. This is surely one of his best recordings. Joe had so much technique that sometimes it seemed like he pushed the envelope too much, always searching for something new. This is Joe playing totally in the pocket - tunes that had become a part of his fabric. Every tune is beautiful with stellar playing and concept. You just can't ask or hope for anything more from solo jazz guitar playing of jazz classics. Cheek to Cheek starts off the set and establishes an impossible level of musicianship to maintain, yet Pass does so with aplomb. As Randy Jackson say... "Wow!... Wow!.... Wow!..." - in other words, speechless!

I had heard many a Joe Pass LP, and liked most of them - especially one very quirky one - "Porgy and Bess" - where he played a non-electric along with Oscar Peterson playing a clavinet. I seemed to like that mellower style of Pass more than, say, Pass and Ellis' "Two For The Road" kind of frenetic guitar stuff. I was lucky to see Joe, Live, at the very end of his career, and he played "Cheek To Cheek", mentioning the LP he had recorded as a tribute to both Fred Astaire and to American music. I went out and bought the LP forthwith, and was amazed at both the cohesiveness and the gentleness of all of the playing. It is, in my opinion, the best Pass recording made.

This is in my opinion a very underrated Joe Pass cd. I have never heard him play so eloquent, so precise, and beautiful as he does solo on this cd or his playing with an orchestra on "In Hamburg". This album is dedicated to the great, Fred Astaire. All of the songs are tunes that are associated closely with Fred except for Joe's own "Tap Blues" included here as a bonus. He effortlessly runs through great tunes like "Cheek to Cheek", "Night and Day", "Dancing in the Dark", "Oh Lady, Be Good", "The Way You Look Tonight", "They Can't Take That Away From Me", etc. displaying his normal virtuosity with outstanding lyricism and unbelievable technique. This to me is Joe at his near best. Any fan of jazz, guitar, Joe Pass, or music in general should not miss hearing this one.

Joe Pass (born Joseph Anthony Passalaqua)
b.January 13, 1929 - d.May 23, 1994)
jazz guitarist; His extensive use of walking basslines, melodic counterpoint during improvisation, and use of a chord-melody style of play opened up new possibilities for jazz guitar and had a profound influence on future guitarists.
RIP
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Joe Pass is an incredible guitarist, and in my opinion this is his 3rd best CD (after his Virtuoso 1 and 4 albums). This is a must-own CD for any true guitar aficionado.

One of the best CD of Joe Pas