Customer Reviews

To Swing Or Not to Swing

5 star:		(2)
4 star:		(1)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I had to look twice to make sure that this wasn't a Norman Granz-produced JATP concert or Verve recording session because it sure swings like one and features many of the "usual suspects". Recorded in 1955, this red hot session features one of the era's best swing guitars (in the tradition of Herb Ellis, Tal farlow or Jimmy Raney) backed by a group of mostly west coast studio jocks and big band alumni. Edison is superb as always, Auld and Bill Perkins do a nice job on tenor respectively, Jimmy Rowles does his best Count Basie imitation (and a good one it is) with Red Mitchell and Shelly Manne down in the engine room. 11 charts in all, mostly up-tempo blues, swing standards and a ballad or two for Kessel to shine. There's a particularly tight version of Moten Swing that allows everyone lots of room to cut loose and a lovely duet between Kessel and Rowles on Midnight Sun. Highly recommended.

The playing here is bright and upbeat if a little muted by the production. Kessel's work is impeccable on both the ballads and uptempo numbers displaying all aspects of his inimitable sound. The economy of the arrangements here are emphasized by the production as the horn section take a back seat and Barney is front and center. If you enjoy that cool west coast style of the 50's this one's for you.

~ Barney Kessel's guitar playing incorporates the best of swing, bop, and beyond. Through years of studio work backing a multitude of singers and instrumentalists he developed an unparalleled ability to accompany and solo in a variety of settings and styles. Oscar Peterson talked Barney into leaving the studios and joining his Trio for a brief one year spanning 1952-1953, after which Barney returned to studio work. Fortunately, Contemporary Records signed Barney to make a series of excellent jazz records from 1953 to 1961 (including several trio sessions under the name "The Poll Winners" with Ray Brown and Shelly Manne). Barney's Contemporary recordings just may be the best of his career as this CD clearly shows.
~ TO SWING OR NOT TO SWING presents a cool bob repertoire that includes standards such as "Louisiana", "Indiana," and "12th Street Rag" plus four Kessel originals: "Begin The Blues", "Happy Feeling", "Wall Street", and "Contemporary Blues". I am always pleased with Barney's compositions because they always contain catchy, memorable melodies. The personnel includes trumpeter Harry "Sweets" Edison (6 tracks), Georgie Auld (3 tracks) or Bill Perkins (3 tracks) on tenor, pianist Jimmy Rowles (all tracks), rhythm guitarist Al Hendrickson (all tracks), bassist Red Mitchell (all tracks), and Shelly Manne (all but 3 tracks) or Irv Cottler (3 tracks) on drums. All of the supporting cast is in excellent form. These session, recorded in March and July 1955, feature some excellent straight-ahead showcases for Kessel's guitar.
~ Recommended despite the fact that the recording quality is not on par with Barney's other Contemporary CDs - a few muted-trumpet solos are under-recorded, but other than that the recording standards are high.

There was a lot cooler music being made when these tunes were recorded in 1955. Sometimes, it sounds like the arranger missed both the bebop and "West Coast" cool jazz waves. Some cuts harken back to a dixieland jazz type of feeling. Some hint at the big band swing style. Others are not as offensive (to me) in this regard. I really like "Embraceable You", "Moten Swing", "Midnight Sun" and "Contemporary Blues". And how many rock albums have I bought to just like one or two cuts!
In any case, Barney Kessel tends to shine above the arrangements. I'm not sure if there was a better jazz guitarist working in 1955, although I know there were lots of them.
Jimmy Rowles on piano and Red Mitchell on bass were getting lots of work around this time with some very "hip" combos. I wonder what they thought at the time of playing several "old fashioned" jazz arrangements? Maybe this shows my expectations for a 1955 L.A. session more than the reality. And you might think it's neat that the arranger did more than just blend the horns together in a typical "cool" jazz session. But again, Barney Kessel shines and you also get Harry "Sweets" Edison, Bill Perkins, Georgie Auld, Shelly Manne, Irv Cottler and Al Hendrickson.
If you won't give Kessel more space in your library, look elswhere first.