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Reeves, Jim - He'll Have To Go CD Cover Art
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Jim Reeves He'll Have To Go CD

 Jim Reeves Discography of CDs

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Personnel: Jim Reeves (vocals, guitar).
He'll Have To Go Music


Detailed He'll Have To Go Music Information



Category Rock/Pop Albums, Country Traditional CDs, Live Performances, Nashville Sound, Country
Label Columbia River
Orig Year 2000
All Time Sales Rank   296053  
CD Universe Part number 3910872
Catalog number 191043
Discs 1
Release Date Apr 02, 2002
Studio/Live Live
Mono/Stereo Stereo
Personnel Jim Reeves - vocals, guitar
Jim Reeves - vocals, guitar
Jim Reeves He'll Have To Go Songs


Jim Reeves He'll Have To Go Album Track Listing



1.Am I Losing You  
2.He'll Have to Go  $0.99
3.Have I Told You Lately That I Love You  
4.How's the World Treating You
5.I Love You More  
6.'Til the End of the World  
7.I've Lived Alot in My Life
8.Oklahoma Hills  
9.I'm Getting Better  
10.Bimbo  $0.99
He'll Have To Go Music


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CD $13.85  Audio Samples
What does one arrive at by crossing old-time music with Django Reinhardt and jazz-grass? Well, basically a beautifully strange album like Pioneer Nights. Banjoist/12-string guitarist Dick Weissman and violinist/guitarist Gary Keiski team up in various combinations to play 18 originals that, genre-wise, defy category. "Mr. Banjeaurine Man" is a lovely banjo piece that lazily twists and turns toward no particular destination, while "Wolfgang's Banjo" glides along like a lullaby. The opening "Django's Dilemma," featuring banjo and fiddle, is one of the most intriguing, addicting pieces on the album. This is the type of instrumental that Reinhardt and Stephane Grapelli would have played had they been born in Appalachia instead of Paris. Although known as a banjo player, Weissman's guitar work is equally impressive. There is a lovely, bossa nova-flavored piece titled "Breeze-il," and a dusty, Far East meets Wild West piece called "Superstition Mountain." His guitar work has an open quality that may remind some of John Fahey or the later work of Leo Kottke, but Weissman's compositions and phrasings are more distinct, more attention-grabbing. Critics often fall back on the old cliché of "this artist isn't as well-known as he should be," mostly due the frustration felt when a wonderful artist isn't given proper recognition. At least one can be thankful that labels like Wind River put artists like Weissman and Keiski in the studio and let their eccentric geniuses run wild. The liner notes by Weissman provide lots of nice tidbits on individual pieces, and on his inspiration for the album. Pioneer Nights is a beautiful album and should be warmly welcomed by everyone ...
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This fine trio set by pianist Mary Lou Williams (with bassist Larry Gales and drummer Eddie Marshall) was not released for the first time until 25 years after its recording. Williams' career lasted from the 1920s until her death in 1981. She ...
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DreamsvilleOriginality doesn’t materialize; it evolves. The arrival of lyrical, rhythmic and harmonic invention for musicians comes only after they learn to assimilate and digest what they’ve heard.For more than two decades, Richie Vitale’s ears have been steeped in the inspirational trumpet sounds of Lee Morgan, Blue Mitchell, Art Farmer, Freddie Hubbard, Donald Byrd, Woody Shaw, Kenny Dorham and Miles Davis. More importantly, he has synthesized those influences into his own distinctive horn playing.Of his respected peer, Gary Bartz, Richie says:I first hear Gary on record, in my hometown of Rochester, over twenty years ago. He was amazing then and he sounds better every time I hear him!This combination produces a bright blast-off with Vitale’s “My Turn,” a blues written specially for the release of this CD.They turn to Walter Booker’s “Saudade,” with its inviting but haunting melodic contour laced over a Latin rhythm. Vitale’s solo glitters with creative décor, while Bartz delivers warmth and flavor.Bartz used explorative lines to resuscitate a bouncy gem, “Namely You,” from the Gene de Paul/Johnny Mercer score of “Li’l Abner.”And Vitale invokes the oriental spice of “Asiatic Raes,” in the tradition of the composer, Kenny Dorham, one of his principal inspirations.Vitale fills the title tune, Henry Mancini’s “Dreamsville,” with seamless flugelhorn lyricism. He, then pianist Hammer, keep the melody front and center before Bartz enters to refreshen it. The up-tempo “Bibbo’s Tune,” another Vitale original, he describes as “a Woody Shawish composition dedicated to my late friend Al Bibbo. Al would show up at my gigs and lend his enthusiasm and support. Woody’s friendship ...
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