| | Joe Pass Virtuoso In New York CD Joe Pass Discography of CDs
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The saying that "life begins at 40" is certainly open to debate -- especially if you live in a youth-obsessed culture like the United States. But for jazz artists, there can be some truth in that saying; the history of jazz is full of artists who did some of their best work after 40. Joe Pass is a perfect example; Pass turned 40 in 1969, and the '70s were an amazingly productive time for the late guitar icon (who recorded frequently during that decade thanks to Pablo founder Norman Granz). In fact, Pass did so much recording during the '70s that albums of previously unreleased material were still coming out long after his death from cancer in 1994. Virtuoso in New York, for example, is an album of recordings that went unreleased for 29 years; recorded in 1975, these Granz-produced performances didn't see the light of day until 2004. And for serious Pass collectors, the arrival of Virtuoso in New York is very good news; performing unaccompanied -- no bass, no drums, no piano -- Pass is in fine form on familiar standards like "The Way You Look Tonight" and "We'll Be Together Again." The solo guitar format is one that Pass was quite fond of, and it serves him enjoyably well whether he is turning his attention to George Gershwin's "How Long Has This Been Going On" or Kurt Weill's "Mack the Knife" (also known as "Moritat" or "Threepenny Opera"). As much as Virtuoso in New York has going for it, this 49-minute CD falls short of essential -- there are no compelling reasons why someone with a more casual interest in Pass' legacy would choose this release over, say, 1973's stunning, absolutely essential Virtuoso. Nonetheless, Virtuoso in New York is a pleasing disc that the guitarist's hardcore fans will easily enjoy. ~ Alex Henderson
Live Recording
Personnel: Joe Pass (guitar).
Liner Note Author: Scott Yanow .
Virtuoso In New York Music Joe Pass Virtuoso In New York Songs Virtuoso In New York Review
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The New York-based electric jazz guitarist's success over the years has shown the industry the power of the indie to overcome all usual obstacles. And then came some two much harder hits for Mark Elf to overcome -- a kidney disorder in 2002 and prostate cancer in 2003. While the liner notes, song titles, and written ...
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Saxophonist Candy Dulfer's RIGHT IN MY SOUL is her seventh solo release.
Smooth jazz superwoman Candy Dulfer is the total package -- she's pretty, dresses well, plays a mean sax, and sings a bit. At a time when the Dutch smooth jazz star's idol and mentor saxophonist, David Sanborn, released one of the most organic, stripped-down, and funky albums of his career, Dulfer seems intent on "gussying-up" songs with what somebody must have perceived as "hip" electronic production. Many jazz musicians have attempted such electro-jazz productions in the name of Miles Davis-styled boundary-pushing, only to end up with weak and boring albums that are neither avant-garde enough for jazz fans nor hip enough for electronic music fans -- Herbie Hancock's Future 2 Future and Tim Hagans' Animation-Imagination come to mind. Right in My Soul is an R&B album of smooth jazz wrapped in pseudo-electronica beats and loops. Having added singing to her act a few albums back, Dulfer mainly focuses on vocal pop tunes, utilizing her saxophone for lite-funky asides. Some of the tracks are pleasant enough, featuring catchy, melodic hooks and passable improvisation. The production here can be a problem, as it utilizes elements of electronic music styles such as jungle, drum'n'bass, and hip-hop jazz. ~ Matt Collar
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