| | Svend Asmussen / Stephane Grappelli Two Of A Kind CD - Import Svend Asmussen / Stephane Grappelli Discography of CDs
 (1 Customer Review)
Frenchman Stephane Grappelli and the Great Dane Svend Asmussen had had parallel careers as jazz violinists for over 30 years when they finally met up for this Storyville session in 1965; they had only previously recorded together as part of Duke Ellington's Violin Summit of a couple years earlier. Since they both have similar swing-based styles, it is not at all surprising that Grappelli and Asmussen consistently complement and inspire each other throughout this fine set. In addition to two Asmussen songs, Grappelli's "Love Is Back" and Toots Theielmans' "Blue Lady," the sextet (with guitarists Ole Molin and Jorn Grauengaard, bassist Niels Pedersen and drummer William Schiopffe) plays four joyful standards. Recommended. ~ Scott Yanow
Although it is hard to believe, discographies list this session (co-led with fellow violinist Svend Asmussen) as Stephane Grappelli's only recording as a leader during 1963-68. Accompanied by two guitarists, bassist Niels Henning Orsted Pedersen and a drummer, the two violinists (contemporaries whose similar styles matured in the 1930s) sound excellent on the LP, playing four standards, Toots Thielemans's "Blue Lady" and three of their originals. ~ Scott Yanow
Live Recording
Full performer name: Stephane Grappelli/Svend Asmussen.
Personnel: Stephane Grappelli, Svend Asmussen (violin); Ole Molin, Jorgen Grauengaard (guitar); Niels-Henning Orsted Pedersen (bass); William Schiopffe (drums).
Personnel: Svend Asmussen (vocals, violin); Svend Asmussen; Stéphane Grappelli (vocals, violin); Niels-Henning Orsted Pedersen, Erik Schmidt (double bass); Bjarne Andersen, Bjarne Andersen (drums); Jorn Grauengaard, Ole Molin (guitar); William Schiopffe (drums).
Liner Note Author: Thorbjorn Sjogren.
Recording information: Danish Broadcasting Co. Studio 5 (01/23/1965-01/24/1965); Metronome Studio, Copenhagen, Denmark (01/23/1965-01/24/1965).
Photographer: Jan Persson. Svend Asmussen / Stephane Grappelli Two Of A Kind Songs Two Of A Kind Music Review Purchase Two Of A Kind CD To buy, Click on price to add to cart | Diana Krall Quiet Nights CD (2009)
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Not all mellow, Houston Person's tribute to the softer side of jazz has its moments based on the laid-back timbre of his soul rather than a program consisting of only ballads. The tenor sax he wields certainly reflects the tradition established by Ben Webster in its soul-drenched tone, but is not as vocally pronounced or vibrato-driven. The quite capable pianist John Di Martino is the one whose more enunciated notions are harnessed, while tasteful guitar by the underrated James Chirillo rings out in acceptance of Person's embraceable hues. In a program of standards and two blues jams, Person rounds into shape this quintet of true professionals to render themes that are harder to play slow than fast. The slower material includes the regretful, throaty ballad "Too Late Now," the totally restrained "To Each His Own," a poignant "Two Different Worlds," and the deep, mature take of "God Bless the Child." Ever cognizant of blue moods, ...
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This collaboration between San Francisco-based keyboardist/producer Jhno and Chicago-based guitarist/bassist John Ridenour (of the Aluminum Group) matches live improvisation with ambient and jungle production values in a manner not far removed from Jhno's solo work, though it is certainly distinctive enough in its own minutely detailed ways. The album opens with the gorgeously percussive ambient drum'n'bass of "Ebo," a 14-odd minute cut that alternately sizzles tensively and broods over live jazz drumming and a Peter Hook-like bassline before moving into "Algo," which contains some of the slow-simmering groove, the same stoned dub bass, and cool-jazz-to-ambient, easygoing-weekend vibe of Jhno's solo work. On "Joni," the duo brings an interest in gamelan to bear on the music's rhythmic underpinning, making the song chaotic and stormy, but it never devolves into messiness or incomprehension. Instead, Spool uses the musical turbulence as an instrument of contemplation, to get at the nerve-ending levels of an emotion, a tonal color. In general, Spool bears more than a passing resemblance to Jhno's second album, Kwno. The modus operandi is smoky-cool dry-ice jazz. You can never quite figure out if it burns or chills, but that doesn't matter because the music scintillates with its organic electronics, pulsing the blood flow and firing up the synapses. The drum'n'bass rhythms add a gauze of mystery to the washes of textural, spacious sound so that the songs seem at once insular but urban, spectral but lyrical. But there are differences as well. Spool incorporates, though almost subliminally, more elements of slow funk such as gritty organ and keyboards, and deep bass grooves play a much more up-front part of Spool. Case in point is "All," which builds off a backdrop that is pure West Coast funk, and so contrasts a sense of indolent lightheartedness -- particularly in the low end ...
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