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Chuck Wayne • Tasty Pudding

Chuck Wayne’s participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing-oriented guitar collides with the “new music” being played by the more modern musicians on the ...

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Chuck Wayne’s participation in some of the earliest bebop recordings have lead many to conclude that he was purely a bop-style guitar player. Yet on the recordings he made in the mid-1940s, first with the Billy Eckstine Band and later with Dizzy Gillespie, his swing-oriented guitar collides with the “new music” being played by the more modern musicians on the set. It was with George Shearing that Wayne had his greatest success, making a major contribution to the Shearing sound. This particular album reissues two sets cut by Wayne during the 1950s. The first, covering tracks 1-4 and 7-10, is from 1953 sessions with his Quartet featuring Zoot Sims and Brew Moore; the second session, made the following year with the John Mehegan Quartet, comprises the other four tunes. There are some standards along with seven originals, including five by Wayne. Words that can best be used to describe the latter are “innocuous,” “pleasant,” “nice background music.” These arrangements could be heard in a hundred lounges and small clubs throughout the country during the years when this album was made. While there is virtually no inventiveness going on, the playing is entertaining. One quality that comes through with the Wayne guitar is its hornlike sound, which adds a dimension to his playing and is especially complementary when either Sims or Moore is soloing, as on “While My Lady Sleeps,” “Side Walks of Cuba” and “Uncus.” One exception to the ordinariness of the material is the arrangement of the Victor Young/Ned Washington masterpiece, “Stella by Starlight,” where John Mehegan’s piano and Wayne’s guitar engage in interplay which comes close to being avant-garde. Several of the players at these sessions were from the upper echelons of jazz; it’s regrettable they were not offered more interesting or challenging music to perform.
Dave Nathan. http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:jcfixqygldke

Tracks
1 – You Brought a New Kind of Love to Me (Fain, Kahal, Norman) 3:03
2 – S.S. Cool (Wayne) 2:44
3 – Mary Ann (Wayne) 2:31
4 – Butterfingers (Wayne) 3:29
5 – Taking a Chance on Love (Duke, Fetter, Latouche) 2:47
6 – Sirod (Mehegan, Miles) 3:00
7 – While My Lady Sleeps* (Kahn) 2:34
8 – Tasty Pudding* (Cohn) 3:22
9 – Prospecting* (Wayne) 2:33
10 – Sidewalks of Cuba* (Wayne) 2:56
11 – Uncus (Mehegan) 2:21
12 – Stella by Starlight (Washington, Young) 3:28

Personnel:
[# 1, 2, 3, 4, 7, 8, 9, 10]
Chuck Wayne – g
Brew Moore or Zoot Sims – ts
Harvey Leonard – p
George Duvivier – b
Ed Shaugnessy – dr
Recorded in New York City ; April 13, 1953
[# 5, 6, 11 & 12] Johnny Mehegan Quartet
Chuck Wayne – g
John Mehegan – p
Vinnie Burke – b
Joe Morello – dr
Recorded in New York City ; June 10, 1954

Release Date: 1953
Duration: 34:16
Genre: Jazz
Styles: Bop, Guitar Jazz, Jazz Instrument
Recording Date: April 13, 1953 & June 10, 1954

# Peso Formato
Info 112 MP3, 320 kbps

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Aureliano
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Great jazz guitarist! Thanks Egroj.

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