Ry Cooder - Team Proyect

"Live, Eclectic Body of Work by Famed Producer/Slide Guitarist Cooder. 'show Time' is a Mixture of Ry's Incredible Guitar Playing, the Vocal Stylings of Singers Terry Evans and Bobby King and the Handy Accordian Talents of One Flaco Jimenez. Includes the Tracks 'jesus on the Mainline', 'Do-Re-Mi' (A Woody Guthrie Original), the Mezo-American Standard 'volver, Volver' and Much More."

IMO: Live performances are more enjoyable if you know the studio versions.

“If there is a complaint I have with Cooder's debut album it is that it is too short. Containing a great batch of tunes that are all worth hearing at least once (it must be noted that the lumbering cover of Woody Guthrie's One Meatball might be worth only one listen) and some several times (Alimony, France Chance and Available Space) Ry Cooder delivers a great album that shows that not only is he a far better guitarist than Eric Clapton, his taste and knowledge in music is much better and mature than Clapton's. If you must begin your Cooder collection somewhere, you can't go wrong here.”

Posted in June 9th, original links were deleted

This is a wonderful recording. The interplay between the two guitarists is uncanny. The album is permeated by a quietness on every track that DEMANDS the attention of the listener. These two are a perfect match of talents!

De la vieja Alemania a la nueva Cuba, pasando por España, Argentina, el altiplano sudamericano, el sur norteamericano, Brasil y la Inglaterra de los Beatles, Leo Brouwer, compositor, investigador, compositor e intérprete de raras cualidades y depurada técnica nos hace seguir, oyendo su guitarra, un alucinante derrotero. Este disco viene a ser como el registro de una de las personalidades más extraordinarias de Cuba.

This CD finds veteran violinist Stephane Grappelli joined by bassist Niels Pedersen and guitarists Philip Catherine and Larry Coryell for a memorable tribute to Django Reinhardt. Grappelli has recorded many Reinhardt memorial albums through the years but this one is particularly special for both Coryell and Catherine go out of their way to display the unexpected influence that Reinhardt has had on their styles. The guitarists contribute a song a piece and also enjoy playing seven compositions co-written by Django and Grappelli.

What happens when you combine three guitar masters, each with a lifetime of impressive musical experiences, and have them play together for the first time in the wonderful acoustic setting of New York's St. Peter's Church? You have the ideal set of ingredients for an eclectic and original masterpiece.

Some people get turned off by the avant-guarde/fusion jazz that Larry did in the 60s/70s. Well, they won't when they hear this one. The style is a little bit of bop, swing, and fusion. There are no effects or electronics, just the plain old guitar/bass/drums. Tricycles finds Coryell with two well-rounded fretless bassist and drummer. He plays with a clean and smooth tone and he spits out very tasty licks that live up to his fame. All songs are originals except two covers of Thelonious Monk and one of the Beatles. I could honestly have done with less drum solos and more bass solos, but the music is still good nonetheless. The standout track is definetly Dragon Gate, although Immer Geradeaus, Good Citizen Swallow and Spaces Revisited are up there too.

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On Standing Ovation (title inspired by the acoustic Ovation guitars Coryell played at the time), the guitarist performs mostly solo "against himself". Among Coryells acoustic guitar recordings from the 70s like the ones live at Montreux, on "Bolero" or with Beck/Scofield, this one stands out in sound (which can be described as chrystal-clear), and in song quality - most of the compositions are entertaining but sophisticated beautifully interpreted. Some have actually quite a "hit quality"... Two weird tracks (Coryell playing solo piano), and a loosely composed duet with an Indian sitar player) stand out, but the other songs are worth hearing a 1000 times. For me, one of Coryells best recordings ever.

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Born in Havana, Cuba, in 1939, Leo Brouwer has written some of the most diverse music for any instrument during the last 60 years. You can hear his Cuban background in the dynamic Afro-Cuban strains of his work. And of course, as in all guitar music, there's a rich Spanish element (in fact, one of Brouwer's guitar teachers studied under a pupil of Francisco Tárrega). But on top of that there's this interesting undercurrent of American folk music from the 1960s, which surely makes Brouwer unique among Latin guitar composers. Plus, you'll be able to hear the influence of Messiaen, Bartok, Shostakovich, and Stravinsky in works like the "Preludio" of 1956 (written when Browuer was 17), "Fuga No. 1", and "Elogio a la danza". As a young guitarist Brouwer was disappointed that few of the great composers of his day had written anything for the guitar, so he just wrote it himself. He wrote his four books of "Estudios sencillos", for example, to provide guitar students with a contemporary alternative to the classic works of men like Sor, Carcassi, and Coste.
This is a great place to begin if you've never listened to anything by Brouwer.

Compilation of the best recordings of this Parisian master of the jazz manouche, including several of his specialities: the gypsy waltzes, and extremely hard swing Django repertoire. Angelo has been selective with his recordings, and all of them are different – he is perpetually in search for new possibilities on his guitar.

More great guitar playing

Guitars and voice: Luis Salinas
Piano: Jose Reinoso
Bass: Daniel Maza
Percussion: Facundo Guevara
Drums: Sebastian Peyceré