With its progressive-leaning jazz and modernist blues vocals, In the Night was the prototype for the piano-vocals collaboration record that George Shearing would remake with Peggy [more]
This expansive four-disc anthology essentially covers the recorded history of the guitar in the 20th century, beginning with the ragtime banjo that set the [more]
In jazz, ballads have a way of separating the men from the boys and the women from the girls. They show what an improviser is made of emotionally. On ballads, [more]
The first of two CDs of ballads put out by RCA that are meant to attenuate that "special mood," this is a hodgepodge collection of music easily available elsewhere. Starting [more]
Upon its first release Beauty and the Beat! was billed as a live recording from a Miami convention of disc jockeys. Though Peggy Lee and George Shearing did in fact [more]
Pianist Bill Evans (who doubles on electric piano on this album for the final time in the recording studio) welcomes guest harmonica player Toots Thielemans and Larry Schneider (on tenor, [more]
Pianist George Shearing has been one of the most popular jazz performers of the past half-century. Born blind in London in 1919, Shearing [more]
Although Rhino's four-disc box set, Q: The Musical Biography of Quincy Jones, was released to coincide with Quincy Jones' autobiography, and that's what gives [more]
Steve Tyrell has had a long journeyman's career in the music business, serving as record company executive, songwriter, and producer. But no one could have predicted the twist his [more]
Steve Tyrell has attracted enough attention for his two regular albums, A New Standard and Standard Time, that he is almost beyond journalists' usual tack of describing a new [more]
Although preceded by Larry Adler (who has actually spent much of his career playing popular and classical music), Toots Thielemans virtually introduced the chromatic harmonica as a jazz instrument. In fact, ever since the mid-'50s, he has had no close competitors. Toots simply plays the harmonica with the dexterity of a saxophonist and has even successfully traded off with the likes of Oscar Peterson.
Toots Thielemans' first instrument was the accordion, which he started when he was three. Although he started playing the harmonica when he was 17, Thielemans' original reputation was made as a guitarist who was influenced by Django Reinhardt. Very much open to bop, Thielemans played in American GI clubs in Europe, visited the U.S. for the first time in 1947, and shared the bandstand with Charlie Parker at the Paris Jazz Festival of 1949. He toured Europe as a guitarist with the Benny Goodman Sextet in 1950, and the following year moved to the U.S. During 1953-1959, Toots was a member of the George Shearing quintet (mostly as a guitarist) and has freelanced ever since. He first recorded his big hit "Bluesette" (which featured his expert whistling and guitar) in 1961, and ever since has been greatly in demand (particularly for his harmonica and his whistling) on pop records (including many dates with Quincy Jones) and as a jazz soloist. Toots' two-volume Brasil Project was popular in the 1990s and found him smoothly interacting on harmonica with top Brazilian musicians. ~ Scott Yanow, All Music Guide