Louis Stewart & Martin Taylor: Acoustic Guitar Duets

Jazz is littered with examples of starry duos aligning in one-off recording projects that do not quite match expectations. Often the lack of real spark comes down to too much deference being shown. When such duos do come off, however, say as with the collaborations between Bill Evans and Jim Hall, to cite one outstanding example, the results can be little short of spectacular. This 1986 studio outing between guitarists Louis Stewart and Martin Taylor falls into the latter category—two undisputed virtuosos of their instrument reveling in each other's company and fairly knocking it out the park.

Dubliner Stewart and Harlow-born Taylor collaborated in the quartet of violinist Stephane Grappelli in the mid-'80s. Taylor played with Grappelli from 1979-1990, while Stewart played periodically with the French maestro, so it is perhaps little wonder that both guitarists comp with a Django Reinhardt- esque frisson at times. In fact, the comping on this collection of standards and traditional tunes is as exceptional as the soloing—a veritable masterclass in strummed rhythmic support, chordal progressions and freely spun ornamentation.

The excitement, however, lies chiefly in the soloing, and both guitarists stretch out on almost every tune. It would be redundant to highlight every solo—and every solo is a highlight—but suffice it to say this is some of the finest acoustic jazz soloing on record. The duo race through bop-fueled burners "Billy's Bounce" and "Cherokee," let it all hang out on an exhilarating take of Luiz Bonfá's "Morning of the Carnival," luxuriate in the relaxed tempi of "Pick Yourself Up"—a Grappelli staple—and the Jimmy Von Heusen/Eddie Delange ballad "Darn That Dream," and tip a bluesy wink to Wes Montgomery on "Stompin' at the Savoy."

Only "Cherokee" took more than one take, and the spontaneity of the playing—recorded over two sessions—is palpable. There is a real rush of excitement when the two guitarists improvise simultaneously, a release reserved for just a couple of tunes but lead and comping roles are otherwise very clearly defined.

The two traditional tunes offer a fascinating study in contrast. "Taylor's blues-tinged arrangement of "Coming Through the Rye" seduces with bucolic charm, while Stewart's shaping of "Farewell to Erin," taken at a faster clip, seems to channel the tumbling release of uillean pipes.

Thanks to producer and Livia Records label owner Dermot Rogers, Acoustic Guitar Duets is available on CD for the first time since 1996. A fourteen- page booklet features contemporary photos, reviews, liner notes and commentaries from The Irish Times' Ray Comiskey, Livia Records founders Gerald Davis and Heiner Franz, on whose German label Jardis Records Acoustic Guitar Duets was first issued on CD. Such comprehensive and stylish packaging is nothing less than Stewart and Taylor deserve. Beautiful, heady stuff from two of the world's finest guitarists.

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