Swingin’ Party was recorded at Contemporary’s studio in from of a live audience (one can only wonder, given how many sessions were recorded there at this time, who might have been present). The reason for this is obvious; the setting combines the energy and spontaneity of a live performance with the pristine sound of the studio. Kessel’s style, as always, is a potpourri of bent notes and pull-offs, all cleanly articulated and full of unexpected phrases. Like a gracious host, Kessel lets the others have a turn in the spotlight as well; surprisingly, Peacock shows little of the abstract plucking that would later become his defining trait. The first few tracks are adequate runs through standards; however, the quartet gets more adventurous on the second half, which features “Now’s the Time” recast in a minor key, the soulful punch of “Miss Memphis”, and the Latin and Middle Eastern tinged “New Rhumba”. Kessel’s trio recordings are still his most compelling work, but Swingin’ Party works hard to live up to its name.
Track Listing: Bluesology, Lover Man, Joy Spring, Now's the Time, Miss Memphis, New Rhumba.
Personnel: Barney Kessel-guitar; Marvin Jenkins-piano, flute; Gary Peacock-bass; Ron Lundberg-drums.
I love jazz because it expresses things so deep that I can't transform in words.
I met John Pizzarelli.
The best show I ever attended was MASP in São Paulo Brazil.
The first jazz record I bought was a Baby Dodds CD.
My heroes on drums: Papa Jo Jones, Sid Catlett, Gene Krupa, Baby Dodds, Zutty Singleton, Ray Bauduc, Vernell Fournier,
Shelly Manne, Jimmy Cobb, Joe Morello, Daniel Humair, Kenny Clarke, Sonny Carr, Buddy Rich, Sam Woodyard, Cozy Cole,
Sonny Greer, Neil Peart, Carl Palmer, Tony Sbarbaro, Vic Berton, Edison Machado, Milton Banana, Rubens Barsotti.
My heroes in jazz: Duke Ellington, Count Basie, Chet Baker, Miles Davis, Ahmad Jamal, Coleman Hawkins, Teddy Wilson,
Barney Kessel, Lester Young, Johnny Hodges, Jelly Roll Morton.