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Recorded live at New York's Smoke jazz club, this brief session digs deeps into the heart and soul of the blues. Chris Bergson sings ‘em the way he feels ‘em.
By answering each of his vocal phrases with pliant guitar licks, the artist is able to interpret each tale of woe with double barrels. His resounding voice hands over deep feelings of anguish and misery, while his guitar answers with a knowing pattern of hope.
All is not lost. The blues takes us so low, sometimes, that we nearly lose control. But it’s Bergson’s fluid guitar that carries us out of that quagmire. He lifts our spirits.
Freddie King’s “The Stumble” makes a significant impression, as the trio turns the affair into a momentary instrumental revue. Loping with a hearty swing, guitar, organ and drums prance all over town in their Sunday finest. It’s a time to celebrate.
Elsewhere, the twenty-five and half minute album concentrates on a combination of Bergson’s vocal blues and his rescuing guitar. His woeful tales hit home. We’ve all been there. Which of us cannot say that he’s never experienced lost love, lonesome days & nights, or temporary dreams that slipped through our fingers? Bergson’s session provides comfort.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.