Guitarist Josh Workman's Jumpin' at the Border swings into that rare "I don't get enough of..." category. I don't get enough of his gypsy style with the Hot Club of San Francisco ("Kali Sara"); I don't get enough of his boppin' (Sippin' at Bell's); I don't get enough of Kim Nalley's bluesy and seductive vocals ("I Can't Face the Music/I Want a little Boy" and "You're Drivin' Me Crazy"); I don't get enough of his Brazilian sound (Andre de Sapato Novo," "Nono," "Carinhoso").
Workman shines in every style he tackles here, on a 72-minute, 16-song tour of jazz sounds. Pick your favoritefor this listener it the Brazilian numbers, but that's just a personal groove I'm in of late. His too-brief Django swing with the Hot Club of San Francisco seems a tantalizing appetizer to a full set of such; and he's particularly tastey behind vocalist Nalley, a lady that makes you want to fall in love/lust with her, with that saucy little growl in her voice on "You're Drivin' Me Crazy."
"Andre de Sapato" is an example of the Brazilian choro writing of mandolin master Jacob do Bandolim, and Workman's picking here sounds tight and piquant, fittingly mandolin-ish. Coro leads into the guitarist's tune, "Monkish," that sounds to these ears more like a laid back Charlie Parker tune than a Thelonious workout.
Workman has an amazing command of styles, but I, selfishly, want to hear that full-on Brazilian CD he might decide to put out. Or the swing set with the Hot Club; or that set of originals...
But this time out the mix of styles keeps the set interesting, the listener engaged.
Track Listing: Jumpin' At The Border;
Andre De Sapato Novo;
The Sweetest Sounds;
No Me Platiques Mas;
I Can't Face The Music;
Take Me in Your Arms;
You're Driving Me Crazy;
Personnel: Josh Workman - electric and acoustic guitars;
Larry Vuckovich - Piano;
Omar Clay,Harold Jones - Drums;
Noel Jewkes Flute - Saxophones;
Nat Johnson, Buca Necak, Perry Thorsell - Bass;
Kim Nalley - Vocals;
Evan Price Violin;
John Santos - Percussion;
The Hot Club of San Francisco Evan Price - Violin, Paul Mehling - Guitar, Ari Munkres - Bass (track 12)
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.