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Solo Guitar/Joe Diorio Trio: Live

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Joe Diorio Solo Guitar Art of Life 2006 Joe Diorio Joe Diorio Trio: Live Mel Bay 2006

To call Joe Diorio a guitarist's guitarist is almost a back-handed compliment, a way of dooming him to obscurity. Having served as a sideman for illuminati such as Sonny Stitt, Stan Getz, Horace Silver ...


Meet Joe Diorio

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Early interest in jazz I got interested in jazz early. One of my first inspirations was hearing my uncle play. He was an accomplished mandolin, banjo, and guitarist, and he used to play all the time. My father played a little guitar, and he had a large collection of records: Django [Reinhardt], Benny Goodman, Artie Shaw, boogie-woogie, all that stuff. I started listening to a lot of music. In Connecticut where we lived it used to be very ...


David Becker / Joe Diorio: The Color Of Sound

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David Becker's previous release, Euroland, was a multitracked affair where Becker himself played all the instruments to produce a layered sound that evoked different images through music. On The Color of Sound, Becker plays duos with his mentor, Joe Diorio. For the most part, they both play standard electric guitar, but Becker throws in some synthesizer, a “tabla" guitar (a guitar with a playing card woven between the strings, plus an acoustic pickup to produce a pitched ...


Joe Diorio Trio: Joe Diorio Trio: Live

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Guitarist Joe Diorio is one of those excellent jazz musicians who, regrettably, seem permanently assigned to the “artists deserving wider recognition" category. Performing for more than 30 years, Diorio has worked and/or recorded with some of jazz's more outstanding performers, including Sonny Stitt, Eddie Harris and Bill Henderson. He also has produced a full discography of his own recordings as a leader. His latest captures the guitarist in live performance in his usual stalking grounds, Southern California, where he is ...


Joe Diorio: Stateside

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Jazz writer Gary Giddins once wrote an article entitled “Fifty Years of 'Body and Soul'", which celebrates what he calls “the greatest American song of all time". Basically a tribute to how enduring the song is (nearly 300 versions have been recorded), the article highlights some of the more memorable interpretations. Giddins also illustrates how important standards are to the jazz medium, for they provide a common ground for musicians to collaborate with one another on the spot without ever ...