Sweet Science is a sweet ethereal trip with a classic greasy organ-guitar trio minus the grease (this is not to say that the disc does not swing, it does, in spades). The music provided by Messrs. Goldings, Bernstein, and Stewart is complete sophistication. The music would fit well as the soundtrack of a very hip science fiction program. The opening "Asimov" is expansive and angular with probing guitar lines by Bernstein supported by Golding's ultrahip underpinning. Nine bright originals and a single standard (Burt Bacharach's "This Guy's In Love With You," superbly retro) make up this state-of-the-organ-trio recording so appealing. The music is fresh Post Bop that is never boring. It grooves tastefully.
His longtime trio mates guitarist Peter Bernstein and drummer Bill Stewart join Goldings for the festivities. They have previously released three other trio recodings on Palmetto. These include As One (PM 2068, 2001), Voodoo Dogs (PM2061, 2000) and Moonbird (PM2045, 1999). Bernstein plays with a round, softened tone that showcases his confidently grand attack. Bill Stewart provides a transparently steady swing, providing just the necessary accents. The sum total of the part of this recording is fine music, finely played.
Track Listing: Asimov; Sweet Science; Solid Jack; Lookout; This Guy's In Love With You; Chorale; Pegasus; Gnomesville; Spring Is Here; Come In and Pray.
Personnel: Larry Goldings- organ; Peter Bernstein- guitar; Bill Stewart- drums.
I love jazz because...it's in my blood! My late father, Billy Ainsworth, was a musical prodigy who dropped out of school at 17 after he stunned the seasoned musicians of the Tommy Dorsey Orchestra with an in-off-the-street audition
I love jazz because...it's in my blood! My late father, Billy Ainsworth, was a musical prodigy who dropped out of school at 17 after he stunned the seasoned musicians of the Tommy Dorsey Orchestra with an in-off-the-street audition. He was on the band bus the next day as Dorsey's alto sax and clarinet player, and never looked back. He played with great bandleaders such as Freddie Martin, Tex Beneke and Ray McKinley, some before he was out of his teens (they had to lie about his age to get him into nightclubs). Many older musicians have told me he was the greatest alto sax player they ever worked with. He was equally great on clarinet and was clarinetist and harmony singer for cocktail jazz pioneers, the Ernie Felice Quartet.
He eventually left the road and settled down, and that's when I came in. By that time, he was, by day, vocal group session leader/player/arranger for classic jingles and commercial music produced in Dallas. At night, he played in society bands, jazz combos and elegant showrooms. Tuesdays were slow in the showrooms, so band members' families got in free, and my mom took me to see him backing such legends as Tony Bennett, Mel Torme, Steve and Eydie, and a very old Ella Fitzgerald. Between that, hearing his record collection, growing up around the legendary musicians and singers who were like aunts and uncles to me, and just listening to him practice around the house, filling the neighborhood with incredible jazz sax riffs, I couldn't help becoming that weird kid who was listening to Peggy Lee, Ella and Manhattan Transfer when my classmates were listening to rock, country and soul.
Even though he died before I ever sang professionally, he remains my inspiration and all my CDs are dedicated to him. I like to think that he'd like my music, since it's built on the foundation he handed down to me.