Every songwriter has a story. After a five-year recording hiatus, JUNO Award winner Barney Bentall returns with his 10th album and what is arguably his most personal record to date, The Drifter & The Preacher. Barney is a multi-platinum selling artist who started his career in the late ‘80's/early ‘90s with his band the Legendary Hearts. They went on to become staples on Canadian radio with twenty Top 30 singles including the hits, “Come Back To Me,” “The House Of Love (Is Haunted),” and “Something To Live For.”
Swedish trombonist Eje Thelin and French tenor saxophonist Barney Wilen were two of the top European jazz musicians for several decades before their deaths in the 1990s. They first joined forces briefly in Thelin's quartet in 1963. Based in bop and earlier forms of jazz, Thelin and Wilen were open to freer improvising and music from other countries. In 1966 they joined forces, and two sessions are included on the 1966 With Barney Wilen CD. The first one features a quintet with pianist Lars Sjösten, bassist Erik Lundborg, and drummer Rune Carlsson that is joined by eight brass, bass clarinet, and flute for four inventive Thelin originals. While those performances are excellent, it is the other five numbers (which include second versions of a pair of Thelin's tunes plus "It Could Happen to You" and "Dear Old Stockholm") that are of greatest interest. The playing by the pianoless quartet (comprised of Thelin, Wilen, Carlsson, and bassist Palle Danielsson) is looser and freer with plenty of fireworks occurring in the often intuitive music. This set is easily recommended, particularly to listeners who are not aware that talented Europeans had been playing creative jazz for decades.
Features 24 bit remastering and comes with a mini-description. A wonderful set from Barney Kessel – bossa-inflected jazz, and a wonderful setting for Barney to hit some very groovy lines on electric guitar ! The group on the date is part of the strength of the record – with Conte Candoli on trumpet, Emil Richards on vibes, Paul Horn on flute, and Victor Feldman on piano – with loads of great percussion and guitar interplay on the set, plus some excellent use of flute and vibes – all of which makes for the sort of session that really translates the Brazilian groove into the best sort of sound the LA scene was cutting at the time ! Nice, light, and dancing rhythms – and titles that include "Love", "Days Of Wine & Roses", "Latin Dance #1", "Lady Byrd", and "One Note Samba".
A fantastic addition to the Barney Kessel catalog of the 50s – a never-heard live set that has the guitarist in form that's every bit as strong as his famous albums for Contemporary Records! In fact, the strength of the recording may well capture Kessel at a level that beats those sessions – as Barney's playing live, with a bit more bite – and really grabs us with the strong tone on his solos – and the sense of energy he gets in a quartet that also includes a young Pete Jolly on piano! The recording quality is excellent – crystal-clear, and very focused – and the set isn't one of those lost tapes that should have stayed "lost" – but instead a real lost chapter in Barney's tremendous career.