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Honey-toned electric jazz guitar, with blues and country overtones.
Genre:
Jazz: Traditional Jazz Combo
Release Date:
2001
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© Copyright-Lost Wax Music
(714288087522)
Record Label: Lost Wax
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You know that sexy blues guitar solo on Tracy Chapman's "Give Me One Reason"? That's Adam Levy! And besides being a badass blues player, he's a helluva jazz guitarist, as the critics are happy to point out:
"Completely wank free." - Guitar Player
"I suppose many people would call Levy's style 'laid back.' I'd call it guitar for the mind and soul. It wraps you up and makes you feel good and surely that, in the end, is what it's all about." - Jazz Guitar International
"He can play almost any music style with perceptive depth and strength." - East Bay Express
"Levy introduced Johnny Mandel's 'Emily' with a beautiful solo passage, often sustaining notes at the end of his phrases, shaking his guitar to add a brief shimmer. The care with which he shaped his notes gave his music an almost precious quality, but his canny use of silence and ability to imply momentum invested his lines with a certain degree of tension." - East Bay Express
"What I like about Adam is the way he balances his
harmonic sophistication with an earthy, bluesy
sensibility. It makes him not only a very flexible
musician, but also a truly recognizable personality,
regardless of what kind of music he is playing. There
is always a sense of exploration and fun in
whatever he does."
Lee Townsend, Producer (Bill Frisell, Joey Baron)
Songline/Tone Field Productions
[www.songtone.com]
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author: Wojtek Gunia
I totally agree with review by Mike Flowerday. One word : perfect. One of my favourite jazz CD.
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Understated excellence
author: Mike Flowerday
This is a beautifully conceived and excellently realised set of quiet, laid-back jazz performances with a compulsive groove throughout. The playing is uniformly understated, with Wollesen using brushes a lot, and the trio blends its instrumental tones winningly. I just love the spare economical phrasing Levy utilises, giving each note loving attention and investing the numbers with some aching, bluesy phrasing. Goldings approaches the Hammond organ with a sensitive, featherlight touch here, and that doesn't happen too frequently, does it? Excellently engineered too -a real winner!
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