'It's All in the Swing'
'Christmas Sounds of the Steel Guitar'
What The Critics Say
Buddy Emmons was one of the great steel guitarists, and it's always a pleasure to hear him play, even on an album as run-of-the-mill as Christmas Sounds of the Steel Guitar. Certainly, he plays well throughout the record, and it is a pleasurable listen, but the arrangements and tunes are too predictable for it to truly be a compelling record, even by Christmas standards. Still, hardcore Emmons fans may enjoy it, providing they can find it at a reasonable price. ~ Stephen Thomas Erlewine, All Music Guide
What The Critics Say
In this second meeting between pedal steel guitarist Buddy Emmons and jazz guitarist Lenny Breau, they find common ground as they venture through a session mixing jazz standards and original compositions, accompanied by keyboardist Randy Goodrum, bassist Charles Dungey, and drummer Kenny Malone. "Minors Aloud" is a mid-tempo blues jointly written by Emmons and Breau, though all of the individual solos are rather perfunctory. Breau's salute to Johann Sebastian Bach, "Bach's Bouree," opens with his gorgeous unaccompanied solo; after the band is added, it maintains its magic with understated brushwork by Malone. The interpretation of "Scrapple From the Apple" has a bizarre quiet introduction, but quickly transforms into a cooker. The pedal steel definitely gives a rather unique sound to Benny Golson's "Killer Joe," though Breau is clearly the more interesting soloist. "Compared to What," which was a huge hit for Les McCann and Eddie Harris, is an unqualified dud, with a completely forgettable vocal by Emmons. Flying Fish was always interested in mixing musicians from country and jazz; this somewhat uneven date should be considered at least a partial success. ~ Ken Dryden, All Music Guide
What The Critics Say
This album features some of the best pickers in Nashville, with Pig Robbins and Johnny Gimble. ~ All Music Guide, All Music Guide
What The Critics Say
The versatility of Buddy Emmons would never be questioned. Given the opportunity to do whatever he wanted on an album in a period when many listeners were waiting, their tongues hanging out, for the next bold innovation in country-flavored instrumental music, he convened two completely different groups to back him up. With one, he established his abilities to play traditional country and Western swing material as if he was regaining the heavyweight championship; each of his solos on these pieces is delivered with that type of combination of punches, and it is a good thing he hired a bona fide genius, guitarist Leon Rhodes, to play with him on these tracks since there are few other players who would be able to follow him up. If this album consisted totally of pieces such as the wonderful "Medley" of steel guitar favorites or the work-up of "Orange Blossom Special" on which Emmons is endlessly inventive, then it would receive the highest rating. On the second side there is the equivalent of rocks in bags of potatoes, however, a band who goes for a somewhat more contemporary feel, coming across like some kind of wedding band in the process. Sure, this is the type of wedding band where some of the music types in attendance would be commenting on how good the pedal steel player is, and the drumming of Kenny Malone is crisp-sounding and effective. Something about this music just grates, however, and yes, there are wedding bands who play "Nothing Is Delivered" by Bob Dylan, and better than on this record to boot. Still, everything described up until now was still not quite enough for the maestro, who chose to bring the album to an unforgettable conclusion by overdubbing himself to create a version of "Canon in D Major" by Johann Pachelbel that rectifies the situation, makes one restore the check next to the album's name that might have been angrily erased while listening to "Top Heavy." In fact, it could be said that this wonderful classical performance is one of the truly liberating moments in music from the perspective of any possible triumph over genre fascism. Here there is a so-called lowbrow country & western musician playing European art music on an electric instrument, no less. The results are sheer genius, a contemplative and almost spiritual performance in which there is as much exquisitely small detail as any of the classics of minimalism. That the same person can be responsible for all the tracks on this record is one of the mysteries of the universe -- but hey, that's Nashville. ~ Eugene Chadbourne, All Music Guide
What The Critics Say
Buddy Emmons wasn't the first musician to be featured playing a pedal steel guitar in a jazz setting, but it is unlikely that anyone else recorded an entire date playing one prior to this 1963 session. Although both he and the instrument are indelibly associated with country music, Emmons makes it work for several reasons. He's surrounded by some top players, including Bobby Scott, Jerome Richardson, Art Davis, and Charlie Persip; he also interacts with the band rather than overdoing the special effects available to him, especially the horn-like sounds obtained from his use of the slide. Emmons also chose an intriguing mix of material. Obvious highlights are the loping treatment of "Where or When," featuring Richardson's delicious soprano sax trading off with the leader, and Emmons' hot playing of "(Back Home Again In) Indiana." Equally rewarding are the jazz classics: Ray Brown's soulful "Gravy Waltz," an intricate romp through Sonny Rollins' "Oleo," and Horace Silver's toe-tapping "The Preacher." This was pretty much a one-time affair for Emmons, who returned to country music, though he did record some additional jazz with guitarist Lenny Breau during the 1970s. Although the instrument never really caught on in jazz, this highly recommended album, which was finally reissued on CD in 2003, is well worth checking out. ~ Ken Dryden, All Music Guide
What The Critics Say
It is hard to say exactly when this album was recorded and released. The producers provide no exact details, but do offer up a few clues. For example, Buddy Emmons' hair is black. And the phone number listed on the back does not work, although the area code is valid for the city of Nashville. For the most part, this is music that is timeless. Generally, country & western is not a music in which instrumental albums are that important. A funny thing, considering the musical talents of many of the participants. Kept on a tight rein and limited to short solos, the country picker sometimes spends an entire career without ever letting loose. Thankfully, the steel guitar tradition has pushed the idea of instrumental albums in which the pedal steel moves to the front, taking over the role of lead vocal. Listeners that like the groove and sound of country music but can't stand the lyrics might really like an album such as this, as should anyone who has ever had to listen to the lyrics of the maudlin "Footprints in the Snow." Fans of pedal steel and dobro should go wild. Emmons is joined by Shot Jackson, who gets a vivid sound out of his dobro that brings to mind flocks of geese and slices of chocolate cake, among many other things. A crack band is on hand to boister the two pickers, although only fiddler Vasser Clements is identified. The up-tempo "Red Wing" is really great, and there is also a very moving version of the Bob Wills anthem "Maiden's Prayer." ~ Eugene Chadbourne, All Music Guide
