Herb Ellis Albums (27)
What The Critics Say
Herb Ellis and Charlie Byrd -- two peas in a jazz guitarist's pod if there ever was one -- recorded this date in 1963 and proved how compatible their styles were. Though Ellis emphasized the amplified electric model and Byrd stuck to nylon-string acoustic, the balance of their instruments and their occasional role reversals are heard during this program of standards, blues, Brazilian tunes, and a small handful of originals. This is not a duet album, as a rhythm section with bassist Keter Betts and drummer Buddy Deppenschmidt is present, but not accounted for in the credits of the reissued CD version. Stereo separation segregates the two players, and considering the recording technology of the time, it does sound somewhat dated in a quaint, bachelor pad sort of way. None of the selections are long-winded, with Duke Ellington's "Things Ain't What They Used to Be" the most stretched in a beautiful unison swing. The two brilliantly swap overlapping lines on the waltz "Three Quarter Blues," load up on languid chords for the nostalgic ballad "A Hundred Years from Today," and lope along the backwoods trail of "Carolina in the Morning." Blues is a big factor in their playing, most prevalent during the Texas-styled swinger "Take Care of Yourself," the slowed "Lady Be Good," and the toothy "Bluesette," due to their staccato riffs digging into a deft reharmonization. The Brazilian numbers are standard fare, refined in later years by their continued association, but here they take "St. Louis Blues" to Rio in bossa nova trim, while "Jazz 'n' Samba" is fairly straitlaced. The guitarists also do a funky, contemporary number, "Chung King," which is slightly off-color for them considering the primordial soul-jazz time period. This recording is more important for what these two would do as follow-ups rather than the basic music presented here. It's not essential as a standalone CD, but good to hear for what it foreshadowed down the line. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Herb Ellis is heard in performance in two separate German nightclubs during a 1998 tour of Europe, accompanied by harmonica player Hendrik Meurkens, young bassist Chris Berger, and drummer Chuck Redd. The seasoned guitarist is in top form, with Meurkens proving to be a good foil for him, though the latter man also proves himself to be a virtuoso on his instrument (comparable to Toots Thielemans). The selections primarily stick to standards, include a smoking interpretation of "Oh, Lady Be Good" and a fluid take of "Limehouse Blues," along with a funky, strutting rendition of "What Is This Thing Called Love?" Meurkens switches to vibes for the one bossa nova track ("Wave"). They have plenty of fun dashing through "The Flintstones," though they eschew the almost mandatory chant of "Yabba Dabba Doo!," possibly to avoid sounding a bit too corny. Recommended. ~ Ken Dryden, All Music Guide
'An Evening with Herb Ellis'
Release Date 3/3/1998
Tracks 9
Label Jazz Focus
See Album Tracklist and Review
What The Critics Say
Herb Ellis sets a concert stage afire with his masterful technique, sharpened during a long stretch as a member of the Oscar Peterson Trio during the 1950s. For this 1995 performance at Western Washington University, he's accompanied by pianist Bill MacDonough (a university alum), bassist Chuck Israels (a faculty member and ex-Bill Evans sideman), and Canadian drummer John Nolan, who worked with Ellis on other recordings. From listening to this show, it's hard not to think this is a working group, aside from an unsteady ending to a piece or two. The highlight of the date is easily the extended workout of "Things Ain't What They Used to Be," where Ellis really shows off his chops. His simmering take of "Billie's Bounce" never boils over, while Ellis displays his lyricism in a gorgeous rendition of "Body and Soul," even if he can't resist inserting a few humorous quotes. ~ Ken Dryden, All Music Guide
'After You've Gone'
Release Date 3/13/1992
Tracks 7
Label Concord Jazz
See Album Tracklist and Review
What The Critics Say
This set from the 1974 Concord Jazz Festival (which has been reissued on CD) is a follow-up to the studio record Soft Shoe and uses similar personnel: guitarist Herb Ellis, bassist Ray Brown, drummer Jake Hanna, trumpeter Harry "Sweets" Edison, tenor saxophonist Plas Johnson and, in a rare straight-ahead outing, pianist George Duke. Each of the musicians has their chance to be featured; Ellis and Brown play a duet version of "Detour Ahead," and Edison is quite lyrical on "Mood Indigo." This is a bright, swinging set that helped to launch the Concord label. ~ Scott Yanow, All Music Guide
What The Critics Say
This early Concord recording (which is available on CD) is unusual in a couple of ways. Guitarist Herb Ellis and bassist Ray Brown (who are the co-leaders) are joined not only by trumpeter Harry "Sweets" Edison (who is in colorful form) and drummer Jake Hanna but pianist George Duke in one of his very few mainstream records. Their repertoire includes jazz versions of such unlikely tunes as "Inka-Dinka-Doo," "Easter Parade" and "The Flintstones Theme"; the latter version (which is based on the familiar "I Got Rhythm" chord changes) was the first of many to turn that cartoon melody into jazz. In addition Brown ("Soft Shoe"), Edison and Ellis contribute a song apiece plus there is a brief rendition of "Green Dolphin Street" that is taken as a Brown-Ellis duet. Recommended. ~ Scott Yanow, All Music Guide
What The Critics Say
Despite the title of this record by guitarist Herb Ellis, the songs are not all sleepy ballads. In fact, the opening number played by the quartet (which also includes pianist Ross Tompkins, bassist Monty Budwig and drummer Jake Hanna) is a rapid version of "Shine" and there is also an uptempo rendition of "Rosetta" to close the date. In between Ellis and his group perform five standards (including a few ballads) plus his original "Jeff's Bad Blues," dedicated to Concord head Carl Jefferson. An excellent all-round set of swinging music. ~ Scott Yanow, All Music Guide
'Seven, Come Eleven'
Release Date 3/13/1992
Tracks 7
Label Concord Jazz
See Album Tracklist and Review
What The Critics Say
The second Concord album was recorded the day after the first with the same lineup: guitarists Herb Ellis and Joe Pass, bassist Ray Brown and drummer Jake Hanna. Pass would sign with Pablo but Ellis would be a fixture on the Concord label throughout the 1970s. If anything, the guitarists' rematch was a bit stronger than their first due to material better suited for jamming including "In a Mellotone," a speedy "Seven Come Eleven," "Perdido" and "Concord Blues." Although Pass would soon be recognized as a giant, Ellis battles him to a draw on this frequently exciting bop-oriented date, which has been reissued on CD. ~ Scott Yanow, All Music Guide
What The Critics Say
Guitarist Herb Ellis is joined by rhythm guitarist Freddie Green, pianist Ross Tompkins, bassist Ray Brown and drummer Jake Hanna for this lightly swinging but uneventful program which has been reissued on CD. Since Green as usual does not solo, his contribution is purely as a background player. Ellis, Tompkins and Brown are the lead voices on a variety of swing tunes; best are "It Had To Be You," "A Smooth One" and "When My Dream Boat Comes Home." ~ Scott Yanow, All Music Guide
What The Critics Say
The very first release by the Concord label (recorded at the 1973 Concord Jazz Festival and now available on CD) was a quartet set featuring guitarists Herb Ellis and Joe Pass, bassist Ray Brown, and drummer Jake Hanna. Ellis and Pass (the latter was just beginning to be discovered) always made for a perfectly complementary team, constantly challenging each other. The boppish music (which mixes together standards with "originals" based on the blues and a standard) is quite enjoyable with the more memorable tunes including "Look for the Silver Lining," "Honeysuckle Rose," "Georgia," "Good News Blues," and "Bad News Blues." This was a strong start for what would become the definitive mainstream jazz label. ~ Scott Yanow, All Music Guide
