Pedro Aznar is a best-selling Argentine singer/songwriter and multi-instrumentalist. He is a musical polymath equally versed in rock, jazz, and folk, and is also a published poet. A seminal part of the Argentinian rock scene during the 1970s and '80s, he gradually succeeded in transforming his sound to embrace different genres and became a successful jazz singer, saxophonist, and second guitarist in the Pat Metheny Group for three albums. In addition, Aznar is also an esteemed soundtrack composer, a first choice for many directors across Latin America…
Argentinean vocalist and multi-instrumentalist Pedro Aznar displays incredible talent and versatility on his self-titled debut album. In fact, among the songs contained on the album are a synthesized bop tune ("New Wave Bop"), an Ivan Lins' song ("Septiembre"), Maurice Ravel's "Pavanna Para Una Infanta Difunta," Miles Davis's "Nefertiti," and an amazing note-for-note rendition of "Because" by the Beatles (actually, Aznar's version is slightly slower when played side by side with the original). He also has a tribute to Pat Metheny, appropriately entitled "Pat Meth." After hearing this album, Metheny asked him to join the Pat Metheny Group. Some of the synthesizers now sound dated, but there is no denying the considerable talents of Pedro Aznar after listening to this impressive debut.
It may have been relatively late in Jimmy Rushing's career when he recorded two albums for ABC/BluesWay (Every Day I Have the Blues and Livin' the Blues, both of which are reissued in full on this single CD), but he was still in prime singing voice. Joined by such friends as trombonist Dickie Wells, trumpeter Clark Terry, and tenor saxophonist Buddy Tate, Rushing shows that he was still relevant on such blues-based songs as "Berkeley Campus Blues," "Blues in the Dark," "I Left My Baby," "Sent for You Yesterday," and "We Remember Prez." Even with Oliver Nelson's arrangements on the first half and an electric rhythm section on the second, both Rushing and the musicians play off each other well, resulting in a swinging set.
An '87 recording of prototype Ponder; soul jazz and blues played with energy and a slick, yet resourceful conviction. Ponder has never gotten the profile or the exposure he deserves; he doesn't use gimmicks or crank up the volume, but his tasty fills, clever riffs, and crisp, bluesy solos are always worthwhile.