All the high points from the ten-year dominance of Alpert and the Tijuana Brass; includes "A Taste of Honey," "Spanish Flea," and others.
Herb Alpert credited "Bullish", this 1984 album, to "Herb Alpert Tijuana Brass", probably as a tie-in with a tour that Alpert went on around this time which did include four members of the original Tijuana Brass. None of the original Tijuana Brass appear on this album though, & with the glossy mid-'80s sheen of the album, it ain't exactly a return to his '60s sound either. Still, "Bullish" is an impossible-to-resist collection demonstrating that Alpert's ear for irresistible melody was as strong as ever.
This release contains the outstanding album The Midnight Roll (Epic Stereo BA17034), featuring two All-Star small group formations including Roy Eldridge or Dukes of Dixieland’s Frank Assunto on trumpet, Buddy Tate on tenor sax, Ray Bryant on piano, and on some tracks, the ill-fated bassist Israel Crosby, who is best know for his work with Ahmad Jamal Trio.
The second Great Guitars album features guitarists Charlie Byrd, Barney Kessel, and Herb Ellis matching wits and generally inspiring each other throughout this studio set. The trio, along with bassist Joe Byrd and drummer Wayne Philips, are heard together on four numbers (best are "Undecided" and Ellis' "H & B Guitar Boogie"; Ellis and Kessel duet on "Down Home Blues"; Byrd has two features to himself; and a medley combines together short versions of "Benny's Bugle & and "Latin Groove" with the typically exuberant "Charlie's Blues" A fine all-around effort.
This is a not very challenging, but thoroughly charming, summit meeting between a blues guitar master and a jazz guitar legend. Taking four classic swing tunes ("Just Squeeze Me," "Avalon," "Stuffy," and, inevitably, "Flyin' Home"), two Robillard originals, and a jointly composed slow blues, and helped out by bassist Marty Ballou and drummer Marty Richards, Duke Robillard and Herb Ellis deliver a 48-minute swing guitar master class, Conversations in Swing Guitar. Ellis comes from jazz and Robillard from the blues, so their approaches are just distinct enough to keep things interesting; although both play with a clean, fat jazz tone and no one ever really hauls off and shreds, Robillard tends towards bent notes and funky chordal things while Ellis thinks a bit more in terms of long lines and florid ornamentation. Every so often you might find yourself wishing that the edges were just a bit rougher, but both of these guys are clearly having a great old time, and you will too.