A Gaggle of Guitarists, From Swing to Smooth

The guitar’s rise to prominence in the jazz world dates back to the early work of such major talents as Eddie Lang, Django Reinhardt and Charlie Christian, among numerous others. And it has played a prominent role in each new expressive genre that has come down the musical pike.

But it’s probably not an exaggeration to suggest that the post-rock era--with its multiplicity of ways in which the guitar can be played, electronically and acoustically-- has seen particularly diverse jazz usage of the instrument. Here are some recent examples, from players both familiar and lesser-known:

Charlie Byrd, who died in December at 74, received his widest exposure during the bossa nova ‘60s. But he was a well-regarded player before and after “Jazz Samba,” his hit album with Stan Getz, and particularly favored by guitarists for his acoustic, finger-picking style. “Charlie Byrd: For Louis” (*** 1/2, Concord) was his last studio outing, recorded in September 1999. The focus of the album, of course, is a tribute to Louis Armstrong, featuring such items as “Hello, Dolly!,” “Tin Roof Blues,” “Struttin’ With Some Barbecue” and “A Kiss to Build a Dream On.” Byrd heads an ensemble that includes trumpeter Joe Wilder and alto saxophonist Steve Wilson, his solid accompaniment and swing-infused soloing still in first-rate form, only three months before his passing.

Steve Hancoff is an acoustic player on a mission--a quest to translate instrumental jazz into a vehicle for the guitar. A 1985 recording showcased his transcriptions of Jelly Roll Morton stomps, Sousa marches and Harlem stride piano pieces. On “Duke Ellington for Solo Guitar” (***, Discipline Mobile Global; [323] 937-3194), he takes on a larger task with an entertaining, often remarkably successful program ranging from “Drop Me Off in Harlem” to “Come Sunday” and “Rent Party Blues.” His transcriptions are fascinating, often including note-for-note simulations of instrumental passages. Guitarists will be intrigued by Hancoff’s descriptions of how he approached each piece, in terms of key choice, altered harmonies and modified string tunings.

Veteran guitarists Joe Beck and Jimmy Bruno have a somewhat different goal, at least in terms of size, in “Polarity” (***, Concord Records). With Bruno taking most of the leads on seven-string guitar and Beck laying down the accompaniment on the alto guitar (tuned down a fifth), the duo simply work their way through an elegant program consisting mostly of familiar standards, with a few additional originals by Bruno, Beck and Steve Kuhn. The results are lovely, a gorgeous example of what can occur when two gifted and simpatico guitarists get together for the sole purpose of creating lovely ballads and hard-driving jazz improvisation.

Randy Johnston, who has worked with Lou Donaldson, Etta Jones, Houston Person and others, decided--for his seventh album as a leader--to do a set of tunes celebrating his most significant influences. The tributes in “Homage” (***, JCurve Records) range from Frank Sinatra (“Strangers in the Night”) and George Benson (“The Cooker”) to Pat Martino and Wes Montgomery (“Pat and Wes,” composed by Johnston) and Jimi Hendrix (“Ruby”). Johnston is a smooth and supple player with a strong feeling for the blues and a loping sense of swing. But a good part of the credit for the success of this buoyant, entertaining recording must also go to Rich Shemaria’s arrangements for a crisp, eight-piece band.

Smooth jazz has produced a great deal of relatively faceless music from every kind of instrumental combination. But Larry Carlton and Ronny Jordan have managed to retain a strong sense of individuality, as well as a linkage to more visceral musical sources. Carlton’s “Fingerprints” (** 1/2, Warner Bros.) has plenty of tracks primed for radio airplay. But, even amid the floating synthesizer sounds and the often tepid rhythms, his inescapable connection with the blues rings through. The presence of tenor saxophonist Kirk Whalum on several tracks is a plus, and a guitar duet with Vince Gill(!) is one of the highlights of the album.

Jordan’s “A Brighter Day” (***, Blue Note) is also aimed at the commercial market, but his jazz roots persist in surfacing. And several tunes almost break their way through the smooth-jazz envelope: “Mystic Voyage,” written by and featuring vibist Roy Ayers; Mario Bauza’s classic “Mambo Inn”; Victor Feldman’s “New Delhi”; and Jordan’s rhythmically disjunct “5/8 in Flow.”