Search - Howard Roberts :: Whatevers Fair: All Time Great

Rediscovering Howard

Timothy J. Swartz | Honolulu, HI USA | 04/08/2003

(5 out of 5 stars)

"Howard Roberts was my uncle and although I only met him a few times, I knew his music as a young child in the late 1960s because my family had two of his albums: Goodies & All-Time Great Instrumental Hits. I hadn't heard the latter in many years until I got this CD, which I listen to all the time now. My favorites have to be "It Was a Very Good Year," "Work Song," and "The "In" Crowd." Howard takes these songs and really makes them his own with his stylish interpretations. Both albums really swing and show that not only is Howard Roberts a great technical jazz guitarist, but he's also got alot of soul!"

Essential

Jazzcat | Genoa, Italy Italy | 08/24/2007

(5 out of 5 stars)

"The four cds Euphoria put out in recent years to make justice of Howard Roberts reputation as the perfect jazz guitarist are in my opinion all essential. Infact you absolutly can't say which is the best, they all form a complete picture of one of the truly greatest Jazz guitarist ever and I really suggest you the purchase of the complete opera (eight records on four discs: 1 Colour him funky-HR is a dirty guitar player, 2 Jaunty Jolly-Guilty 3Whatever's fair-Alltime instrumental hits 4 Goodies-Something Cookin'). I'm a Jazz guitar player myself, but believe me or not, I onestly think that jazz guitarists are in many cases so boring. I'm not talking about Wes obviously, he's completly in another category and to me he will always be one of the five greatest jazz musicians ever. I'm talking about a lot of other jazz guitarists (and I'll not make their names). Theyr records are boring for the most part even if their great technically and musically. Probably it depends on the sound of the guitar which is often flat and of the poor dynamic of the instrument in a Jazz setting, especially compared to a sax or a trumpet. Probaly it depends on the immense difficulty that a musician encounters in translating the bebop and hard bop idioms to the guitar. Probably it depends on the idiosyncrasis of the instrument itself which if it may seem limitless in the hands of the few greats, in essence creates a lot of limits to the weakest musicians. Probably it is a mix of all these things. I don't know, but to me few Jazz guitarists in the end really deserve to be listened by the average Jazz enthusiast (I'm not talking about guitarists that obviously want to listen to almost every player around to have an idea about the hostory of the instruments and of its styles). Howard Roberts is just one of the few essential guitarists that every person interested in Jazz should check out. The most important records he did can be subdivided in two periods: Verve and Capitol. At present days Verve has released only one session from Howard and I suggest you to immediatly buy that one. It is called "Good Pickins": it's a pure bebop date recorded if my memory is correct in 1956. It's a splendid typical straight ahead jazz date of the period so go, check it out without hesitation. The records Howard recorded for Capitol instead are just the ones I'm talking about and are different from Verve's. Euphoria released them in two records for each disc format so you'll end having eight records from the most interesting period in Howard's recording career (for what I'm concerned). I'm saying this because Capitol records are the epitome of Howard's very original and influential style and combo sound. Good Pickins for example is a splendid disc but many may consider it just another bop date, not too different from many wonderful dates by Jimmy Rainey or Kenny Burrell just for instance. In these eight records for Capitol Howard instead impressed his style, that has been so influential, on a vast repertoire of jazz standards and pop songs with immense taste and personality in a complete original way (for the period). It is a jazz guitar that swings like mad that gives you an incredible fun. His combo was based on his guitar matched with the Hammond Organ sound and it is a match made in Heaven. It's different from a Jimmy Smith combo for example. Not better nor worst, Just different. These records from Howard built the sound of the West Coast of the sixties. They are incredible pleasing and fun to the ear and at the same time they show a master musician at work. Some disdain these Captiol records from Howard saying they are "commercial" but this word doesn't mean a thing when the music is THIS good. Try to think if we have this commercial music today on the radio!!!!!!! We'll be in Heaven!! Howard's jazz music is a difficult masterful music that sounds simple and at the same time sophisticated. It's the best of both worlds! To me this is simply great music that nobody can touch. Howard leave with these records a legacy that still has to be discovered by the majority of Jazz enthusiasts. Just few words more for Euphoria because they did it big. Even if they published two records on one disc that generally speaking is a concept that often led to poor editions on the contrary in this case they did a wondeful edition. Each cover is reprinted here in the full dimension of the booklet, the booklet in itself is full of informations and the artwork they choosed is perfectly in harmony with Howard funny music. Thank you Euphoria! You have made justice to this fantastic music that has to be discovered by everyone interested in Jazz music that gives true fun and true listening pleasure. These eight records from Howard have a special place in my 7000 jazz cds collection. Go my jazz friends discover the genius of this man, Howard Roberts, his incredible guitar skills, his supreme taste, enjoy the jazz guitar and for once in a while have TRUE FUN listening to Jazz!"