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Jazz Guitar For Art Lovers - Coryell, Byrd & Burrell

Jazz Guitar For Art Lovers

Understated, tasteful and melodic, Charlie Byrd had two notableaccomplishments to his credit; applying acoustic classical guitar techniques to jazz and popular music and helping introduce Brazilian music to North America.

He started recording for Savoy as a leader in the late fifties. The orientation of the music was jazz, but jazz infused with classical technique and sound (it was said he could play a Bach cantata with the same ease as a Gershwin song) and all of the recordings on this compilation are from his exquisite first album ‘Jazz Recital’.

Charlie Byrd, “I’d like to see guitarists of today using more of the vast store of knowledge that has been piled up by the great lute players and guitarists of the past 400 years. Men like Dowland, Milan and Weiss wrote and played very difficult things that have not been surpassed to this very day!"

A tour of South America in 1961 under the aegis of the state department proved to be a revelation, for it was in Brazil that Byrd discovered the emerging bossa nova movement.

Once back in D.C, he played some bossa nova tapes to Stan Getz, who then convinced Verve's Creed Taylor to record an album of Brazilian music with him and Byrd. That album, the masterful 'Jazz Samba', led by a tune called 'Desafinado' became a runaway hit (the only jazz album to make number 1 in the pop charts) and had the effect of launching the bossa nova as an international force.

Following this success, many albums for Riverside followed including the defining 'Bossa Nova Pelos Passaros' and Byrd landed a major contract with Columbia. In 1973 he formed the group great guitars with Herb Ellis and Barney Kessel and wrote an instruction manual for the guitar that is still widely used. From 1974 onward, Byrd recorded for the concord jazz label.

Charlie Byrd died in December 1999 after a long fight with cancer.


As one of the pioneers of jazz-rock, Larry Coryell deserves a special place in the history books. He brought what amounted to a nearly alien sensibility to jazz electric guitar playing in the 1960s, a hard-edged, cutting tone, phrasing and note-bending that owed as much to blues and rock as it did to earlier, smoother bop influences. Yet as a true eclectic, armed with a brilliant technique, he is comfortable in any style, covering almost every base from distortion-laden electric work to the most delicate, soothing, intricate lines on acoustic guitar.

As he rose through the Sixties, Coryell replaced Gabor Szabo in ChicoHamilton's band and collaborated with Herbie Mann and vibraharpist Gary Burton. Eleventh house were created in 1973 and throughout the decade the guitarist worked with the best musicians on the planet including John Mclaughlin, Eric Clapton, Jimi Hendrix, Paco De Lucia, Larry Carlton, Billy Cobham, Sonny Rollins, Don Cherry, Stephane Grappelli, Chick Corea and Charles Mingus.

Pioneering and eclectic, that Larry Coryell always seems to be looking for a new challenge is evidenced by his ambitious avant-garde interpretations of Stravinsky, Ravel and Rimsky-Korsakov.

If Coryell's reputation is for breathtaking technical proficiency atbreakneck speed, the numbers on this album are proof of his sensitivity. As jazz writer Doug Payne states "Coryell tends to sound Wes-like in a standards bag. But he’s up to the task of stamping his otherwise indicative personality on the proceedings... a nice selection of Larry Coryell¹s appealing traditional sides"KENNY BURRELL “Kenny Burrell that's the sound I'm looking for." Jimi Hendrix Staunch musical integrity and discriminate taste coupled with matchless technique have made Kenny Burrell nonpareil among his peers. "My goal is to play with good tone, good phrasing and to swing,"says Burrell, "I strive for honesty in playing what I feel."

"Master instrumentalist and composer," "virtuoso," "historic figure of American guitar." "Ellington's favourite guitar player" - this is a typical sampling of the critical praise routinely bestowed on Burrell, who pioneered the guitar-led trio with bass and drums.

One of the most popular and respected jazz guitarists ever, two vivacious mid sixties albums for blue note and Verve, ‘Midnight Blue’ and ‘Guitar Forms’ perfectly showcased Kenny Burrell’s unique artistry.

Doug Payne writes of Burrell, “He’s simply a master-craftsman who comes off with one brilliantly-executed passage after another. He soothes and surprises all at once and is consistently engaging without ever once relying on pet licks.”

Kenny Burrell has been the recipient of many awards and has been voted "best guitarist" numerous times by music fans and critics worldwide. He has been dubbed America's "guitar laureate".

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CHARLIE BYRD - Prelude / LARRY CORYELL - Moments Notice / LARRY CORYELL - Round Midnight / KENNY BURRELL – Lament / CHARLIE BYRD - Spanish Guitar Blues / CHARLIE BYRD – Interlude / CHARLIE BYRD - Little Girl Blue / LARRY CORYELL - The Duke / KENNY BURRELL - So Little Time / LARRY CORYELL - Tender Tears / KENNY BURRELL - My One And Only Love
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O Amor, O Sorriso E A Flor
Amor, o sorriso è a flor (Love, a Smile, and a Flower) is the second in the trilogy of formative bossa nova albums released by João Gilberto between 1959 and 1961 (Chega de saudade ACMEM 179CD being the first).

These albums are quite literally the aesthetic and musical blueprints for a genre that would exert an irresistible worldwide influence on popular music. Our edition features the original (long out of print) classic album in its entirety and original packaging. It includes Joao's historic, first performances of such masterpieces as Samba de uma nota só (One Note Samba), Meditação (Meditation), O pato, Corcovado, Discussão and Outra vez (One More Time)

The album is augmented by rare recordings of some of the famous songs of both O Amor, o sorriso è a flor Chega de Saudade by such important contemporaries as Sergio Mendes, Walter Wanderley, Sylvia Telles, Carlos Lyra, Alaide Costa, Agostinho Dos Santos, Isaura Garcia, Os Cariocas and Luiz Eca

In 1962 Gilberto moved to the United States where he and Stan Getz recorded the million-selling Getz / Gilberto for Creed Taylor¹s Verve; an LP which featured a song (sung by João's then wife Astrud) that was to become one of the most popular of the twentieth century, the Jobim-Vinícius composition, La Garota de Ipanema (The Girl from Ipanema).

The reclusive João Gilberto is the "Great Master" of bossa nova; His art both enigmatic and timeless. He has worked with the Tropicalistas, Gilberto Gil and Caetano Veloso and influenced generations of arrangers, musicians and singers

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The Fabulous
Beautiful collection of vintage recordings by the greatest guitarist the world has ever known. Comprising the Maestro¹s own transcriptions of Renaissance and Baroque masterpieces and of pieces solicited from composers of the day such as the popular Brazilian composer Heitor Villa- Lobos In Tokyo, New York, Paris, London, Madrid, Segovia's cool, highly refined sound is regarded today as the definitive 'chill-out' music and we will look to reach that audience through the jazz and arts media. Segovia, the Unchallenged Master Of the Spanish Guitar influenced George Harrison, Django Reinhardt, Robert Fripp, Julian Bream and every serious classical guitarist. Particularly in Japan and America he toured extensively and sold a lot of records. Our Price: £9.95

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Chega De Saudade
Released on 18/01/10. In the summer of 1958, a singer-guitarist from Bahia in the north of Brazil called João Gilberto created a musical revolution when he joined with Bossa Novas seminal songwriting team, the gifted composer Antônio Carlos Jobim, and the poet and former diplomat, Vinicius de Moraes, to record the songs that would launch this cool, futuristic new music for a confident new era. Bossa nova - The New Way - was influenced by modern classical music (Villa-Lobos, Debussy), jazz and samba-canção. Gilberto brought an unprecedented guitar style and a hushed, understated form of vocal expression that defined the movement and changed the course of music history. In 1959 João Gilberto released Chega de saudade, the first bossa nova LP record and Brazilian music never looked back. Our edition features the original (long out of print) classic album in its entirety, supplemented by the impossibly rare EP of songs from the film Black Orpheus and recordings of some of the famous songs of Chega de saudade by contemporaries such as Elizete Cardoso, Os Cariocas, Alaide Costa, Norma Bengell and Bola Sete. .João Gilberto Chega De Saudade - Chega de saudade (No More Blues) / Lobo bobo (Foolish Wolf) / Brigas nunca mais (Fights, Never More) / Hô-bá-lá-lá / Saudade fez um samba (Saudade made a Samba) / Maria ninguém (Maria Nobody) / Desafinado (Off-Key) / Rosa morena (Brunette Rose) / Morena boca de ouro (Brunette with a Mouth of Gold) / Bim bom / Aos pés da cruz (At the Foot of the Cross) / É luxo só (It's Just a Luxury) Our Price: £9.95

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Brasilia - Sinfonia da Alvorada
In 1958, Juscelino Kubitschek, president of Brazil, asked Antonio Carlos Jobim and Vinicius de Moraes to compose a symphonic suite to be used at the opening ceremony of Brasilia, a city, designed by the architect Oscar Niemeyer, that was being built in the state of Goias in the middle of the country and which would be inaugurated as the nation's new capital in April 1960. Niemeyer's vision was one of history's boldest, most dramatic architectural statements that for Brazil was meant to represent a new vision for the future. Tom Jobim and Vinicius de Moreas were two of the principle artchitects of bossa nova. The pair famously co-wrote The Girl From Ipanema and Jobim produced Joao Gilberto's original trilogy of albums that would be the stylistic blueprint for bossa.For the Sinfonia Alvorada, Tom Jobim is conducting the orchestra with the participation of Radames Gnattali (piano), Vinicius de Our edition features the original Oscar Niemeyer artwork. Sinfonia da Alvorada is accompanied by another major Braziilian orchestral work, The Forest of The Amazon, by Heitor Villa-Lobos. Conducted by the composer in his last year, 1959, with the great Brazilian soprano Bidu Sayão, the piece displays the whole range of Villa-Lobos's style, brilliantly evoking the sounds and colours of the jungle with musical. Our Price: £9.95

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Bossa Nova
Carlos Lyra wrote some of the classics of bossa nova and Música Popular Brasileira, either alone, or with such partners as Vinicius de Moraes and Ronaldo Bôscoli. His most famous compositions include Coisa Mais Linda, Você e Eu, Maria Ninguém (once claimed by Jacqueline Kennedy to be her favorite song), and Influência do Jazz. Along with Roberto Menescal, he was a primary figure of the younger generation of bossa nova musicians who closely followed the inception of the style by João Gilberto and Antonio Carlos Jobim. With Menescal, he also created a guitar academy that became a meeting point for future artists like Edu Lobo, Marcos Valle and Nara Leão with whom he collaborated later, as part of the bossa's activist wing, seeking a return to its samba roots.João Gilberto included no less than three Lyra compositions on his momentous Chega de saudade 1959 debut lp; Maria Ninguém, Lobo Bobo, and Saudade Fez um Samba. That same year, Lyra recorded his first solo album, Bossa Nova, which we are pleased to present along with its eponymous sequel.
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