Starts (7/23) tomorrow! Jazz with John Stein Duo @ Cork Wine & Tapas

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7/23, 8/6, 8/20 with bassist, Greg Toro

8/27with bassist, Paul del Nero

Jazz with the John Stein DuoJohn3_optimized Cork Wine and Tapas


 Located in Historic New Bedford Seaport

90 Front Street, New Bedford, MA 02740


7 Days a Week, 11:30am-2am
See you there!


“…In the end, the entire project proves to be a satisfying listening experience for artists and audiences. With regard to capturing the raw essence of the session, Stein says he didn’t change a single note on the tracks, which is rare for him—no editing or overdubbing occurred. “I was just trying to get inside the music, not to try to impress anybody, just play the most appropriate thing for that song.” The entire album, John says, contains “the most melodic phrasing I have ever done; it’s extremely satisfying—the most musical I have ever created.” Well, allright!”

Click for here for the complete review which will run in the August 2014 issue of Kansas City Jazz Ambassadors magazine

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The Always Hysterical Vance Gilbert

Vance Gilbert with Comedian Jimmy Pargo

By: Kyle Dowling


Folk music’s own Vance Gilbert made a stop over at comedian Jimmy Pardo‘s popular Earwolf podcast Never Not Funny to promote his new 2014 album BaD Dog Buffet.

Calling him one of his “favorite musical acts of all time,” Pardo introduced Gilbert, praising his ability to deliver raw emotion and excitement in both his material and his performances. Once taking to his chair, after some witty banter on the side of the mic, the folk artist found himself instantly welcomed in as part of the gang.

Throughout the episode, the musician delighted the in-house and at-home viewers and listeners with not only his hilarious personality but also several performances of original tunes –– some off the new album and some from earlier records.

From “Old White Men” and “Waiting For Gilligan” to slower, and oh, so emotional tunes like “High Rise” – which also happened to be Pardo’s wedding song, as he mentioned – Gilbert’s appearance on Never Not Funny is enough to make anyone who wasn’t aware of him and his talents a complete fan by the episode’s end.

For those not in-the-know, Pardo is the opening act on TBS’ CONAN and has appeared on Comedy Central’s @midnightCONAN and also serves as the host of Write Now! on the Nerdist Channel. His Never Not Funny podcast is considered one of the first, if not the first, podcasts ever around. Which often causes many to call him a podcast “pioneer” alongside co-host Matt Belknap.

Gilbert is very much known for performing alongside fellow folk singer Ellis Paul, who also happened to be the link between he and Pardo … until now. There was even some little chatter about an appearance on NBC’s The Voice, but we’ll have to wait and see about that.

With any luck, we’ll be seeing more folk singers appearing on Never Not Funny in the future. At the very least, hopefully more of Gilbert. Listen and watch the full episode here.

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Dick Metcalf aka Rotcod Zzaj Thoughts on Beck


Joe Beck Trio – GET ME:  If you’re a guitar jazz fan, then you already know Joe… if you’re not, you will be after listening to his last album, recorded live at Anna’s Jazz Island in Berkeley.  Everything is tasty here, but Joe’s performance on  “Corcovado” will make your ears truly grateful; one of the most beautiful renditions you’ll ever hear!  As you listen to “Joe Speaks:  Jobim“, you’ll just crack up… some really intimate conversations from the master of jazz guitar!  My personal favorite of the thirteen tracks offered up is Joe’s too-cool rendition of “Georgia On My Mind”… you’ll have no doubt, after listening over & over again to this, who the best jazz guitarist on the planet is/was.  I give Joe a MOST HIGHLY RECOMMENDED, with an “EQ” (energy quotient) rating of 5.00 – the very top – and, of course, that makes it my “PICK” of this issue for “best jazz guitar ever”.   Get more information at the Whaling City Sound page for this release.      

By:  Rotcod Zzaj

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Jazz Inside Magazine May Issue- Joe Beck





Jazz Inside Magazine May Issue: Review of Get Me Joe Beck
By Scott Yanow

“One of the top guitarists of all time, Joe Beck was a master of subtle creativity. He had the knack for not only making every note count but every sound. It was not so much what he played as how he played it. He could play the same chord or single note several different ways depending on how it fit the song or how he felt during that moment.

Joe Beck, who was born in 1945, started playing the guitar when he was six after hearing Segovia perform on the radio. He was self-taught other than six guitar lessons. At 14 he was already playing professionally and he led his first trio immediately after graduating high school. Beck soon became a busy studio musician despite still being a teenager, not only as a guitarist but as a composer, arranger and conductor. He worked with Gil Evans, recorded with Miles Davis, spent a period outside of music and in 1975 recorded the popular album Beck And Sanborn with David Sanborn. Beck played in a countless number of sessions during the 1970s and ‘80s. Among the many jazz greats who he worked or recorded with were Herbie Hancock, Buddy Rich, Paul Desmond, Maynard Ferguson, Woody Herman, Stan Getz, Blue Mitchell, Gene Ammons, Houston Person, Joe Farrell, Gato Barbieri, and Michael Brecker.

After a second period off the scene, he returned to music in 1991, dedicated to playing more jazz and doing much less studio work. Beck, who invented the alto guitar and was a master of electronics, often worked in a duet with alto flutist Ali Ryerson, accompanied singers who he enjoyed, and led a trio. Joe Beck passed away shortly before his 63rd birthday in 2008 from lung cancer.

The previously unreleased music on Get Me Joe Beck is the guitarist’s final recording, a live performance from 2006. For this set, Beck kept the electronics to a minimum and simply played the jazz music he loved. With superior backing and interplay provided by bassist Peter Barshay and drummer David Rokeach, Beck is in the spotlight throughout eight standards; he is also heard talking briefly during a few spots between songs.

In most cases, Beck lovingly caresses the melodies before creating improvisations that keep the melody in mind. No matter how many times one has heard such songs as “Stella By Starlight,” “Alone Together,” “I Can’t Get Started” and “Corcovado,” in each case the guitarist brings something extra and new to the pieces, playing with such expertise and understanding that the songs sound fresh and alive. “You And The Night And The Music” is preceded by a brief version of John Lewis’ “Skating In Central Park” while “Georgia On My Mind” is heard a second time as an edited version for the radio.

Recorded live at Anna’s Jazz Island in Berkeley on a day’s notice, this final recording from Joe Beck finds him finishing his musical career at the top of his game.”

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Get Me Joe Beck Review

“Perhaps his greatest prowess came in his ability to deftly combine single line notes and chordal phrasings as heard so marvelously” – Victor Aaron

Amazing Review of Joe Beck’s- “Get Me Joe Beck”

By Victor Aaron

When we listen to the last known recordings of a music great who has passed away, is it natural to elevate the quality of the music in those recordings because nothing else from that musician will ever follow it? That’s something that’s long intrigued me, and several years ago I even made up a short list of what I thought were significantly good sign-offs by jazz legends.

Since then, the overall list of “famous” last recordings has grown, some good, others not that significant. Now with the April 29 release of Joe Beck’s Get Me Joe Beck (Whaling City Sound), we can add this underappreciated jazz guitarist to the list, or even the shorter “significantly good” list.

Get Me Joe Beck documents a live date at Berkeley, California’s Anna’s Jazz Island club on September 14, 2006, less than two years before Beck succumbed to complications from lung cancer. Although his rhythm section of Peter Barshay (bass) and David Rokeach (drums) was chosen for him by the club owner, the very idea of recording the gig — also by the club owner — apparently didn’t occur to anyone until it was apparent from the first night’s engagement that something special was going on here. But Beck himself must have sensed that he could be giving one his final public performances on the late summer night in the San Francisco Bay Area, because this isn’t a set that makes concessions to anything but the sheer artistry of Joe Beck.

Playing an electric guitar devoid of effects, backed by lean accompaniment and relying on sturdy old standards, the only way Beck was going to wring magic out of this evening was to play his ass off. He rose up to the challenge.

As someone who had been making records since the early ’60′s, Joe Beck had long stopped pondering how to tackle standards. These are melodies and harmonies he knew so well, he was by this time beyond recreating them intuitively: he was reinventing them intuitively. Sprinkling in gorgeous chimes, he coddles “Georgia On My Mind,” and very subtly, he picks up the pace of “You and the Night and the Music,” transforming it from a tender ballad to a mid-tempo swing.

Front and center is his technique, however. He played a lot of the same devices as his better-known peers, even occasionally quoting other songs like Dexter Gordon, but he always played them a little differently.

Perhaps his greatest prowess came in his ability to deftly combine single line notes and chordal phrasings as heard so marvelously on “Stella By Starlight” and “Tenderly.” His single-line pursuit of notes was crisp, proven on “Alone Together” and, again, “Tenderly.” On “Manha de Carnaval,” his rhythm work plays perfectly in lock step with Rokeach’s rhythmic pattern, it’s hard to believe that they hadn’t played together before. And while Beck during one of his brief in-between song remarks claimed he liked to “sort of hint at what the next chord might be,” he never gave it away completely, always leaving a little suspense. Among his best such moments were a rapid, ascending-chord figure that came out of nowhere during “Georgia,” and the percussive way he hit his strings while making chimes on “Corcovado.”

Every song began with Beck alone (save for a sensitive bass solo and accompaniment for the intro of “Corcovado”), and these solo starts were strong enough to stand on their own. Once Barshay and Rokeach got going, any feeling that they might be intruding on a good vibe quickly dissipated because they were right on top of things and gave Beck the autonomy to maneuver as he pleased.

Liner notes don’t usually merit mention in a record review, but props to Beck’s friend and fellow plectrist John Abercrombie who effectively portrayed that specialness of Beck’s playing style in plainspoken terms. His discussion never devolved into some overlong, egghead/gearhead thesis, but as a respectful colleague giving his fallen comrade his due. Not long before this performance, Abercrombie had made a record he co-led with Beck, entitled Coincidence, making his perspective all the more relevant.

By far the best case made for why anyone who likes jazz and/or guitar should miss Beck is made by Joe Beck himself. No where did he make that case stronger than on Get Me Joe Beck.

This review was released on April 24, 2014 on, for Victor’s review on the webpage click on the image below.


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