Jimmy Raney - The Master (Criss Cross, 1983)

 This post is by Dan

Jimmy Raney (g); Kirk Lightsey (p); Jesper Lundgaard (b); Eddie Gladden (d)

Recorded February 16, 1983

Jimmy Raney was 56 when he recorded the aptly titled The Master for the Criss Cross label. His Criss Cross debut, Raney '81, and the later Wistaria (Criss Cross, 1985) are also wonderful records from one of the most influential guitarists in jazz.  

The program on The Master is a set of showtunes and jazz standards. Besides Raney, pianist Kirk Lightsey is the other primary soloist on the date. Without new compositions to learn, they devour the program with a delight that is impossible to conceal. Three up-tempo numbers ("The Song Is You," Its' Allright with Me," and "Just One of Those Things") are taken at a bewildering pace that aspiring jazz guitarists might only dream of. 

But it's not all about speed. Chris Sheridan, who wrote the liner notes for The Master, explains Raney's style best as "...marked by long, lissome lines, supple and shapely, their rhythmic force a trifle understated but nonetheless profound. They are plumply melodic, seldom employing chords, but punctuated by rests that are always perfectly placed." Raney's tone is unmistakable and tells much of the story of modern jazz guitar. His tone and rhythmic force find their way into the fingers and fretboards of contemporary players like Peter Bernstein and John Scofield, as well as legends like Grant Green. 

The opening bars of "The Song Is You" is an immediate reminder of Raney's historic importance as well as a killer way to open an album. The tone is on clear display, shining over the driving rhythm. The opening track is followed by perhaps the most ingenious arrangement on the album, Charlie Parker's "Billie's Bounce." The melody statement begins as a unison duet by Raney and Lightsey, followed by a harmonized duet, then a three-part harmony statement adding Jesper Lundgaard. Raney then launches into a groovy solo, followed by Lightsey who stays in the groove. Lundgaard's solo turns into another group discussion, after which the harmonized version of the melody is restated. Cool stuff!

The Master is an easy choice as a favorite, not only from the 1980s but also in the entire history of jazz.