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Ron Halldorson | Duologue

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CANADA - Manitoba

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Jazz: Mainstream Jazz Jazz: Cool Jazz Moods: Featuring Guitar
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Duologue

by Ron Halldorson

A jazz dialogue between just two highly inventive and empathetic players, doing it all with a relaxed laid-back feel.
Genre: Jazz: Mainstream Jazz
Release Date: 

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  Song Share Time Download
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1. Teach Me Tonight
6:15 $0.99
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2. Gone with the Wind
5:49 $0.99
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3. Close Enough for Love
7:41 $0.99
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4. Carioca
5:10 $0.99
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5. Body and Soul
6:25 $0.99
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6. Oleo
3:49 $0.99
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7. Days of Wine and Roses
5:16 $0.99
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8. Emily
7:05 $0.99
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9. Shadow of Your Smile
8:15 $0.99
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10. It Could Happen to You
6:17 $0.99
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11. Summertime
5:14 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Review of Ron's last album "Happy Talk" as it appeared in Jazzpodium magazine
– June 2018 issue (translated from the original German)
http://jazzpodium.de/

Fifty years ago, he played electric bass for Canada's legendary jazz guitarist, Lenny Breau. Ron Halldorson has managed to break free - from the powerful shadow of Lenny Breau - as a jazz guitarist himself.
Why the man from Winnipeg, Manitoba, had to turn 75 to present his debut album under his own name - incomprehensible, especially when listening to these ten standards with Ron and Julian Bradford on bass: chamber jazz, swinging, flawless, elegant, intimate, tasteful interpretations without gags and gimmicks; an homage to the mainstream jazz of the noble class.
Already in "Emma" ( first track on the album) the palette is filled with a lot of changes between chord and lines. Traditional swing feel, nice jazzy telecaster sound and tirelessly walking bass. In "A day in the life of a fool (Manha de Carnaval)" Ron plays the theme solo. The clarity of his diction never crashes into the aseptic, his chordal playing in the last chorus before the bass solo leaves nothing to be desired. The old favorites "Honeysuckle Rose" and "Blue Bossa" are creatively refreshed. In Ron's composition "Blues for T.M." he skillfully plays with a Monkish tongue-in-cheek humor; the second take of the piece, at a brighter tempo, is even more cheeky and amusing. "Emily" remains in the memory as Ron's best and Kurt Weill's "Speak Low" (a bit long) is rejuvenated, although some of the phrasing once again shows the romantic Ron Halldorson (as often the humorist) peeks out.
So what we hear throughout is "Happy Talk". Ron wanted to have that understood - this emotional, never sentimental former bassist, who has become a serious guitarist. And leave traces that are made to stay.
Alexander Schmitz

JazzPodium
About JazzPodium,
http://jazzpodium.de/ueber-uns/


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