This week In Guitar Virtuosi 02/52

1 . Al Caiola & Frank Vignola . Misty

What happens when two titans of the guitar meet up to tackle a jazz standard like “Misty”? You get a performance that teeters between meticulous craftsmanship and unrestrained improvisational flair. Al Caiola and Frank Vignola, armed with decades of experience and an almost telepathic synergy, breathe new life into this Erroll Garner classic.

Forget the melancholic piano lines of the 1954 original—here, the guitar is king, and it demands attention. The duo weaves intricate, almost conversational melodies, trading licks in a way that feels more like a duel than a duet. It’s fluid and yet razor-sharp, a reflection of two players who know exactly when to dazzle and when to hold back.

For jazz enthusiasts, this rendition is a reminder of why standards like “Misty” endure. They’re molds that each generation reshapes, embellishments and all. Caiola and Vignola’s take is less groundbreaking and more of a masterclass—a nod to tradition while leaning into their own fingerprints on this enduring classic.

Lifted from : Guitar legend Al Caiola meets Frank Vignola (2015)

2 . Bucky Pizzarelli & John Pizzarelli . Stars In Your Eyes, Nuages

Performed by the virtuosic father-son duo Bucky and John Pizzarelli, “Stars In Your Eyes, Nuages” stands as a refined testament to the timeless quality of jazz guitar interplay.

This track, presented live at the Tilles Center in 2008, reveals an intuitive connection between the performers, woven through a carefully structured dialogue of intricate chords and melodic improvisations.

The performance’s setting—a modest yet acoustically polished venue—provides the perfect canvas for the piece to resonate, highlighting the dynamic contrast between subtle phrasing and sweeping crescendos.

“Nuages,” a Django Reinhardt classic, sits snugly in this pairing, enriched by its lyrical introspection while echoing the European Gypsy jazz tradition that inspired countless modern interpretations.

The inclusion of “Stars In Your Eyes” broadens the emotional palette, balancing introspective moods with playful sequences that feel plucked straight from a breezy, starlit evening.

This approach, focused on precision and restraint, places the listener in a suspended moment where technical mastery meets emotive storytelling.

Lifted from : Happy Birthday Bucky Pizzarelli. ‘Ninety Three for Bucky’

3 . Marc Ribot . The Nearness Of You

“The Nearness of You” might be one of those tracks that always seems to exist just on the edge of the spotlight, a jazz standard that whispers instead of shouting for attention. Marc Ribot takes the core of this Hoagy Carmichael classic—already dipped in the dreamy melancholy of Ned Washington’s lyrics—and stretches it out like a memory you’re not sure you even trust.

Ribot’s version, possibly plucked from his 2001 album “Saints,” handles the song with an intimacy that feels almost voyeuristic. His guitar work brushes delicately against the melody, eschewing unnecessary ornamentation for raw, unvarnished emotion. There’s no flourish here, no overt attempt to impress—just a quiet, simmering restraint that holds you hostage without ever raising its voice.

Released under the Atlantic Records label with JD Foster’s production touch, Ribot’s take creates space for reflection, offering a distilled take on romance that sidesteps sentimentality. Its sparseness feels less like minimalism and more like an artistic excavation, stripping away everything that doesn’t matter and daring you to sit with what’s left.

Lifted from : On radio today , Marc Ribot at ‘Bright Moments!’ (2013)

4 . Jim Hall . Sometime Ago (w/ Art Farmer)

Jim Hall and Art Farmer’s “Sometime Ago,” recorded in 1963 for the *Interaction* album, feels like a quietly shimmering artifact of its time—a jazz waltz with a soft, reflective edge.

Hailing from the pen of Sergio Mihanovich, the track combines an intimate melodic sensibility with a deeply lyrical interplay between guitar and flugelhorn.

If the Jazz Age had a hidden, whispering corner, this song would be drifting through it.

Hall stumbled upon this tune in Buenos Aires, and you can almost hear that warm, late-summer wistfulness threading through the notes as though the memory of a faraway city seeped into each phrase.

Recorded on a sticky summer day at Atlantic Studios in New York, the piece floats with a balance that’s neither fully classical nor unapologetically traditional jazz.

A decade later, the Jim Hall-Art Farmer chemistry matured into melancholy hues on 1972’s *Big Blues*, again shining through with unflinching subtlety.

If “Sometime Ago” was a delicate breeze, then their later work feels more like the heavy air before a summer rain—a ballad that doesn’t wallow but reflects.

Lifted from : On TV today , Art Farmer meets Jim Hall (1964)

5 . Mike Stern . Kate (w/ Randy Brecker, Janek Gwizdala , Steve Smith)

With a live performance at Milan’s revered Blue Note on an April evening in 2015, “Kate” showcases a quartet of musical heavyweights led by jazz guitar virtuoso Mike Stern.

On trumpet, Randy Brecker’s smooth brass phrasings glide effortlessly through the layers of sound, weaving melodies that alternate between playful and introspective.

Bassist Janek Gwizdala anchors the composition with precision, exuding an understated energy that serves as both backbone and foil to Stern’s nimble improvisations.

Steve Smith on drums adds an extra layer of complexity, his polyrhythmic contributions injecting life into every turn of the performance without ever stealing the spotlight.

The track itself is a testament to jazz fusion’s capacity to embrace spontaneity while retaining structure—a delicate balancing act that is no small feat for even the most seasoned performers.

While the venue’s intimate setting enhances the listening experience, the piece transcends its spatial confines, conjuring the kind of musical dialogue that thrives on the delicate tension between individuality and cohesion.

Lifted from : Happy Birthday Mike Stern. ‘Upside Mike’

6 . Lee Ritenour . Stone Flower

Lee Ritenour’s *Stone Flower* is a meticulous study in artistry and atmosphere, weaving Brazilian rhythms with the intricate threads of jazz fusion.

Originally penned by Antônio Carlos Jobim, the track’s bossa nova roots are reinforced by Ritenour’s effortless guitar work and the keen interplay with Dave Grusin’s piano.

Ritenour’s version eschews Jobim’s lyrical wistfulness and lets the melody shoulder the emotional weight, making it both introspective and expansive.

There’s a certain restraint in its performance, countering the tendency of jazz-fusion to over-indulge, but it stops just short of being conservative.

Lifted from : Happy Birthday Lee Ritenour. ‘Captain Lee’

7 . John McLaughlin & Paco De Lucia . Lotus Feet

“Lotus Feet,” as rendered by John McLaughlin and Paco De Lucía, feels less like a song and more like a fluid conversation between two masterful polyglots—except their shared language is guitar virtuosity.

The piece originates from McLaughlin’s 1975 *Shakti* era, blending Indian classical motifs with Western jazz, yet it’s reinvigorated in this live 1979 interpretation. It’s not about grand epiphanies or fiery crescendos; rather, it unfolds like a meditative dance, measured and deliberate, as if these guitarists were exchanging quiet, contemplative thoughts in melodic shorthand.

The interplay between McLaughlin’s sharp, resonant phrasing and De Lucía’s intricate flamenco flourishes never feels crowded. It’s as if they politely step aside to let the other shine, offering both contrast and complement in equal measure.

The live version from International Jazz Day 2013—with Jean-Luc Ponty’s violin and Zakir Hussain’s tabla in tow—turns the piece on its head. What was once intimate transforms into an ensemble-led improvisational odyssey. Not better, not worse—just reimagined within a new narrative.

Lifted from : Sony publish Mahavishnu Orchestra’s sixth album . ‘Inner Worlds’ (1976)

8 . Al Di Meola . Turquoise

“Turquoise” from Al Di Meola’s 2006 album *Consequence of Chaos* sits snugly within the folds of jazz fusion and Latin jazz, exuding intricate virtuosity as expected from Meola’s seasoned career.

The track is couched in layers of technical precision, offering a multi-dimensional interplay between acoustic guitar textures and rhythmically adventurous phrasing.

Not one to shy away from collaborations, Meola ropes in heavyweights like Chick Corea, Steve Gadd, and John Patitucci to lend their chops throughout the album, although their exact fingerprints on this particular number feel more implicit than glaringly overt.

Released under Telarc, the track contributes to an album that peaked at #9 on Billboard’s Top Contemporary Jazz Albums, a respectable nod even if it flies under the radar of mainstream jazz enthusiasts.

The recording whispers sophistication but largely avoids alienating non-musicians, favoring thoughtful melodic arcs over indulgent technical displays, a refreshing dichotomy that reveals Meola’s seasoned restraint.

Lifted from : Al Di Meola takes World Sinfonia to NYC (2009)

9 . George Benson . Take Five

George Benson’s 1974 take on “Take Five” offers a sharp and polished spin on one of jazz’s most iconic standards, originally penned by Paul Desmond and immortalized by The Dave Brubeck Quartet in 1959.

This rendition, found on his *Bad Benson* album, leans into a silky smooth jazz approach while maintaining the bebop and cool jazz roots that defined the original.

Unlike Brubeck’s piano-laden version, Benson strips things down and lets his guitar do the talking, layering intricate improvisation over the instantly recognizable 5/4 time signature.

Produced under the watchful eye of Creed Taylor and released on CTI Records, Benson’s interpretation feels both reverent to its source material and refreshingly distinct—carefully walking the tightrope between imitation and reinvention.

The lack of chart success doesn’t diminish its appeal; Benson’s artistry lives in the nuances of his phrasing and technique, qualities that rarely translate to mainstream recognition but are adored by jazz aficionados.

Lifted from : George Benson records ‘In Concert-Carnegie Hall,’ . live album produced by Creed Taylor (1975)

10 . Jan Akkerman . Funk All Day

Jan Akkerman’s “Funk All Day” remains an enigmatic entry in the guitarist’s storied career, largely undocumented yet enticingly suggestive of his signature style.

Known for blending elements of funk, jazz, and rock, Akkerman frequently dabbled in instrumental experimentation, melding rhythmic grooves with virtuosic guitar leads.

The thematic essence implied by “Funk All Day” aligns well with Akkerman’s ethos, rooted in fluidity, technicality, and cross-genre audacity.

Perhaps what sets Akkerman apart is his restless ability to traverse genres without sounding out of place, and it wouldn’t take a leap of imagination to guess this track might follow suit.

Lifted from : Jan Akkerman Band plays at home (2017)

11 . Robben Ford . Freedom

In the sprawling canon of instrumental blues, Robben Ford’s “Freedom” delivers a poised, contemplative corner of 1997’s *Tiger Walk* album.

The track unspools with the steady confidence of an artist who knows exactly when to hold back and when to let his guitar sing, alternating between smoky blues textures and sharply faceted jazz inflections.

Released under Blue Thumb Records and co-produced by Ford and Niko Bolas, the song embodies the sonic experimentation Ford flirted with during this era, blending chilled-out grooves with flashes of raw, hard-edged rock.

It’s a track that sidesteps vocal drama, choosing instead to let the guitar carry the emotional weight—a decision that feels both bold and refreshingly unpretentious in a genre often saturated with overwrought lyrics.

Having received a Grammy nod as part of *Tiger Walk*, the composition straddles elegance and grit, tracing a line between technical mastery and unfiltered spontaneity.

Robben Ford doesn’t just wield his guitar; he mutely converses with it—and “Freedom” is the kind of track where you feel more spoken to in silence than you might in a torrent of words.

Lifted from : Robben Ford supports . MISSIOn (2014)

12 . Jimmy Page . Chopin Prelude n.4, Over The Hills And Far Away

Jimmy Page’s live performances of Chopin’s *Prelude No. 4* and Led Zeppelin’s *Over the Hills and Far Away* reveal a fascinating duality: the virtuoso guitarist stepping boldly into the worlds of classical composition and rock mythology, often in the same breath.

The *Prelude No. 4*, performed during the Arms Concert in San Francisco in 1983, feels like an elegant sidebar in Page’s career—an intimate nod to his classical influences. Capturing the introspective melancholy of Chopin’s original, this rendition is less about technical exhibition and more about mood, creating a surprising space for vulnerability in a musician often associated with arena-sized bombast.

In contrast, his stripped-down solo performances of *Over the Hills and Far Away* channel the expansive folk-blues spirit of Led Zeppelin’s *Houses of the Holy*, reimagined with a raw, personal edge. Detached from the layered studio production of the original track, Page’s acoustic precision and improvisatory flair shine through, bringing a rugged intimacy to one of Zeppelin’s most recognizable tunes.

While Page’s nod to Chopin showcases his quiet reverence for structure and form, his return to Zeppelin material underscores his undeniable legacy as rock’s sonic alchemist. The dual performances suggest an artist fluent in contradiction: meticulous yet wild, cerebral yet visceral.

Lifted from : Happy Birthday Jimmy Page. ‘Master Riffer’