SLAMCD2107 Esmond Selwyn – The Way I Play

Solo guitar recording from British musician Esmond Selwyn recorded at Octopia Studios, Weymouth, in 2012. Selwyn received his initial training directly at the hands of some of America’s finest jazz guitarists – Chuck Wayne, Tal Farlow and George van Eps.

Since those days he has carried out some thirty years of his own intense research and development drawing much single line fluency and phraseology from the styles of Charlie Parker, John Coltrane and Joe Henderson as well as absorbing some of the harmonic concepts of Bill Evans, McCoy Tyner and Herbie Hancock.

Fifteen years with saxophonist Don Rendell was a great opportunity to perfect his group jazz and accompaniment techniques, at the same time developing his individual solo style. As Steve Herberman said “His playing features an imaginative harmonic palette, lightning fast runs interjected between dense chordal textures and sensitive accompanying when playing with a group. The history of jazz guitar is present in his playing yet he looks towards modern jazz pianists to push the envelope.”

Maurice Summerfield, author of ‘Barney Kessel, A Jazz Legend’ added: “Without doubt one of the best jazz guitar solo recordings I have heard in the last 60+ years. Great guitar sound combined with a wonderful mastery of the fingerboard.”

Esmond Selwyn: guitar

“Selwyn’s gift isn’t so much his guitar-playing as his natural facility with harmony. He has a complete intuitive approach to the progress of a chord, its changing colouration and its appropriate dynamics…Selwyn has an uncanny knack for colouring a chord without appearing to do anything more than finger it and pick or strum.” – Brian Morton, Jazz Journal

“There are 16 solo arrangements of standards, many with extended reharmonised introductions, and a highly creative approach to harmonising the melodies, with improvised single line solos interspersed with chords a la Joe Pass. From the opener, Misty, to the final track, of In a Sentimental Mood, Esmond displays a mastery of chordal harmony and an encyclopaedic knowledge of different voicings and approaches to standard jazz harmony, much of which, I’m sure, was improvised on the spot. Standout tracks for me are Stardust, Once in A While, Prelude to a Kiss, Ain’t Misbehavin’, Body and Soul, and What’s New, but jazz guitar players and aficionados will find much of interest and delight throughout…this album shows the improvised live mastery and skill of jazz guitar chord soloing taken to a fine art.” – Kathy Dyson

“This is his second guitar record in perfect solitude, thirteen years after ‘The Axe’. If possible, Selwyn’s sound is further improved: I’m reminded of the surprising harmonic reinvention of continuous jets here operated in standards as well as Misty, Body & Soul, Just Friends. Selwyn is today an absolute master, with a control over the sound made of wisdom and relaxation.” – Guido Festinese, Alias (Il Manifesto)

“An intimate solo album, tastefully recorded by kindred spirit Alan Broadbent. His tone and style have an Old World folk lilt, patient like watching a carving by Geppetto on delicate deliveries of “Misty” and a sublime “Blue Bossa.” His dainty string work is light and provincial during “Prelude to a Kiss” and he stretches out with elan during “I Only Have Eyes For You.” Rich and clever harmonies not usually detected are used as spices during “What’s New” and “Cry Me A River.” Subtly drawing you in.” – George Harris, Jazz Weekly

Recorded by Mike Hallet at Octopia Studio, Weymouth UK, July 2012.
Mixed and mastered by Alan Broadbent
Produced by Rob Koral

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