Two Men With The Blues

I expected a lot more from these two guys - - icons in their respective genres. The recording is just OK - - sounds like a casual jam with stellar musicians. Willie, whom I love to death for his unique style and great body of work over the years, wasn't strong at all on vocals. And, I just didn't sense that the chemistry was really there between them.

Sounded like a decent show for a night out at a club, but not worthy of a permanent recording. Nice try, guys, but it didn't work for me.

Really love Wllie Nelson--these 2 aren't good together--this CD is more Dixie land--if you're expecting the Blues--you will be disappointed

I came to this one with less than great expectations. Willie's previous recording of the Great American Songbook, which included "Stardust" and "Georgia on My Mind," was scarcely a threat to Merle Haggard's similar venture let alone Frank Sinatra. The voice was a "country-sounding" whine accompanied by an obvious, mechanical rhythm section of the sort you'll hear at Opryland. Not so on this occasion. He sings with life, humor, adventurous phrasing, and responsiveness to the contributions of his heady musical accompaniment. His strains may not be as sweet and sustained as in the past, but they're more assured than ever.

"Bright Lights Big City" sets the tone with a convincing roadhouse feel (a blues in the "geetar key" resisted by all jazz musicians--E, or 4 sharps!). Yet to the careful listener there are inventive twists to the arrangement, such as the single-note exchanges between trumpet and sax and the nearly imperceptible "bi-tonal" inserts (all serving to simulate a traffic jam). Even "Stardust" manages to keep the party in gear, taken at a fairly bright tempo that Willie sings so confidently you have to wonder if he's aware that Hoagy Carmichael originally conceived of the tune as an up-tempo number. And on "My Bucket's Got a Hole in It" Willie takes Hank Williams along with him to participate in what turns out to be a genuine Bourbon Street parade. And "That's All" is a rampaging gospel jubilee-shout featuring a non-plussed Nelson with an entire chorus played by Marsalis on an unbroken single note!

Wynton Marsalis has always impressed me as a spokesperson for the music as well as a virtuoso, "impressive" player, though rarely "connecting" with the serious jazz listener as could Pops, Diz, Clifford, Lee Morgan, Jack Sheldon or Miles (or a Fats Navarro, Kenny Dorham or Bill Hardman). But Wynton is right for this one. He explores the full range of his custom-made Monet trumpet, including its "vocalizing" capability, and, equally importantly, knows when "not" to play. The two performers strike a near-perfect balance in what is rightly billed as a joint session (though Willie appears to have been insufficiently briefed about his musical partner when he credits Wynton "Marsaylus" at the end of the program). I can honestly say that I've never appreciated either musician as much as on this occasion.

I was very much looking forward to receiving this CD so it was disappointing to hear Willie Nelson's "singing." He mostly speaks; his voice is gone. The music is still great. I love all the songs. It's just sad to realize that this great legend is no longer the performer he once was.

Every cut on this CD brings joy to both the jazz and country music lover. What an unique pair but it really works! Would love to see them do another CD.