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In A Minor Groove

Rate It! Avg: 4.5 (37 ratings)

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In A Minor Groove album cover
01
Pawky
7:07  
02
Moonlight in Vermont
5:17  
03
Back Talk
5:07  
04
Dancing in the Dark
4:45  
05
Charmaine
4:04  
06
Jollity
3:38  
07
There's a Small Hotel
5:53  
08
Rascallity
3:54  
09
You'd Be So Nice to Come Home To
3:59  
10
It's a Minor Thing
3:56  
11
Yesterdays
4:22  
12
Bohemia After Dark
6:19  
13
Taboo
6:15  
14
Autumn in Rome
5:33  
15
Alone Together
4:58  
Album Information
EDITOR'S PICK

Total Tracks: 15   Total Length: 75:07

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Beautiful

Easy-Urf

Amazed and delighted to see this on eMusic. Timeless, laid back grooves from a master. Quite spacey in parts - in a good way. Well worth getting her Afro Harping album as well, which has a killer opening track.

user avatar

Wonderful

lvaret

It simply made me smile :)

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Kevin Whitehead missed one artist

keithwright

Roberto Perera's romance with the Paraguayan harp is legendary, and to omit him in any review of jazz harp music is just plain wrong...you would be splitting hairs to separate the concert harp from the Paraguayan harp. emusic doesn't have any of Roberto's music listed...and they, and this community, are at a loss for this. I am fortunate to have seen him in concert over a dozen times and have never left without a feeling of awe. If you are truly a fan of jazz harp, then you should seek out his work, listen and enjoy.

They Say All Music Guide

While not the first male or female jazz harp player (Casper Reardon of Jack Teagarden’s bands, Adele Girard performing with her husband Joe Marsala, or Corky Hale set precedents), Dorothy Ashby was the very best and most swinging performer on the multi-stringed instrument associated with the gates of heaven. Here on Earth, Ashby adeptly plucked and strummed the harp like nobody else, as evidenced on this single CD reissue containing her two best LPs for the Prestige and Prestige/New Jazz labels from 1958 — Hip Harp and In a Minor Groove. Alongside her prior efforts for the Savoy label, they collectively represent a small but substantive discography for the Detroit native in small group settings. With the exceptional flute sounds produced by Frank Wess, the combo plays music that is oriented via a unique sonic palate, further enhanced by the principals in the standards and originals they have chosen. Fellow Detroiter Herman Wright is here on bass, with duties split between legendary drummers Art Taylor and Roy Haynes, who place particular emphasis on subtle brushwork. Of course, the watchword of Ashby’s sound is elegance, as she and Wess weave magical threads of gold and silver through standards like the circular and pristine “Moonlight in Vermont,” the dramatic, slow “Yesterdays,” or the sad “Alone Together.” In a more Baroque or chamber setting, “Charmain” and “It’s a Minor Thing” have Wess and Ashby thinking on a regal or Grecian platform. The variety on this collection is impressive, as you hear cinematic bluesy proclamations on “Autumn in Rome,” striking mystery in “Taboo,” mischievous and sly winks during “Rascallity,” and a sexy calypso-to-swing beat as “You’d Be So Nice to Come Home To” unfolds. Two originals of Ashby’s stand out — the well swung, blues based yet exotic “Pawky” with the singularly unique flute of Wess, and the delicate but decisive “Jollity” that moves along nicely. Of course these are straight-ahead mainstream jazz musicians, and you also get a soaring, clean version of the tricky “Bohemia After Dark” and “Dancing in the Dark,” where Ashby’s harp acts like a rhythm guitar. In fact, it is this aspect of Ashby’s performing style that sets her apart from being a singular or simplistic crystalline melodic implement. Then add to this element that Wess is so acutely fine tuned to pure tonal discourse simply by the nature of his instrument, and can carry the load by himself. This is a delightful package that deserves further recognition as a project unique to jazz and modern music, perfectly showcasing Dorothy Ashby as an individualist for the ages. – Michael G. Nastos

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