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Father and son, both top notch jazz musicians – not so common. Even less common: father and son next to each other on stage/in the studio. Extremely rare: both playing in a duo, with the same instrument. And then the Raneys are so close to each other in terms of playing that it is difficult to tell them apart. Unique! In 1979 they are in the SteepleChase studio in Copenhagen, and two years later they meet in Hilversum, in the Criss Cross studio of producer Gerry Teekens. Cool-toned chamber jazz. In the Danish production, Stolen Moments, we hear the Americans Michael Moore (bass) and Billy Hart (drums) in the quartet formation. In Jonathan’s Waltz, a composition by Jimmy, the theme is introduced by both guitarists. They alternate melodically. Variation also in the texture: melody/accompaniment, and, both contrapuntally melodic. Ambiguity in the meter – in twos/in threes – that too. A richly filled beginning. Stolen Moments (Oliver Nelson) is followed by Jimmy Raney’s Samba Teekens. We will encounter the name Teekens again. Let yourself be surprised by the meter-disrupting closing bars. The standard Alone Together, opens with polyphonic guitar playing. But where is the theme? Whoever discovers it can pour themselves a drink.  In 1981 Gerrie Teekens organizes a Dutch concert tour with Jimmy and Doug Raney, bassist Jesper Lundgaard, and… drummer Eric Ineke. The tour is a success. Teekens decides, afterwards, to produce an album. The result is Raney ’81. It also means the birth of the label that will meet with international success: Criss Cross Jazz! What Is This Thing Called Love opens with a ‘dissonant’ intro. Bassist Lundgaard, with his elastic tone and swing, comes forward nicely in the soundscape. Subtle percussion, in balance with the soft volumes. Also in balance: the difference in volume between soloing and accompanying guitar. Note the very last beat of the piece – the ‘dissonance’ of the beginning sets the point. This Is New switches the tempo down. In My Shining Hour it goes up again; in this piece a long drum story. Also Peri’s Scope, Sweet and Lovely and Chewish Chive and English Brick. This is the last broadcast of a triptych. For the 1st programme, Klik. For the corresponding News item, Klik. For the 2nd programme, Klik. For the corresponding News item, Klik. House of Hard Bop – Eric Ineke In the next House of Hard Bop: The Diamond Five. John Engels, the drummer of this hard bop group – the only one still alive of the quintet, and still active – celebrates his 90th birthday.  In the magazine Jazz Bulletin (June 2019, no. 111) Eric Ineke gives an extensive and lively account of his adventurous tour with the Raneys. Below are the last paragraphs. Doug passed away in 2016 under sad circumstances. As a guitarist he had developed into his own personality with a recognizable sound of his own, and with incredibly good timing, while he was one of the few guitarists to pass on Jimmy’s legacy at the highest level. But just like his father, he was plagued by the alcohol demons that can really mess up a life. I hope that the future generation of jazz guitarists will become aware that the contribution of Jimmy and Doug Raney to jazz is invaluable. It was a great privilege to be able to play music at such a high level with the Raneys and bassist Jesper Lundgaard. Unforgettable. In the words of drummer Jake Hanna: “I had the best seat in the house.”

Saturday 10 May 20205, 16:00 CET – Moanin’ the Blues. Blues singer/guitarist Walter “Furry” Lewis (ca. 1893/1899? – 1981) emerged in the 1920s and he made his first recordings during that period. The 1930s were marked by the Great Depression, in which ‘everything’ collapsed, but a few decades later, during the Folk Blues Revival, Lewis resurfaced. In 1971, he gave a solo concert in New York that was recorded on the album: Live at the Gaslight at the Au Go Go.