Engineer's Notes: Every recording project has its share of challenges and its share of joy. From an engineer's perspective, these occurrences are often directly proportional to the attitudes and the skill level of the participants. As well, a lot has to do with the sound of the instruments being used on the recording. Before a note was played, this project had all the signs of being a thoroughbred! Along with world class players, often comes work class instruments and that's what was going on in my studio. Dave's drums were a Yamaha Jazz kit with a vintage Camco snare that he's recorded with since 1971. Kevin's bass was a 150 year old French bass and Glenn's guitars were a D'Angelico Excel Cutaway (amplified) and a D'Aquisto Excel (acoustic). Glenn's amp of choice was a 1959 Fender Deluxe. As you can see, were off to a good start. Most of my recordings are in the Rock and Pop vein these days so " Please Play Again" presented a well-needed diversion for my ears. My ears where not disappointed. These spontaneous and inspired performances brought many a smile to my face as we recorded the album. It was a thrill to watch seasoned players do what they do best - weave beautiful tapestries of melody and rhythm in and around a classic "standard". Of note is that these songs were recorded "live off the floor" with little or no punch-in's and sometimes the guys would even pick the song they were going to record just before they recorded it. Now that's spontaneous ! So grab a beverage, sit back and enjoy the skill and passion that is "Please Play Again" Andrew Horrocks / AME Studio I've always felt that in good hands, the guitar was one of the few perfect instruments. There is a purity of timbre unlike any other instrument and it can be played either as a melodic or a chording instrument, and once again, in good hands, both both at the same time. I've had the privilege of working with a few good guitarists, principally Ed Bickert, I've reviewed most of the well-known guitarists in Canada and a few in the United States, but what a treat to was to be given and advance copy of this Glenn Murch CD, and finally be able to confirm what I've suspected for years. Glenn belongs in that select few-he's one of the finest jazz guitarists around! His accuracy is amazing, his voicings are perfect, his fills are ingenious and his solos are wonderfully imaginative. This CD is going on my "A" list, it contains such a wide variety of good tunes and styles: Listen to the unusual latin treatment of 'Round Midnight', the acoustic sound on Stompin' at the Savoy, the Django Reinhard feel of Manoir de mes Reves, the pop song turned swing of Secret Love, the rhythmic pulse of Willow Weep For Me and the solo finale of My Foolish Heart. Aided and abetted with taste and style by Keven Muir on bass and Dave Lewis on drums, this CD is a gem of jazz guitar at its very best Harry Currie (Musician, Conductor, Vocalist and jazz critic for The KW Record, a Torstar newspater) Kevin Muir (Bass) Born in Southern Ontario, Kevin became exposed to may different types of music from an early age. A member of the Stratford festival Orchestra since 1993, he has shown his versatility by also appearing across North America in classical, jazz, blues and theatre venues. Always a fan of jazz and improvisation as well as contemporary classical music, Kevin completed a degree in composition and continues to compose and arrange music. He has studied with Phil Nimmons and Dave Young and is pleased to contribute to the recording with Glenn and Dave. Dave Lewis (Drums) Born in London, Ontario - Dave Lewis moved to Kitchener at age 11. He studied at Oscar Peterson's "Advanced School For Contemporary Music" with Ed Thigpen, 1961-'62. He soon found himself busy backing artists of international stature both on tour and in countless national television appearances. He gained extensive studio, concert, and club experience in Jazz, Blues, R&B, Rock and Country genres. Jazz affiliations include regular membership in groups led by Peter Appleyard, Lenny Breau, Hagood Hardy, Moe Koffman, and Doug Riley from '68 through '74