Particularly on "Bluesette", "All the Things You Are" and "Take the A Train", one must pause to verify that these are not duos. Like Martin Taylor, Dyens plays on one guitar that which sounds to be impossible, both in speed and articulation of diverging counterpoints. "Night and Day" likewise showcases Dyens’ facility with novel and virtuosic renderings of classic American jazz standards on solo nylon-string guitar. Although having firmly established his preeminence as a classical guitar player with prior recordings of Villa-Lobos, Satie, Sor and Weiss, Dyens has shown perhaps more fluency with modern genres, including arrangements of Georges Brassens songs, Thelonius Monk and Django Reinhardt standards, even a tribute to the music of Frank Zappa. Roland Dyens proves on "Night and Day" that he is fabulously bilingual. Truly authentic communication with an instrument via classical or jazz, as with a brogue or drawl, demands there be no mimicry. Although all music shares a common vocabulary, the vernacular of jazz with its odd idioms of syncopation and blue notes might seem like an exotic dialect to a classical player, a southern drawl to one raised speaking an Irish brogue. It’s not a shift, but a paradigm chasm from classical to jazz guitar playing.
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