Alfonso Ponticelli, Sandro and Paquito Lorrier, Yeah!
September 27, 2018
In the barn at The Midwest Gypsy Swing Festival!
With Scott Tixier, Tony Jarvis, Josh Kaye and Ben Rubens
With David Langlois at Iridium
Me with Pauquito Lorier and Robin Nolan
August 28, 2018
MEHANATA, APRIL 29th at 8:30PM
April 21, 2017
A short clip from a fan
February 16, 2017
Happy New Year!
January 3, 2017
Today only, Silk & Steel is available for download on my website (www.lukehendonmusic.com) for only $5! Don't miss this chance to grab a digital copy...
Cyber Monday Deal on Silk & Steel!
November 28, 2016
October 31, 2016
This just in from The New York City Jazz Record-pg 20!
By Mark Keresman
Luke Hendon is a NYC-area guitarist of the Django
Reinhardt school of Gypsy/Roma-infused small-group
swing. Drawing from a similar instrumental palette to
that of Django—acoustic guitars, bass, violin—with
the additional spice of a reed player (clarinet,
saxophone) and concentrating on a program of mostly
original songs, Hendon does the tradition proud. He
plays in a picked, crisp, clean, very articulate style; one
can almost see the vibrations of his strings in the
mind’s eye. He evokes Reinhardt’s sparkle without
overtly trying to emulate him—in fact, there is a strong
influence of American folk music picking to be
Opener “Dinner with Paulus” is virtually the
definition of elegance, with its rich, sultry, romantic,
slightly tango- and waltz-flavored theme and
immaculately picked guitar and sinuous, pensive
violin swirling in unison. It’s easy to imagine couples
dancing to this in a Parisian club (in the ‘20s or even
recently) into the wee hours. “Nothin’ But A Groove”
is just the opposite, a hard-driving swinger featuring
such forcefully strummed rhythm guitar you won’t
notice Hendon’s band has no drummer. It’s got
a jumping “Stompin’ At the Savoy”-like theme (with
an odd, progressive rock-style twist to it) and the
frontline is joined by the jaunty saxophone of Adrian
Cunningham. The latter’s solo brims over with gutsy
swagger and a slightly acidic tone, sneaking in a few
bebop licks and hints of Ornette Coleman-esque
dissonance too. It’s invigorating to both the probing
listener and the sophisticated dancer.
“Too Much Tequila” introduces a strong blues
influence in both the lanky, laconic melody and the
sustained, worried tone of Hendon’s solos. Pooquette’s
dark-toned violin solo is rich as anything by Sugarcane
Harris or Stuff Smith. “Paquito” is a slice of Latinhinted
bebop, Hendon inserting Wes Montgomerystyle
phrasings, albeit in a very forceful manner; the
bouncy rhythm of the tune, however, is very much in
that heavily (almost leadenly) strummed acoustic
guitar style of Reinhardt’s quintet.
When some hepcats go the Django route, they’re
too literal or polite. Hendon’s take on the style is to
inject some very modern energy along with judiciously
placed non-jazz undertones. That’s the crucial
difference between maintaining and enriching a legacy.
I'm busy working on my blog posts. Watch this space!
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