CD Innuendo out the Other (CD 955173),
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Innuendo out the Other

  • 1. Innuendo Out the Other
    2. My Girl
    3. If I Only Had a Brain
    4. Naima
    5. They Can't Take That Away From Me
    6. Dear Sur
    7. Wave / When The Saints Go Marchin' In
    8. When You Wish Upon a Star
    9. Wooly Bully
    10. Lazy Bird / Blackbird
    11. My Bells
    12. Blues For Rod Serling
    13. Freight Train / See You In My Dreams
    14. Claire de Lune
    15. Out of the (Music) Box and Into the (John) Cage
  • Additional Info
    Manufacturer Part Number (MPN): 6013

  • Credits

    Solo performer: Philip DeGruy (guitarp).
    By the end of the title tune, listeners are scurrying for the CD booklet, checking to see how many musicians there are (only one), what sort of production trickery and overdubbing is involved (none)...and the location of the nearest southbound boulevard (so they can toss their guitar under the first available taxi).
    INNUENDO OUT THE OTHER is a blithe, witty, recital by New Orleans virtuoso Philip DeGruy. DeGruy employs a guitarp; essentially a seven string solid body electric guitar (with an extra high A string), augmented by a set of ten tuneable open strings, which he employs like a harp to augment and extend his extraordinary harmonic palette.
    DeGruy approaches the guitarp like a piano with bendable strings. You have to go to classical players, chord melody innovators such as Lenny Breau and George Van Epps or finger-picking masters like Chet Atkins to find a precedent for DeGruy's unique approach to moving bass lines, multiple melodic lines and his reharmonization of tunes. On his original "Dear Sur," DeGruy employs bell-like strings of harmonics--the climactic zest of most guitar solos--and sculpts an entire performance with them, while on Jobim's "Wave" and the chestnut "When You Wish Upon A Star" he weaves them in and out of elaborate contrapuntal passages, simultaneously chording and soloing with a twangy, clavichord-like tone. And on "Lazy Bird/Blackbird" he swings like a solo pianist. But DeGruy also possesses a Zappaesque, everything-but-the kitchen sink sense of humor, super-imposing 20th Century harmonies throughout "Wooly Bully," and jerryrigging the "Twilight Zone" theme to a down home guitar boogie on "Blues For Rod Serling."
    Guitar genius, comedian, and madman are just some of the descriptions that can be applied to Philip DeGruy. A former student of jazz guitar legend Lenny Breau, he plays a custom-made guitarp that features 17 strings, including harp-like strings mounted on the body. His style is a progressive combination of both Breau and Chet Atkins, and he possess an endless stream of ideas that flow seamlessly here through an interesting choice of tunes. Whether it's John Coltrane's "Naima," Antonio Carlos Jobim's "Wave," or even his own "Blues for Rod Serling," Philip DeGruy offers one of the most innovative and important guitar recordings of the '90s. He along with Tuck Andress and Charlie Hunter are redefining the boundaries of what can be achieved on the electric guitar. This is a stunning debut. ~ Robert Taylor

  • Critic Reviews
    Down Beat (5/95, p.40) - 4 Stars - Very Good - "...a combination of technical wizardry and vaudevillian what makes deGruy more than a merely dazzling player, which he undoubtedly is....deGruy's musicianship seems to be at the service of a quick and inventive enough mind..."
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