The download is here.

The violin isn’t a typical jazz instrument, but it’s got a lot of versatility, as easily used for soloing as it is for comping (plucked or bowed for staccato punctuations). It’s particularly well used in interplay with another instrument, and this is how it entered the jazz idiom, and generally how it is still used.

The earliest jazz violinists — Joe Venuti and Stephane Grappelli — primarily played co-leads with virtuoso guitarists — Eddie Lang and Django Reinhardt, respectively. Venuti is credited as the first, and he’s here represented by “Sensation.” Reinhardt and Grappelli follow with a toe-tapping version of “Them There Eyes.” Stuff Smith is perhaps the best known pre-WWII jazz violinist who worked solo; he was certainly a great player, but much of his work is also as a vocalist, as here on “Black Onyx Stomp.”

Post-war, Ray Nance joined the Ellington Orchestra, bringing not only his stellar trumpet soloing and solid singing voice, but his lovely violin playing. Here he’s featured in a duet with Coleman Hawkins on tenor saxophone, playing Ellington’s “The Ricitic.” Michael White helped to build the bridge between the straight ahead jazz of the 50s/early 60s and the avant garde of the late 60s/70s. His playing in saxophonist John Handy’s quintet particularly opened up the field for violin. On this late 60s recording he accompanies guitarist Jerry Hahn, also a member of Handy’s band.

My favorite avant garde violinist, bar none, is Leroy Jenkins, who passed away early last year. His trio work with The Revolutionary Ensemble (”Hu-Man” was composed by Sirone, the group’s bassist) remains astounding to me, but his live solo work was his real strength, showing his ability to stretch out and incorporate numerous influences, including blues, gospel, “classical,” rag time, and so forth. (There’s a long-out-of-print LP from the 70s recorded live at Judson Church in New York on which he plays a jaw-dropping version of “Amazing Grace.” If you ever happen upon it, buy it for me and I’ll pay you back, kthx.) Rounding out this collection is a piece from Albert Ayler’s Live in Greenwich Village, with Michel Samson intertwining with Ayler’s sax on a latter-day spiritual. I’ve not been able to find out much about Samson, except that he’s Dutch.

I’m not really sure what this adds up to (aside from an almost open call to receive next to no comments) but it still interests me to trace this lineage. I hope you like it.