Stuff Smith 1944-1946 Studio, Broadcast, Concert & Apartment Performances 2 CD Set

Previously unreleased legendary recordings by The Jazz Violinist and The Classical Pianist

. . . stream-of-consciousness improvisations . . . exciting, adventurous jazz . . . very much ahead of its time

– Billy Taylor in Jazz Piano, A History

. . . beautifully played by two remarkable musicians working harmoniously together . . .
. . . a “crossover” session using “free improvisation” long before those terms were conceived . . .
indispensable for those who are curious about such things

– Jack Bowers, Cadence, March 2003

. . . truly revolutionary genius . . . This is challenging listening musically, and also because these
early home recordings are nowhere near the technical quality we associate with commercial releases.
But stay with it; you’ll soon find yourself transported to a world of pure creative brilliance

– Matt Glaser, Strings, April 2003

. . . when Crum and Smith begin the big-time chance-taking and use their great ears to “go with the flow”
the result is very exciting music, perhaps best left uncategorized

– Stacy Phillips, Fiddler, summer 2003

Together, they invented the music they played, which is part jazz, part impressionism and part “see where the music takes us” experimentation. . . . Sound is true to the source, and hasn't been given the false depth of digital reconstructions. Through the scratch and scrape one can hear two fine musicians speculate about form with amazing delicacy and vigour.

– Ben Watson, Hi-Fi News, August 2003

. . . broadening the jazz world’s appreciation of the under-promoted genre of jazz violinists
[Crum] and Smith found mutually stimulating musical common ground

– Bob Weir, Jazz Journal, September 2003

. . . early efforts to expand the music’s language . . . Smith always had maverick tendencies, and
this release gives us a picture of the many facets of his musical personality that are only hinted at elsewhere

– Duck Baker, Coda, September/October 2003

The music heard here is an early attempt at what later became known as Third Stream,
a branch of music attempting to combine jazz and classical elements in various degrees.

– Vincent Pelote, ARSC Journal, Fall 2004

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