Jim Hall's warm, fluid guitar and full tones are the anchor for this good but often unexciting session pairing him with the David Matthews orchestra. Hall recorded the title track on two other occasions; this third version is nicely orchestrated and produced, and Hall's solo is superbly played but adds little to the interpretation that he had provided before. The orchestra is wisely kept from getting in Hall's way, and his guitar lines are bright, sometimes arresting, and frequently dazzling. What is missing is the inventive spark and extra dimension Hall usually injects into his material. When these tracks were originally cut in 1981, Hall had been away from the studio for three years.
Concerto de Aranjuez Review
by Ron Wynn