reflected the range of his repertoire, which embraces virtually every form of postwar, pre-Beatles American popular music from rockabilly and honky-tonk country to jump blues and even swing jazz, but his new CD, Further On, is devoted to the blues.
It's a live CD compiled from shows Bedard performed at Callahan's in Auburn Hills, both with the Kingpins and with a quartet in which he and Dishman were joined by pianist Chris Codish and bassist Pat Prouty. It features covers of urban blues recordings made in the 1950s, along with originals inspired by various fifties blues styles. Of course, Bedard never really "covers" old recordings. His is the approach of jazz musicians, who always reimagine their material in ways that make it their own. Bedard finds his way into a song with his guitar, and the guitar parts he devises are simply richer than any music you'll find on any old recording--more supple and detailed in their voicings, more attentively syncopated, more exuberantly articulated, more self-delighting. "The thing about George is, he loves it," my wife observed when she first heard a cut from Further On. "You can tell."