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beneficiarse.
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Paul
Simon is commonly acknowledged to be one of the most successful
singer-songwriters of the pop-rock era. His work has flourished in the
context of Simon and Garfunkel as well as in his own solo career.
Starting with the folk-rock style that marked his earliest significant
success, he has drawn on a wide variety of influences, including many
American traditions and, later, many international ones as well. He has
won multiple Grammy awards in both the duo and the solo phases of his
career. His songwriting has also provided the impetus for brief forays
into film and musical theatre. After providing a brief biographical
overview, this work examines Simon's songwriting work in depth,
providing a critical discussion of each song as a fusion of text and
music so as to help the reader to identify elements that enhance
appreciation.
A particularly valuable
contribution in this context is the discussion of the wide variety of
musical elements that contribute significantly to the value of Simon's
work. These include such easily-understandable issues as verse-chorus
structure, melodic variation, selection of particular instruments and
even performers, variation of musical style within a song, general
harmonic characteristics, relationships among keys, rhythm and pacing of
text, etc. While the book proceeds chronologically through Simon's
recorded output, specific threads are developed throughout, and the
discussion of individual songs takes place in the context of these
threads, both drawing on them and developing them further. The diversity
of Paul Simon's work reflects his very American background, and no
discussion of American music is complete without accounting for his
influence.
Born
Eugene Capobianco 29 March 1927, Hartford, Connecticut, jazz enthusiast
Gene Bianco started off his career as a classical virtuoso harpist, and
toured with major orchestras to rave reviews. His love for jazz,
however, prompted him to explore the concept of using harp as a jazz
instrument, an idea that was hitherto unheard of. Having appeared as a
solo act in a variety of New York nightclubs, he later teamed up with
guitarist Mundell Lowe and percussionist Joe Venuto to form a jazz trio
which released an album on the obscure Major Records label. Soon after,
RCA signed the group to a three-album contract, under which the albums
"Stringin' the Standards" and "Harp, Skip and Jump!" were released.
However,
RCA had a different idea of where the harp belonged. For a new record
club partnership with Readers Digest, RCA bought out the existing
contract and entered into a new contract with Gene Bianco which obliged
him to produce easy-listening albums catered to the "middle-class
market" (as described by a certain author). The first album, Joy To The
World, was a hit. By then, Gene Bianco had been recast as "The Rainbow
Sounds of Bianco" with his own personal logo on the front of his albums,
which enjoyed first-class productions, and a full orchestra.
Nonetheless,
Bianco prefers and opted for the anonymity and independence of life as a
freelance session jazz musician, and ended up playing on dozens of
great jazz recordings, such as all three of Paul Desmond's string
albums, on Gil Evans' "Blues in Orbit", on Herbie Mann's "Push, Push",
Alan Lorber's "Lotus Palace", and others. He also recorded with some of
the best jazz singers around, including Carmen McCrae and Marlena Shaw.
Some of his best session work of the 1960s and 1970s now shows up on
sampling favorites such as the Blue Break Beats.
After 30 years
as a studio player, Bianco went into the recording booth as a musical
coordinator and contractor, screening and hiring musicians for recording
sessions. Respected throughout the business, he worked with acts as
diverse as Mary J. Blige, D Train, Stevie Nicks, Natalie Cole, and even
Ray Charles. Recently, he put together the orchestra that accompanied
tenor saxman Joe Lovano on Viva Caruso. He and Mundell Lowe even
pioneered an instrument combining the harp and electric guitar that is
now a standard feature of many pop orchestrations. Bianco's grandfather is Fillippo Capobianco, who was also a successful harpist in Italy. https://www.discogs.com/artist/380673-Gene-Bianco
///////
Born
Eugene Capobianco 29 March 1927, Hartford, Connecticut, jazz enthusiast
Gene Bianco started off his career as a classical virtuoso harpist, and
toured with major orchestras to rave reviews. His love for jazz,
however, prompted him to explore the concept of using harp as a jazz
instrument, an idea that was hitherto unheard of. Having appeared as a
solo act in a variety of New York nightclubs, he later teamed up with
guitarist Mundell Lowe and percussionist Joe Venuto to form a jazz trio
which released an album on the obscure Major Records label. Soon after,
RCA signed the group to a three-album contract, under which the albums
"Stringin' the Standards" and "Harp, Skip and Jump!" were released.
However,
RCA had a different idea of where the harp belonged. For a new record
club partnership with Readers Digest, RCA bought out the existing
contract and entered into a new contract with Gene Bianco which obliged
him to produce easy-listening albums catered to the "middle-class
market" (as described by a certain author). The first album, Joy To The
World, was a hit. By then, Gene Bianco had been recast as "The Rainbow
Sounds of Bianco" with his own personal logo on the front of his albums,
which enjoyed first-class productions, and a full orchestra.
Nonetheless,
Bianco prefers and opted for the anonymity and independence of life as a
freelance session jazz musician, and ended up playing on dozens of
great jazz recordings, such as all three of Paul Desmond's string
albums, on Gil Evans' "Blues in Orbit", on Herbie Mann's "Push, Push",
Alan Lorber's "Lotus Palace", and others. He also recorded with some of
the best jazz singers around, including Carmen McCrae and Marlena Shaw.
Some of his best session work of the 1960s and 1970s now shows up on
sampling favorites such as the Blue Break Beats.
After 30 years
as a studio player, Bianco went into the recording booth as a musical
coordinator and contractor, screening and hiring musicians for recording
sessions. Respected throughout the business, he worked with acts as
diverse as Mary J. Blige, D Train, Stevie Nicks, Natalie Cole, and even
Ray Charles. Recently, he put together the orchestra that accompanied
tenor saxman Joe Lovano on Viva Caruso. He and Mundell Lowe even
pioneered an instrument combining the harp and electric guitar that is
now a standard feature of many pop orchestrations. Bianco's grandfather is Fillippo Capobianco, who was also a successful harpist in Italy. https://www.discogs.com/artist/380673-Gene-Bianco
