egroj world: Gary McFarland • The In Sound

domingo, 26 de mayo de 2019

Gary McFarland • The In Sound

A more comfortable mix of McFarland's vocalese pop and jazz than the more successful Soft Samba. The In Sound is chock full of brief, enjoyable tunes that stick with you. Guitarist Gabor Szabo is a perfect partner and makes a memorable combination with McFarland's mellifluous vibraphone.

 Artist Biography by Douglas Payne
Largely forgotten now, Gary McFarland was one of the more significant contributors to orchestral jazz during the early '60s. An "adult prodigy," as Gene Lees accurately noted, McFarland was an ingenious composer whose music could reveal shades of complex emotional subtlety and clever childlike simplicity. While in the Army, he became interested in jazz and attempted to play trumpet, trombone, and piano. In 1955, he took up playing the vibes. Displaying a quick ability for interesting writing, he obtained a scholarship to the Berklee School of Music. He spent one semester there and with the encouragement of pianist John Lewis, concentrated on large-band arrangements of his own compositions. He attained early notoriety and success working with Gerry Mulligan, Johnny Hodges, John Lewis, Stan Getz, Bob Brookmeyer, and Anita O'Day. McFarland began devoting more attention to his own career by 1963 when he released what is often regarded as his most significant recording, The Gary McFarland Orchestra/Special Guest Soloist: Bill Evans. He also recorded in small-group settings, which featured his clever vibes playing. The success of his instrumental pop collection, Soft Samba, allowed McFarland to form his first performing group. But his recordings thereafter, more often than not, featured an easy listening instrumental pop bent. McFarland went on to excellent work with Gabor Szabo, Shirley Scott, Zoot Sims, and Steve Kuhn, but only rarely featured his outstanding compositional talents (as in 1968's America the Beautiful). He formed the short-lived Skye Records label with Szabo and vibist Cal Tjader in the late 60s and continued to record prolifically. By the late 60s, though, he was forgotten by his initial jazz followers and he died in 1971 after being poisoned in a New York City bar.


Una mezcla más cómoda de pop vocal y jazz de McFarland que la más exitosa Soft Samba. El In Sound está repleto de breves y divertidas melodías que te acompañan. El guitarrista Gabor Szabo es un compañero perfecto y hace una combinación memorable con el vibráfono melifluo de McFarland.

 Biografía del artista por Douglas Payne
Hoy en día, Gary McFarland fue uno de los contribuyentes más significativos al jazz orquestal durante los primeros años de la década de 1960. Un "prodigio adulto", como Gene Lees señaló con precisión, McFarland era un ingenioso compositor cuya música podía revelar matices de compleja sutileza emocional y una ingeniosa simplicidad infantil. Mientras estuvo en el Ejército, se interesó por el jazz e intentó tocar la trompeta, el trombón y el piano. En 1955, comenzó a tocar el vibráfono. Demostrando una rápida habilidad para la escritura interesante, obtuvo una beca para la Berklee School of Music. Allí pasó un semestre y, con el apoyo del pianista John Lewis, se concentró en los arreglos para big bands de sus propias composiciones. Alcanzó notoriedad y éxito trabajando con Gerry Mulligan, Johnny Hodges, John Lewis, Stan Getz, Bob Brookmeyer y Anita O'Day. McFarland comenzó a dedicar más atención a su propia carrera en 1963 cuando lanzó lo que a menudo se considera su grabación más significativa, The Gary McFarland Orchestra/Special Guest Soloist: Bill Evans. También grabó en grupos pequeños, en los que tocó con sus inteligentes vibraciones. El éxito de su colección de pop instrumental, Soft Samba, le permitió a McFarland formar su primer grupo interpretativo. Pero sus grabaciones posteriores, la mayoría de las veces, inclinadas hacia el pop instrumental de fácil escucha. McFarland continuó con un excelente trabajo con Gabor Szabo, Shirley Scott, Zoot Sims y Steve Kuhn, pero sólo en raras ocasiones presentó sus talentos compositivos sobresalientes (como en America the Beautiful de 1968). Formó el sello de corta duración Skye Records con Szabo y el vibrafonista Cal Tjader a finales de los 60 y continuó grabando prolíficamente. A finales de los años 60, sin embargo, fue olvidado por sus primeros seguidores del jazz y murió en 1971 después de haber sido envenenado en un bar de la ciudad de Nueva York.

Discogs ... 

A1 - The Moment Of Truth - 4:07
A2 - Bloop Bleep - 2:15
A3 - The Hills Of Verdugo - 3:52
A4 - Over Easy - 3:05
A5 - Here I Am - 2:10
B1 - Fried Bananas - 4:30
B2 - The Sting Of The Bee - 3:50
B3 - Wine And Bread - 3:10
B4 - I Concentrate On You - 2:50
B5 - (I Can't Get No) Satisfaction - 2:00

    Bass – Bob Bushnell, Richard Davis
    Bongos, Congas – Candido
    Design [Cover Design] – Win Bruder
    Drums – Grady Tate, Sol Gubin
    Engineer [Director Of Engineering] – Val Valentin
    Flute, Flute [Alto] – Spencer Sinatra
    Flute, Saxophone [Tenor] – Sadao Watanabe
    Guitar – Gabor Szabo, Kenny Burrell
    Painting [Cover Painting] – Peter Shulman
    Percussion – Joe Venuto, Willie Rodriguez
    Producer – Creed Taylor
    Trombone – Bob Brookmeyer
    Vibraphone, Arranged By, Conductor – Gary McFarland

Engineer – Rudy Van Gelder
Recording Date: August 2 and 31, 1965 at Van Gelder Studio, Englewood Cliffs, New Jersey

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7 comentarios:

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