Russell
Malone's first guitar was a plastic green toy his mother bought him.
Only four years old, Malone strummed the little guitar all day long for
days on end trying to emulate the sounds he had heard from guitarists at
church in Albany, Georgia. As a child, Malone developed an interest in
blues and country music after seeing musicians on television like Chet
Atkins, Glen Campbell, Johnny Cash, Roy Clark, Son Seals, and B.B. King.
Then, at age 12, he saw George Benson perform with Benny Goodman on
Soundstage. Malone has said, “I knew right then and there that I wanted
to play this music.”
A self-taught player, Malone progressed well
enough to land a gig with master organist Jimmy Smith when he was 25.
“It made me realize that I wasn't as good as I thought I was,” Malone
recalls of his first on-stage jam with Smith. After two years with
Smith, he went on to join Harry Connick Jr.'s orchestra, a position he
held from 1990-94, appearing on three of Connick''s recordings. Malone
also worked in a variety of contexts, performing with artists as diverse
as Clarence Carter, Little Anthony, Peabo Bryson, Mulgrew Miller, Kenny
Barron, Roy Hargrove, Branford and Wynton Marsalis, The Winans, Eddie
“Cleanhead” Vinson, Bucky Pizzarelli, and Jack McDuff.
Malone is
one of the most commanding and versatile guitarists performing. He can
move from blues to gospel to pop to R&B and jazz without hesitation,
a rare facility that has prompted some of the highest profile artists
in the world to call upon him: Diana Krall, Gladys Knight, Aretha
Franklin, B.B. King, Natalie Cole, David Sanborn, Shirley Horn,
Christina Aguilera, Harry Connick, Jr, Ron Carter, and Sonny Rollins.
Along
the way, Malone has made a name for himself combining the bluesy sound
of Grant Green and Kenny Burrell with the relentless attack of Django
Reinhardt and Pat Martino. After hearing Malone play in Connick's band,
former Sony head, Tommy Mottola, brought Malone over to Columbia.
Malone's
self-titled debut, Russell Malone, in 1992 quickly went to #1 on the
radio charts. This album has Malone playing Electric, Acoustic, and
Classical guitars. It also features Harry Connick Jr. on piano, his
current employer at the time, joking around on “I Don't Know Enough
About You,” a vocal piece by Malone, not Connick.
Russell Malone
was quickly followed by his second album, Black Butterfly in 1993, with
Paul Keller on Bass, who later became his trio mate with Diana Krall.
Diana Krall's label, Verve Records, came calling next and released three
albums by Malone: Sweet Georgia Peach (1998), Look Who's Here (2000),
and Heartstrings (2001). Hearstrings features a full orchestra with
arrangements by Johnny Mandel, Don Caymmi, and Alan Broadbent,
accompanied by the all-star rhythm section team of Kenny Barron (piano),
Christian McBride (bass), and Jeff “Tain” Watts (drums).
Malone
joined Diana Krall in 1995, contributing to Krall's first four
Grammy-nominated albums: All For You (1996), Love Scenes (1997), When I
Look In Your Eyes (1999), and The Look Of Love (2001). In addition to
winning for Best Jazz Vocal Performance, When I Look In Your Eyes (1999)
was the first jazz album since 1976 (George Bensons's Breezin')
nominated for Album of The Year.
https://musicians.allaboutjazz.com/russellmalone
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La
primera guitarra de Russell Malone fue un juguete verde de plástico que
su madre le compró. Con sólo cuatro años, Malone rasgueó la pequeña
guitarra todo el día durante días tratando de emular los sonidos que
había escuchado de los guitarristas de la iglesia en Albany, Georgia. De
niño, Malone desarrolló un interés por el blues y la música country
después de ver en televisión a músicos como Chet Atkins, Glen Campbell,
Johnny Cash, Roy Clark, Son Seals y B.B. King. Luego, a los 12 años, vio
a George Benson actuar con Benny Goodman en Soundstage. Malone dijo:
"En ese momento supe que quería tocar esta música".
Autodidacta,
Malone progresó lo suficiente como para conseguir un concierto con el
maestro organista Jimmy Smith a los 25 años. "Me hizo darme cuenta de
que no era tan bueno como creía", Malone recuerda su primera actuación
en el escenario con Smith. Después de dos años con Smith, pasó a formar
parte de la orquesta de Harry Connick Jr., un puesto que ocupó entre
1990 y 1994, y que apareció en tres de las grabaciones de Connick.
Malone también trabajó en una variedad de contextos, actuando con
artistas tan diversos como Clarence Carter, Little Anthony, Peabo
Bryson, Mulgrew Miller, Kenny Barron, Roy Hargrove, Branford y Wynton
Marsalis, The Winans, Eddie "Cleanhead" Vinson, Bucky Pizzarelli y Jack
McDuff.
Malone es uno de los guitarristas más comandantes y
versátiles que actúan. Puede pasar del blues al gospel, del pop al
R&B y al jazz sin dudarlo, una rara facilidad que ha llevado a
algunos de los artistas de más alto perfil del mundo a recurrir a él:
Diana Krall, Gladys Knight, Aretha Franklin, B.B. King, Natalie Cole,
David Sanborn, Shirley Horn, Christina Aguilera, Harry Connick, Jr, Ron
Carter y Sonny Rollins.
A lo largo del camino, Malone se ha hecho
un nombre por sí mismo combinando el sonido blues de Grant Green y
Kenny Burrell con el ataque implacable de Django Reinhardt y Pat
Martino. Después de escuchar a Malone en la banda de Connick, el ex jefe
de Sony, Tommy Mottola, trajo a Malone a Columbia.
El debut de
Malone, Russell Malone, en 1992, se convirtió rápidamente en el número 1
de las listas de radio. Este álbum tiene a Malone tocando guitarras
eléctricas, acústicas y clásicas. También presenta a Harry Connick Jr.
al piano, su actual empleador en ese momento, bromeando sobre "No sé lo
suficiente sobre ti", una pieza vocal de Malone, no de Connick.
A
Russell Malone le siguió rápidamente su segundo álbum, Black Butterfly
en 1993, con Paul Keller en el bajo, que más tarde se convirtió en su
compañero de trío con Diana Krall. El sello de Diana Krall, Verve
Records, fue el siguiente en llamar y lanzó tres álbumes de Malone:
Sweet Georgia Peach (1998), Look Who's Here (2000) y Heartstrings
(2001). Heartstrings cuenta con una orquesta completa con arreglos de
Johnny Mandel, Don Caymmi y Alan Broadbent, acompañados por el equipo de
la sección rítmica de Kenny Barron (piano), Christian McBride (bajo) y
Jeff "Tain" Watts (batería).
Malone se unió a Diana Krall en
1995, contribuyendo a los primeros cuatro álbumes nominados al Grammy de
Krall: All For You (1996), Love Scenes (1997), When I Look In Your Eyes
(1999), y The Look Of Love (2001). Además de ganar por Mejor
Interpretación Vocal de Jazz, When I Look In Your Eyes (1999) fue el
primer álbum de jazz desde 1976 (George Bensons's Breezin') nominado
para Álbum del Año.
https://musicians.allaboutjazz.com/russellmalone
Tracks:
1 - On The Real Side - 5:13
2 - Message To Jim Hall - 4:33
3 - Message From Jim Hall - 0:23
4 - Nice Lady - 7:34
5 - Sound For Sore Ears - 6:08
6 - When A Man Loves A Woman - 2:22
7 - Saving All My Love For You - 3:43
8 - Jive Hoot - 4:46
9 - Haunted Heart - 5:47
10 - Biskit - 6:46
11 - He's Gone Away - 2:40
Credits:
Bass – Luke Sellick
Composed By – A. Wright* (tracks: 6), B. Lee* (tracks: 10), B. Brookmeyer* (tracks: 8), C. Lewis* (tracks: 6), F. Hubbard* (tracks: 1), G. Coffin* (tracks: 7), J. Heath* (tracks: 5), M. Masser* (tracks: 7), R. Malone* (tracks: 2), H. Dietz / A. Schwartz* (tracks: 9), S. Rollins* (tracks: 4), Traditional (tracks: 11)
Drums – Willie Jones III
Engineer – Katsuhiko Naito
Executive-Producer – Joe Fields
Guitar, Producer – Russell Malone
Liner Notes – Donald Elfman
Photography By, Design [Graphic Design] – Christopher Drukker
Piano – Rick Germanson
Recorded at Systems Two Recording Studios, Brooklyn, NY on November 10, 2015
Label: HighNote Records, Inc. – HCD 7287
Released: 2016
Genre: Jazz
Style: Contemporary Jazz, Post Bop
https://www.discogs.com/release/8902731-Russell-Malone-All-About-Melody
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