chickcorea.com ...
gary-burton ...
The Canadian Jazz Quartet plays mainstream jazz with a swinging and graceful treatment of standards and original material. Well known in the Toronto jazz scene, in the clubs, festivals and on the concert stage the CJQ has produced a high standard of excellence in jazz for more than a decade.
"If I'm lying on a beach, I'm reading, dozing, or pondering, and the laid-back Canadian Jazz Quartet: Just Friends – an album of recognizable jazz and show tunes such as "Embraceable You," "Time After Time" and "Joy Spring" – is good accompaniment for all. The combination of guest flautist (Bill McBirnie) and vibes (Frank Wright) gives buoyancy to the traditional small combo, rounded out by bassist Duncan Hopkins, guitarist Gary Benson and drummer Don Vickery. The band of vets ... ably cover swing, ballads, blues and bossa nova on this disc"
Ashante Infantry
Toronto Star
https://www.cornerstonerecordsinc.com/pages/cat133.html
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El Canadian Jazz Quartet interpreta jazz convencional con un tratamiento swing y elegante de estándares y material original. Muy conocido en la escena del jazz de Toronto, en los clubes, festivales y en el escenario de conciertos, el CJQ ha producido un alto nivel de excelencia en el jazz durante más de una década.
"Si estoy tumbado en una playa, estoy leyendo, dormitando o reflexionando, y el relajado Canadian Jazz Quartet: Just Friends -un álbum de reconocibles temas de jazz y espectáculo como "Embraceable You", "Time After Time" y "Joy Spring"- es un buen acompañamiento para todos. La combinación del flautista invitado (Bill McBirnie) y el vibráfono (Frank Wright) da dinamismo al pequeño combo tradicional, completado por el bajista Duncan Hopkins, el guitarrista Gary Benson y el batería Don Vickery. La banda de veteranos ... cubre hábilmente el swing, las baladas, el blues y la bossa nova en este disco".
Ashante Infantry
Toronto Star
https://www.cornerstonerecordsinc.com/pages/cat133.html
website ...
Brazilian-born
Eumir Deodato has racked up 16 platinum records to his credit as
artist, arranger or producer with combined sales of well over 25 million
records in the USA alone. His discography, including compilations and
all his work as arranger, producer and keyboardist, surpasses 450
albums. He has also had the honor of performing with the St. Louis
Symphony (which backed him on his superb Artistry album), the Cincinnati
Symphony, the New York Philharmonic and the Orchestra di Musica Leggera
dell'Unione Musicisti di Roma. In addition, several artists over the
years have covered his songs, including George Benson, Lee Ritenour,
Sarah Vaughan and The Emotions to mention just a few.
And yet, in
spite of all of his varied triumphs, honors and distinctions over the
years, the multi-talented, multi-instrumentalist will probably forever
be associated with one song - his innovative rendition of Richard
Strauss' classical opus “Also Sprach Zarathustra” (or more commonly
known as the theme to 2001: A Space Odyssey). That single compelling
song, which first appeared on his 1973 debut album for CTI “Prelude,”
sold at least five million copies and earned Deodato his first Grammy
Award, instantly moved him to international stardom and setting a course
for his remarkable ongoing career in music. Thirty years later, that
same tune has found its way into the repertoire of the jam band Phish, a
testament to Deodato's enduring influence.
Born in Rio de
Janeiro, Brazil, from Italian and Portuguese origin, Eumir Deodato got
his start by playing the accordion at age 12. Shortly thereafter, he
started studying piano as well as orchestration, arranging and
conducting. Strictly self-taught, he immersed himself in theory books
while spending countless evenings sitting behind orchestras and
carefully observing how each part was played. His first break came at
age 17 when he arranged and conducted his first recording session for a
28-piece orchestra. It wasn't long before Deodato became one of the most
active and respected arrangers and pianists in Rio's busy music scene,
recording for such artists as Milton Nascimento, Marcos Valle, Elis
Regina and Antonio Carlos Jobim.
In 1968, Deodato moved to New
York and began working with Luiz Bonfa, the legendary composer of Black
Orpheus, while also doing extensive studio work for Astrud Gilberto,
Walter Wanderley, Antonio Carlos Jobim, Marcos Valle and many other
Brazilian artists who were living in the Big Apple at the time. When
writing the arrangements for Astrud Gilberto's “Beach Samba,” he became
acquainted with producer Creed Taylor, who hired him to arrange for
other CTI artists like Wes Montgomery, Stanley Turrentine, George
Benson, Paul Desmond and Tom Jobim. His reputation in the fields of pop
and black music was strengthened by his arrangement work for Frank
Sinatra (Sinatra & Co.), Roberta Flack (Killing Me Softly, Chapter
Two, Quiet Fire) and Aretha Franklin (Let Me In Your Life).
Following
a performance at the Hollywood Bowl with the CTI All-Stars Band in
1972, Deodato started recording his record. His debut appearance as a
leader, billed as 2001 Space Concert, was held at the Madison Square
Garden in New York City in 1973.
After seven years of world-wide
touring (including Australia, Japan, Canada, South America, Europe) and
eight coast-to-coast tours of the States, Deodato decided to concentrate
on studio work once again. Besides highly successful solo albums for
the CTI, MCA, Warner And Atlantic labels, his work as a
producer/arranger earned him several more laurels. One of his first
productions was Kool & The Gang's #1 pop single Celebration. He
followed that success with production or arranging work for Earth, Wind
& Fire, Michael Franks, Gwen Guthrie, Chuck Mangione, Breakfast
Club, The Dazz Band, One Way, Con-Funk-Shun, Kleeer, Pretty Poison,
Kevin Rowland (Dexy's Midnight Runners), White Lion and Brenda K. Starr,
for whom he produced the pop hit I Still Believe in 1987. Deodato also
had three other multi-platinum albums for Kool & The Gang's Ladies'
Night, Something Special and As One.
In the 90's, Deodato
continued to be a vital force on the pop scene through his work with
Icelandic singer Bjork. In addition to arranging her last three albums:
1995's Post, 1996's Telegram and 1997's Homogenic, Deodato produced a
highly praised acoustic version of Bjork's “Isobel,” sub-titled Deodato
Mix, which became a club scene favorite. He has also produced material
for French singer Clementine (also touring Japan with her as a special
guest in 1994), arranged and produced a top 10 single for Brazilian
singer Gal Costa (1996) and has performed as guest conductor with Bjork
both in Brazil (1996), and in the States at the Tibetan Freedom Concerts
at Downing Stadium (1997). In 1998, Deodato arranged for Brazilian pop
acts Titans (Vol. II, with sales over 500,000 copies) and Carlinhos
Brown (Omelete Man) as well as for the latest album by pop-rock band
Penelope Charmosa (released in 1999). He was also special guest on a
project by Japanese pop star Akemi Kakihara, recorded in London during
the summer of 1998. In 1999, he scored Bossa Nova, a Bruno Barreto film
starring Amy Irving, and the following year produced the CD of that
score for Verve Records. His most recent projects including production
work for French rock singer Damien Saez, Brazilian-Japanese singer Lisa
Ono and for jazz singer Ann Hampton Callaway.
Deodato has also
worked on several movie scores, including The Onion Field, The Black
Pearl, Ghostbusters II, White Nights, The Girl From Ipanema, The
Adventurers (recorded with A.C. Jobim and the London Symphony
Orchestra), The Gentle Rain, Target Risk, The Reporter, Beat Street,
Body Rock and Bossa Nova. His recordings have also been widely used on
major movies such as Being There and The Exorcist.
In November
2001, Deodato participated in a benefit concert in New York City where
he played only 1 song (Also Sprach Zarathustra: 2001). The reaction was
so fantastic he got encouraged to go back doing concerts. By 2002 he
lined up a few selected presentations, starting with a concert at the
Vienna Opera House, as part of the Vienna Summer Jazz Festival. That was
followed by Villach (Austria), Pori (Finland), The Hague (North Sea
Jazz Festival), and many others that followed, like Capetown (South
Africa), Rome and Rimini (Italy), Amenia, NY (World Peace Organization),
Antigua, Guatemala etc.
Meanwhile, in 2002 he worked with Milton
Nascimento in Rio de Janeiro, which generated a Latin Grammy for the
song Tristesse as best Brazilian song of the year, then miscellaneous
work with different artists, including Barbara Mendes, Ana Carolina,
Fernanda Abreu and more recently, KD Lang for her record released in
2004.
In 2007 Brazilian Record company "Biscoito Fino", releases
the “Deodato Trio in Rio” CD and DVD (end of month), filmed and recorded
at the Sala Cecilia Meirelles in Rio last Summer, featuring Marcelo
Mariano on Bass and Renato Massa on Drums. It also includes performances
of some of the most memorable Antonio Carlos Jobim's songs and also
comemorates his postumous anniversary. Verve has also released “Do It
Again.”
https://www.allaboutjazz.com/musicians/eumir-deodato
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In the late sixties and early seventies, an impromptu collection
of musicians colonized a eucalyptus-scented canyon deep in the Hollywood
Hills of Los Angeles and melded folk, rock, and savvy American pop into
a sound that conquered the world as thoroughly as the songs of the
Beatles and the Rolling Stones had before them. Thirty years later, the
music made in Laurel Canyon continues to pour from radios, iPods, and
concert stages around the world. During the canyon's golden era, the
musicians who lived and worked there scored dozens of landmark hits,
from "California Dreamin'" to "Suite: Judy Blue Eyes" to "It's Too
Late," selling tens of millions of records and resetting the thermostat
of pop culture.
In Laurel Canyon,
veteran journalist Michael Walker tells the inside story of this
unprecedented gathering of some of the baby boomer's leading musical
lights―including Joni Mitchell; Jim Morrison; Crosby, Stills, and Nash;
John Mayall; the Mamas and the Papas; Carole King; the Eagles; and Frank
Zappa, to name just a few―who turned Los Angeles into the music capital
of the world and forever changed the way popular music is recorded,
marketed, and consumed.
Joseph Christoffer Columbus Morris, better known as Crazy Chris Columbo, was an American jazz drummer, born June 17, 1902 in Greenville, North Carolina, USA, died August 20, 2002 in New Jersey, USA. Prior to a stroke which partially paralyzed him in 1993, Columbo was the oldest working musician in Atlantic City.
Columbo got his first professional gig playing with Fletcher Henderson in 1921. Between the 1920s and the 1960s, he played at most of the city's nightclubs, and lead the Club Harlem orchestra for 34 years until 1978, when the club shut its doors. Thereafter, Columbo's band went on to perform at practically every Atlantic City casino hotel. At the time of his stroke, he was playing regularly at the Showboat.
Columbo has worked, recorded, and toured with such luminaries as Duke Ellington, Dizzy Gillespie, Louis Jordan, Louis Armstrong and Ella Fitzgerald.
Columbo was the father of drummer Sonny Payne.
https://www.discogs.com/artist/833448-Chris-Columbo
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Joseph Christoffer Columbus Morris, más conocido como Crazy Chris Columbo, fue un batería de jazz estadounidense, nacido el 17 de junio de 1902 en Greenville, Carolina del Norte, EE.UU., fallecido el 20 de agosto de 2002 en Nueva Jersey, EE.UU.. Antes de sufrir un derrame cerebral que le paralizó parcialmente en 1993, Columbo era el músico en activo más veterano de Atlantic City.
Columbo consiguió su primera actuación profesional tocando con Fletcher Henderson en 1921. Entre los años 20 y los 60, tocó en la mayoría de los clubes nocturnos de la ciudad y dirigió la orquesta del Club Harlem durante 34 años, hasta 1978, cuando el club cerró sus puertas. A partir de entonces, la banda de Columbo pasó a actuar en prácticamente todos los hoteles casino de Atlantic City. En el momento de su apoplejía, tocaba regularmente en el Showboat.
Columbo trabajó, grabó y realizó giras con figuras de la talla de Duke Ellington, Dizzy Gillespie, Louis Jordan, Louis Armstrong y Ella Fitzgerald.
Columbo era el padre del batería Sonny Payne.
https://www.discogs.com/artist/833448-Chris-Columbo
Among the great American modern jazz saxophonists, Hank Mobley has been the most unjustly neglected - the truly forgotten man. Yet he played and recorderd prolifically with the greatest legends of his era such as Miles Davis, John Coltrane, Dizzy Gilespie, Lee Morgan, Johnny Griffin and Art Blakey, helping to create some of their finest work. His best recordings are classics, characterized by an instantly identifiable sound and style, and constant musical inventiveness. But his loner personality made him his own worst enemy, many of his records remained unissued in his lifetime, and he died forgotten and destitute. Now, at last, most of his recorded legacy is available on CD and he is increasingly recognized as one of the major figures of modern jazz. In this book, the first to be published about Hank Mobley, Derek Ansell provides a detailed critical introduction to his music and a timely reassessment of his contribution to the jazz art.
Review
by Scott Yanow
Guitarist Ron Jackson's debut as a leader is an impressive outing with pianist Benny Green, bassist Lonnie Plaxico, and drummer Cecil Brooks III. Very much a straight-ahead date, Jackson (who describes himself as a "modern traditionalist") performs standards and originals (of which "On the Edge" is most memorable) with a reasonably original voice. His music always swings.
https://www.allmusic.com/album/a-guitar-thing-mw0000078586
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Reseña
por Scott Yanow
El debut del guitarrista Ron Jackson como líder es una salida impresionante con el pianista Benny Green, el bajista Lonnie Plaxico, y el baterista Cecil Brooks III. Jackson (que se describe a sí mismo como un "tradicionalista moderno") interpreta estándares y originales (de los cuales "On the Edge" es el más memorable) con una voz razonablemente original. Su música siempre tiene ritmo.
https://www.allmusic.com/album/a-guitar-thing-mw0000078586
American jazz trombonist and bandleader, born February 8, 1919 in New Haven, Connecticut, died September 27, 2010 in Ormond Beach, Florida.
Morrow played with Tommy Dorsey (1938), Paul Whiteman (1939), Tony Pastor (1940), Bob Crosby, Billy Butterfield, and Red McKenzie. In 1951 he formed his own band which got its first hit in 1952 with "Night Train" (written by Jimmy Forrest) of wich one million copies were sold.
https://www.discogs.com/artist/336415-Buddy-Morrow
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Trombonista de jazz y director de orquesta estadounidense, nacido el 8 de febrero de 1919 en New Haven, Connecticut, fallecido el 27 de septiembre de 2010 en Ormond Beach, Florida.
Morrow tocó con Tommy Dorsey (1938), Paul Whiteman (1939), Tony Pastor (1940), Bob Crosby, Billy Butterfield y Red McKenzie. En 1951 formó su propia banda, que obtuvo su primer éxito en 1952 con "Night Train" (escrito por Jimmy Forrest), del que se vendieron un millón de copias.
https://www.discogs.com/artist/336415-Buddy-Morrow