Herbie Mann • Reggae

Jeremy Steig • Temple Of Birth

Biography:

In his entire career as an improvisational flutist Steig has challenged the boundaries of conventional categories in music. In his first album Flute Fever (Columbia Records 1963) Steig established himself as one of the most important voices in contemporary music, setting new standards in the performance and appreciation of the flute as improvisational instrument.

Steig's openness to all kinds of music is the key that attracts audience to his music. In his newest CD, Steig teams up as a duo with the prominent guitarist and composer, Vic Juris. Their collaboration covers everything from jazz, blues, rock, free music and even some classical pieces that have been reworked to include improvisation. Improvised, Steig and Juris' first CD together, is a dynamic sonic adventure. They have been invited to the 2004 Yokohama Jazz Promenade, one of the biggest jazz festivals held in Japan.

Steig has also been active as Free Folk, a trio with Perry Robinson (clarinet) and Ed Schuller (bass). The music they play contains elements of folk, classical and jazz.

Steig studied flute with Paige Brook, who played in the New York Philharmonic. He went on to study at the High School of Music and Art in New York. Paige encouraged Steig to play “jazz” while providing him with classical tools. Emerging as a leader of the first jazz-rock band, “Jeremy and the Satyrs,” followed by the release of What's New (Verve 1969) with the legendary Bill Evans, proved Steig's versatility as a young musician.

Steig has played and recorded with a wide variety of musicians, such as Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter and Tommy Bolin. The Beastie Boys have shaped their hit Sure Shot around Steig's flute.

https://musicians.allaboutjazz.com/jeremysteig

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Biografía:

En toda su carrera como flautista de improvisación Steig ha desafiado los límites de las categorías convencionales de la música. En su primer álbum Flute Fever (Columbia Records 1963) Steig se estableció como una de las voces más importantes de la música contemporánea, estableciendo nuevos estándares en la interpretación y apreciación de la flauta como instrumento de improvisación.

La apertura de Steig a todo tipo de música es la clave que atrae al público a su música. En su último CD, Steig forma un dúo con el destacado guitarrista y compositor, Vic Juris. Su colaboración abarca desde el jazz, el blues, el rock, la música libre e incluso algunas piezas clásicas que han sido reelaboradas para incluir la improvisación. Improvised, el primer CD de Steig y Juris juntos, es una dinámica aventura sónica. Han sido invitados al Yokohama Jazz Promenade de 2004, uno de los mayores festivales de jazz que se celebran en Japón.

Steig también ha estado activo como Free Folk, un trío con Perry Robinson (clarinete) y Ed Schuller (bajo). La música que tocan contiene elementos del folk, la música clásica y el jazz.

Steig estudió flauta con Paige Brook, que tocó en la Filarmónica de Nueva York. Continuó estudiando en la Escuela Superior de Música y Arte de Nueva York. Paige animó a Steig a tocar "jazz" mientras le proporcionaba herramientas clásicas. El surgimiento como líder de la primera banda de jazz-rock, "Jeremy and the Satyrs", seguido por el lanzamiento de What's New (Verve 1969) con el legendario Bill Evans, demostró la versatilidad de Steig como joven músico.

Steig ha tocado y grabado con una gran variedad de músicos, como Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter y Tommy Bolin. Los Beastie Boys han dado forma a su éxito Sure Shot en torno a la flauta de Steig.

https://musicians.allaboutjazz.com/jeremysteig

jeremysteig.info ...

Herbie Mann • Standing Ovation at Newport

 

The performance by Herbie Mann's group was one of the high points of the 1965 Newport Jazz Festival. - This album includes Mann's "Mushi Mushi" from an earlier date, but it is the lengthy versions of "Patato," "Stolen Moments," and particularly the encore "Comin' Home Baby" from Newport that are most memorable. - During this period, the flutist's group included vibraphonist Dave Pike, two trombonists, the young Chick Corea on piano, bassist Earl May, drummer Bruno Carr, and Patato Valdes on conga. - For "Comin' Home Baby," composer Ben Tucker, who had played earlier in the day as part of Billy Taylor's Trio, sits in on bass. ~ Scott Yanow, AMG

Bradley Leighton • Back To The Funk

Bradley Leighton’s musical interests have always been diverse.  As a young man, he loved big band music, particularly Maynard Ferguson, Stan Kenton and Woody Herman. Yet he also found himself drawn to the R&B sounds of Tower of Power, Earth Wind and Fire, and, the Brecker Brothers.
Although his first fascination was the player piano, he soon started playing the flute, becoming very involved in school bands and with learning the classical literature.  Then, after considerable listening, and practicing; Bradley’s interest in Jazz and blues led him to hanging out at after-hours clubs in his native Seattle, where he first surprised, and pleased, such local legends as T McGee, Terry Camon, Leri Carter, Billy Haddon, and Mel Washington.
Having mentors both assist and encourage Bradley, and a true love of performing, served as the catalysts for his decision to pursue a career in music. Immediately after high school, he seized an opportunity by enlisting and playing in the Army’s 9th Infantry Division band at Ft. Lewis, Washington. When his talent quickly became obvious, he was appointed musical director of the jazz ensemble. A tour with the 8th Army band in Seoul, Korea soon followed. Bradley remained in Seoul after his discharge several years later to teach, and perform in the country’s only Jazz bar.
But after realizing that the only place to really utilize his musical expertise was the land of his birth, Bradley returned to Seattle for more professional opportunities. By now, an accomplished musician and teacher, he spent the next fifteen years playing in rhythm and blues bands, Hammond organ trios, funk dance bands and straight-ahead jazz groups. He also taught privately, working with encouraging young musicians, just as his Seattle mentors had done for him.
At the same time, he focused on developing his own sound on the flute. His approach was born in his big band roots, where accomplished reedman took their saxophone experience to the flute. Inspired by such legends as Frank Wess and Sam Most, Bradley found that the alto flute was the best vehicle for his creativity.
During this period, he worked in bands that accompanied such legendary artists as Bobby McFerrin, Clark Terry, Dizzy Gillespie and others in addition to jamming and playing with many of the local musicians.  He became Seattle’s first call jazz flutists, and developed a reputation as one of the leading players in the area.
After moving to San Diego in 2001, Bradley started work on his first CD, “Grooveyard” which was released in 2003 to excellent reviews from the jazz world. Five subsequent projects ranging from straight-ahead jazz to R&B, Funk, Pop and Christmas music reinforce his reputation as a player who can and will play from any genre that interests him and his fans.
In addition to recording and performing, Bradley Leighton has continued to share his knowledge and enthusiasm of music as a clinician and teacher. Besides private lessons, he leads workshops for musicians of all skill levels, including, “Improvisation for the Classically Trained Flutist,” and “Music For Life – Improvisation for the Adult Amateur Musician.”
Bradley Leighton performs weekly at Seaport Village in downtown San Diego, California, as well as at other venues in and around San Diego County. He’s also available for clinics, and in performance with his Duo, Quartet and Sextet, as well as a soloist with big bands and orchestras.
https://bradleyleighton.com/long-bio/

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Los intereses musicales de Bradley Leighton siempre han sido diversos.  De joven, le gustaba la música de las grandes bandas, en particular Maynard Ferguson, Stan Kenton y Woody Herman. Sin embargo, también se vio atraído por los sonidos R&B de Tower of Power, Earth Wind and Fire y los Brecker Brothers.
Aunque su primera fascinación fue el piano, pronto empezó a tocar la flauta, involucrándose en bandas escolares y en el aprendizaje de la literatura clásica.  Después de escuchar y practicar mucho, el interés de Bradley por el jazz y el blues le llevó a frecuentar clubes de after-hours en su Seattle natal, donde sorprendió y complació por primera vez a leyendas locales como T McGee, Terry Camon, Leri Carter, Billy Haddon y Mel Washington.
Tener mentores que ayuden y animen a Bradley, y un verdadero amor por la actuación, sirvieron como catalizadores para su decisión de seguir una carrera en la música. Inmediatamente después de la escuela secundaria, aprovechó la oportunidad de alistarse y tocar en la banda de la 9ª División de Infantería del Ejército en Ft. Lewis, Washington. Cuando su talento se hizo evidente, fue nombrado director musical del conjunto de jazz. Una gira con la banda del 8º Ejército en Seúl, Corea, pronto le siguió. Bradley permaneció en Seúl después de su baja varios años más tarde para enseñar y actuar en el único bar de Jazz del país.
Pero después de darse cuenta de que el único lugar donde realmente podía utilizar su experiencia musical era su tierra natal, Bradley regresó a Seattle para tener más oportunidades profesionales. Ya como músico y profesor consumado, pasó los siguientes quince años tocando en bandas de rhythm and blues, tríos de órgano de Hammond, bandas de baile funk y grupos de jazz de vanguardia. También enseñó en privado, trabajando con jóvenes músicos animadores, tal y como sus mentores de Seattle habían hecho por él.
Al mismo tiempo, se centró en desarrollar su propio sonido en la flauta. Su enfoque nació en las raíces de su gran banda, donde el consumado Reedman llevó su experiencia con el saxofón a la flauta. Inspirado por leyendas como Frank Wess y Sam Most, Bradley descubrió que la flauta alta era el mejor vehículo para su creatividad.
Durante este período, trabajó en bandas que acompañaron a artistas legendarios como Bobby McFerrin, Clark Terry, Dizzy Gillespie y otros, además de tocar con muchos de los músicos locales.  Se convirtió en el primer flautista de jazz de Seattle, y desarrolló una reputación como uno de los principales jugadores en el área.
Después de mudarse a San Diego en 2001, Bradley comenzó a trabajar en su primer CD, "Grooveyard", que fue lanzado en 2003 con excelentes críticas del mundo del jazz. Cinco proyectos posteriores que van desde el jazz directo a la música de R&B, Funk, Pop y Navidad refuerzan su reputación como un músico que puede y quiere tocar de cualquier género que le interese a él y a sus fans.
Además de grabar y actuar, Bradley Leighton ha seguido compartiendo su conocimiento y entusiasmo por la música como clínico y profesor. Además de las clases particulares, dirige talleres para músicos de todos los niveles, incluyendo, "Improvisación para el flautista de formación clásica" y "Música para la vida - Improvisación para el músico amateur adulto".
Bradley Leighton se presenta semanalmente en Seaport Village en el centro de San Diego, California, así como en otros lugares del condado de San Diego y sus alrededores. También está disponible para clínicas, y en presentaciones con su Dúo, Cuarteto y Sexteto, así como solista con grandes bandas y orquestas.
https://bradleyleighton.com/long-bio/

 

 

 

bradleyleighton.com ...

 

Jeremy Steig • Fusion

 

Review by Jason Ankeny
Fusion pairs the entirety of Jeremy Steig's landmark 1971 Capitol release Energy alongside unreleased material from the same sessions. Energy is a miracle of alchemy -- Jeremy Steig transforms his flute from the ethereal to the elemental, forging a heavy, deeply funky jazz-rock record that defies gravity. Paired with keyboardist Jan Hammer, bassists Gene Perla and Eddie Gomez, and drummer Don Alias, Steig creates Technicolor grooves that float like butterflies and sting like bees. His music doesn't so much fuse jazz and rock as it approaches each side from the perspective of the other, exploring their respective concepts and executions to arrive at a sound all its own. If anything, the tonal restrictions of Steig's chosen instrument push him even farther into the unknown, employing a series of acoustic and electronic innovations to expand the flute's possibilities seemingly into the infinite. While some of the unissued content here is no less astounding, as a whole Fusion feels like too much of a good thing; one can't help but miss the focus and shape of Energy in its original incarnation.
https://www.allmusic.com/album/fusion-mw0001883206


Biography:
In his entire career as an improvisational flutist Steig has challenged the boundaries of conventional categories in music. In his first album Flute Fever (Columbia Records 1963) Steig established himself as one of the most important voices in contemporary music, setting new standards in the performance and appreciation of the flute as improvisational instrument.
Steig's openness to all kinds of music is the key that attracts audience to his music. In his newest CD, Steig teams up as a duo with the prominent guitarist and composer, Vic Juris. Their collaboration covers everything from jazz, blues, rock, free music and even some classical pieces that have been reworked to include improvisation. Improvised, Steig and Juris' first CD together, is a dynamic sonic adventure. They have been invited to the 2004 Yokohama Jazz Promenade, one of the biggest jazz festivals held in Japan.
Steig has also been active as Free Folk, a trio with Perry Robinson (clarinet) and Ed Schuller (bass). The music they play contains elements of folk, classical and jazz.
Steig studied flute with Paige Brook, who played in the New York Philharmonic. He went on to study at the High School of Music and Art in New York. Paige encouraged Steig to play “jazz” while providing him with classical tools. Emerging as a leader of the first jazz-rock band, “Jeremy and the Satyrs,” followed by the release of What's New (Verve 1969) with the legendary Bill Evans, proved Steig's versatility as a young musician.
Steig has played and recorded with a wide variety of musicians, such as Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter and Tommy Bolin. The Beastie Boys have shaped their hit Sure Shot around Steig's flute.
https://musicians.allaboutjazz.com/jeremysteig

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Reseña de Jason Ankeny
La fusión empareja la totalidad del histórico Capitolio de 1971 de Jeremy Steig con la energía liberada junto con material inédito de las mismas sesiones. Energy es un milagro de la alquimia - Jeremy Steig transforma su flauta de lo etéreo a lo elemental, forjando un disco de jazz-rock pesado y profundamente funky que desafía la gravedad. Junto con el teclista Jan Hammer, los bajistas Gene Perla y Eddie Gómez, y el baterista Don Alias, Steig crea surcos Technicolor que flotan como mariposas y pican como abejas. Su música no fusiona tanto el jazz y el rock, sino que se acerca a cada lado desde la perspectiva del otro, explorando sus respectivos conceptos y ejecuciones para llegar a un sonido propio. En todo caso, las restricciones tonales del instrumento elegido por Steig lo empujan aún más lejos en lo desconocido, empleando una serie de innovaciones acústicas y electrónicas para expandir las posibilidades de la flauta aparentemente hasta el infinito. Aunque parte del contenido no publicado aquí no es menos asombroso, en su conjunto la fusión se siente como algo demasiado bueno; uno no puede evitar perder el enfoque y la forma de la energía en su encarnación original.
https://www.allmusic.com/album/fusion-mw0001883206


Biografía:
En toda su carrera como flautista de improvisación Steig ha desafiado los límites de las categorías convencionales de la música. En su primer álbum Flute Fever (Columbia Records 1963) Steig se estableció como una de las voces más importantes de la música contemporánea, estableciendo nuevos estándares en la interpretación y apreciación de la flauta como instrumento de improvisación.
La apertura de Steig a todo tipo de música es la clave que atrae al público a su música. En su último CD, Steig forma un dúo con el destacado guitarrista y compositor, Vic Juris. Su colaboración abarca desde el jazz, el blues, el rock, la música libre e incluso algunas piezas clásicas que han sido reelaboradas para incluir la improvisación. Improvised, el primer CD de Steig y Juris juntos, es una dinámica aventura sónica. Han sido invitados al Yokohama Jazz Promenade de 2004, uno de los mayores festivales de jazz que se celebran en Japón.
Steig también ha estado activo como Free Folk, un trío con Perry Robinson (clarinete) y Ed Schuller (bajo). La música que tocan contiene elementos del folk, la música clásica y el jazz.
Steig estudió flauta con Paige Brook, que tocó en la Filarmónica de Nueva York. Continuó estudiando en la Escuela Superior de Música y Arte de Nueva York. Paige animó a Steig a tocar "jazz" mientras le proporcionaba herramientas clásicas. El surgimiento como líder de la primera banda de jazz-rock, "Jeremy and the Satyrs", seguido por el lanzamiento de What's New (Verve 1969) con el legendario Bill Evans, demostró la versatilidad de Steig como joven músico.
Steig ha tocado y grabado con una gran variedad de músicos, como Jimi Hendrix, Tim Hardin, Jim Hall, Big Joe Williams, Junior Wells, Eddie Gomez, David Amram, Art Blakey, Paul Bley, Joe Chambers, Jan Hammer, Johnny Winter y Tommy Bolin. Los Beastie Boys han dado forma a su éxito Sure Shot en torno a la flauta de Steig.
https://musicians.allaboutjazz.com/jeremysteig

jeremysteig.info ...

 

Herbie Mann • Stone Flute

Herbie Mann • Super Mann

 

Herbie Mann • Evolution Of Mann

This 2-LP set by flautist Herbie Mann was released in 1972 on Atlantic Records and contains material he recorded during the 60ies for this label with various sidemen, some in the studio, some live. This is a great overview of his work of that time.

Frank Wess Quartet • Menage A Bleu

Frank Wess is an NEA Jazz Master Frank Wess (born January 4, 1922 in Kansas City) is an American jazz musician, who has played saxophone (both alto and tenor) and flute.

He began with classical music and played in Oklahoma. He later switched to jazz on moving to Washington, D. C. and by nineteen was working in the Big Bands. His career would be interrupted during World War II although he did play with a military band in the period. On returning from service he joined Billy Eckstine's orchestra.

He returned to DC a few years after this and received a degree in flute at the city's Modern School Of Music. From 1953 he joined Count Basie's band, playing flute and tenor sax. He reverted to alto sax in the late '50s, and left Basie's band in 1964. From 1959 to 1964 he won Down Beat's critic poll for flute. Since then he has done a variety of TV shows and telethons. He was a member of Clark Terry's big band from 1967 into the '70s and played in the New York Quartet (with Roland Hanna). In the '80s and '90s, he worked with Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola and was a featured member of the Toshiko Akiyoshi Jazz Orchestra.

In 2007 Wess was named an NEA Jazz Master by the U.S. National Endowment for the Arts.

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Frank Wess es un Maestro de Jazz de NEA Frank Wess (nacido el 4 de enero de 1922 en Kansas City) es un músico de jazz americano, que ha tocado el saxofón (tanto alto como tenor) y la flauta.

Empezó con la música clásica y tocó en Oklahoma. Más tarde se pasó al jazz al mudarse a Washington D.C. y a los diecinueve años ya trabajaba en las Big Bands. Su carrera se interrumpiría durante la Segunda Guerra Mundial, aunque tocó con una banda militar en ese período. Al volver del servicio se unió a la orquesta de Billy Eckstine.

Volvió a DC unos años después y se licenció en flauta en la Escuela de Música Moderna de la ciudad. Desde 1953 se unió a la banda de Count Basie, tocando flauta y saxo tenor. Volvió al saxo alto a finales de los 50, y dejó la banda de Basie en 1964. De 1959 a 1964 ganó la encuesta de críticos de Down Beat para la flauta. Desde entonces ha hecho una variedad de programas de televisión y teletones. Fue miembro de la big band de Clark Terry desde 1967 hasta los años 70 y tocó en el New York Quartet (con Roland Hanna). En los años 80 y 90, trabajó con Kenny Barron, Rufus Reid, Buck Clayton, Benny Carter, Billy Taylor, Harry Edison, Mel Tormé, Ernestine Anderson, Louie Bellson, John Pizzarelli, Howard Alden, Dick Hyman, Byron Stripling, Jane Jarvis, Frank Vignola y fue miembro destacado de la Toshiko Akiyoshi Jazz Orchestra.

En 2007 Wess fue nombrado un Maestro de Jazz de la NEA por la Fundación Nacional de las Artes de EE.UU.

Herbie Mann • Eastern European Roots

Review by Jonathan Widran  
The legendary flutist has traversed a lot of unique musical terrain in his lifetime, from Brazilian and Latin to Japanese, jazz, and soul. Yet until now he never explored the deeper roots of his heritage, which his liner notes explain are Eastern European and Jewish. He says that some previous attempts to convey the essence of those beginnings have resulted in dark and heavy "suffering" pieces, but here he finds the joys amidst the pain. He mixes six originals with many traditional songs. "Gypsy Jazz" explores a little mysticism with its steady marching drumbeat, some Middle Eastern percussion elements, and an explosive improvisational conversation between his lively flute and Gil Goldstein's accordion. "Balalaika Love Song" is equally mystical, with the distant mandolin of Geoff Mann echoing a darker flute and acoustic guitar meditation. Geoff Mann composed the lively jig-like "A Dance at the Rise of the Moon," which celebrates life rather than focusing on some of the darker elements of life for the Jews of that region. Essentially, it's a collection of mood swings reflecting various elements that can apply to all cultures. For years, his legacy has been doing that for every culture but his own, and now the journey comes beautifully full circle.
https://www.allmusic.com/album/eastern-european-roots-mw0000660508

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Reseña de Jonathan Widran  
El legendario flautista ha atravesado muchos terrenos musicales únicos a lo largo de su vida, desde el brasileño y el latino hasta el japonés, el jazz y el soul. Sin embargo, hasta ahora nunca había explorado las raíces más profundas de su herencia, que según sus notas de presentación son de Europa del Este y judías. Dice que algunos intentos anteriores de transmitir la esencia de esos comienzos han dado como resultado piezas oscuras y pesadas "con sufrimiento", pero aquí encuentra las alegrías en medio del dolor. Mezcla seis originales con muchas canciones tradicionales. "Gypsy Jazz" explora un poco de misticismo con su constante ritmo de marcha de tambores, algunos elementos de percusión de Oriente Medio y una explosiva conversación de improvisación entre su animada flauta y el acordeón de Gil Goldstein. "Balalaika Love Song" es igualmente mística, con la lejana mandolina de Geoff Mann haciéndose eco de una meditación más oscura de flauta y guitarra acústica. Geoff Mann compuso la animada giga "A Dance at the Rise of the Moon", que celebra la vida en lugar de centrarse en algunos de los elementos más oscuros de la vida de los judíos de esa región. Esencialmente, es una colección de cambios de humor que reflejan diversos elementos que pueden aplicarse a todas las culturas. Durante años, su legado ha estado haciendo eso para todas las culturas menos la suya, y ahora el viaje cierra el círculo de forma hermosa.
https://www.allmusic.com/album/eastern-european-roots-mw0000660508

Herbie Mann • Do the Bossa Nova with Herbie Mann

Herbie Mann • Discotheque

Herbie Mann • Concerto Grosso In D Blues (Live)

Not only is this rare LP one of Herbie Mann's own favorites, it is one of the most moving classical/jazz fusions ever recorded. Right after the 1968 Berlin Jazz Days festival, Mann, his quintet, co-composer/conductor William Fischer, and a team of 80 Berlin musicians entered Teldec studios to record the huge, ambitious title piece, a concerto that successfully spans the decades from Tchaikovsky to Stockhausen, and from New Orleans to free jazz. With some stretches of group improvisation, the piece has structure, memorable yet surprisingly simple motifs, and holds together even when stretched to the limits of coherence by general outbreaks of freeform. To fill out the album, Mann and Fischer came up with three chamber pieces that if anything are even more successful than the main course. The best of the lot, the wistful "My Little Ones" (written for Mann's children), contains what is perhaps Mann's most haunting solo on record, at once loving and soaring, backed perfectly by Fischer's economical writing for double string quartet. Richard S. Ginell, All Music Guide

 

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Este raro LP no sólo es uno de los favoritos del propio Herbie Mann, sino que es una de las fusiones de música clásica y jazz más conmovedoras jamás grabadas. Justo después del festival Berlin Jazz Days de 1968, Mann, su quinteto, el co-compositor y director de orquesta William Fischer y un equipo de 80 músicos berlineses entraron en los estudios Teldec para grabar la enorme y ambiciosa pieza del título, un concierto que abarca con éxito las décadas de Tchaikovsky a Stockhausen, y de Nueva Orleans al free jazz. Con algunos tramos de improvisación en grupo, la pieza tiene estructura, motivos memorables pero sorprendentemente sencillos, y se mantiene unida incluso cuando se estira hasta los límites de la coherencia por los brotes generales de forma libre. Para completar el álbum, Mann y Fischer han creado tres piezas de cámara que, en todo caso, tienen más éxito que el plato principal. La mejor de ellas, la melancólica "My Little Ones" (escrita para los hijos de Mann), contiene lo que quizá sea el solo más inquietante de Mann en el disco, a la vez cariñoso y elevado, respaldado perfectamente por la económica escritura de Fischer para doble cuarteto de cuerda. Richard S. Ginell, All Music Guide

Herbie Mann • Caminho de Casa

Herbie Mann • Afro-Jazziac Bop

Review - by John Bush

Few jazz musicians did more to introduce American audiences to the Latin-jazz fusion than flutist Herbie Mann, whose pop crossovers -- a generous soul would describe them as "easy to digest" -- were heard by many more listeners than the work of artistic innovators like Machito or Antonio Carlos Jobim. Though he wasn't exactly a trailblazer, Mann recorded a lot of exemplary music, and two of his earliest and most vital dates are heard on Afro-Jazziac Bop, a 2003 compilation released by Fuel 2000. (The same items also appear on a 1999 Entertainers collection titled Brazilian Soft Shoe.) Comprising a pair of co-billed LPs recorded just before he formed his Afro-Jazz Sextet in 1959, the disc includes music originally heard on the 1959 Roulette LP Machito With Flute to Boot and the 1958 Mode LP Flute Fraternity (with Buddy Collette). For the first, Mann is featured in front of Machito's Orchestra, with the addition of Johnny Griffin on tenor and Curtis Fuller on trombone. His jaunty solos fit in well with Machito's stately swing, while the titles alternate boppish experiments ("To Birdland and Hurry") with evocative overseas postcards ("African Flute," "Calypso John"). The other session is a slim and limber West Coast date, featuring Mann and fellow reed player Collette playfully trading solos -- in fact, "Herbie's Buddy" has them interacting first on flute, then tenor, then clarinet. Taken together, the two sets heard on Afro-Jazziac Bop don't equal his Savoy work of the same time, but both of them equal or go beyond his more popular Atlantic records.

Biography by Scott Yanow

Herbie Mann played a wide variety of music throughout his career. He became quite popular in the 1960s, but in the '70s became so immersed in pop and various types of world music that he seemed lost to jazz. However, Mann never lost his ability to improvise creatively as his later recordings attest.

Herbie Mann began on clarinet when he was nine but was soon also playing flute and tenor. After serving in the Army, he was with Mat Mathews' Quintet (1953-1954) and then started working and recording as a leader. During 1954-1958 Mann stuck mostly to playing bop, sometimes collaborating with such players as Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar, and Charlie Rouse. He doubled on cool-toned tenor and was one of the few jazz musicians in the '50s who recorded on bass clarinet; he also recorded a full album in 1957 (for Savoy) of unaccompanied flute.

After spending time playing and writing music for television, Mann formed his Afro-Jazz Sextet, in 1959, a group using several percussionists, vibes (either Johnny Rae, Hagood Hardy, or Dave Pike) and the leader's flute. He toured Africa (1960) and Brazil (1961), had a hit with "Comin' Home Baby," and recorded with Bill Evans. The most popular jazz flutist during the era, Mann explored bossa nova (even recording in Brazil in 1962), incorporated music from many cultures (plus current pop tunes) into his repertoire, and had among his sidemen such top young musicians as Willie Bobo, Chick Corea (1965), Attila Zoller, and Roy Ayers; at the 1972 Newport Festival his sextet included David Newman and Sonny Sharrock. By then Mann had been a producer at Embroyo (a subsidiary of Atlantic) for three years and was frequently stretching his music outside of jazz. As the '70s advanced, Mann became much more involved in rock, pop, reggae, and even disco. After leaving Atlantic at the end of the '70s, Mann had his own label for awhile and gradually came back to jazz. He recorded for Chesky, made a record with Dave Valentin, and in the '90s founded the Kokopelli label on which before breaking away in 1996, he was free to pursue his wide range of musical interests. Through the years, he recorded as a leader for Bethlehem, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli, and most significantly Atlantic. He passed away on July 1, 2003, following an extended battle with prostate cancer. His last record was 2004's posthumously released Beyond Brooklyn for Telarc.

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Review - by John Bush

Few jazz musicians did more to introduce American audiences to the Latin-jazz fusion than flutist Herbie Mann, whose pop crossovers -- a generous soul would describe them as "easy to digest" -- were heard by many more listeners than the work of artistic innovators like Machito or Antonio Carlos Jobim. Though he wasn't exactly a trailblazer, Mann recorded a lot of exemplary music, and two of his earliest and most vital dates are heard on Afro-Jazziac Bop, a 2003 compilation released by Fuel 2000. (The same items also appear on a 1999 Entertainers collection titled Brazilian Soft Shoe.) Comprising a pair of co-billed LPs recorded just before he formed his Afro-Jazz Sextet in 1959, the disc includes music originally heard on the 1959 Roulette LP Machito With Flute to Boot and the 1958 Mode LP Flute Fraternity (with Buddy Collette). For the first, Mann is featured in front of Machito's Orchestra, with the addition of Johnny Griffin on tenor and Curtis Fuller on trombone. His jaunty solos fit in well with Machito's stately swing, while the titles alternate boppish experiments ("To Birdland and Hurry") with evocative overseas postcards ("African Flute," "Calypso John"). The other session is a slim and limber West Coast date, featuring Mann and fellow reed player Collette playfully trading solos -- in fact, "Herbie's Buddy" has them interacting first on flute, then tenor, then clarinet. Taken together, the two sets heard on Afro-Jazziac Bop don't equal his Savoy work of the same time, but both of them equal or go beyond his more popular Atlantic records.

Biografía de Scott Yanow

Herbie Mann tocó una gran variedad de música a lo largo de su carrera. Se hizo muy popular en la década de 1960, pero en la década de los 70 se sumergió tanto en el pop como en varios tipos de músicas del mundo que parecía perdido en el jazz. Sin embargo, Mann nunca perdió su capacidad de improvisar creativamente como lo atestiguan sus últimas grabaciones.

Herbie Mann comenzó a tocar el clarinete cuando tenía nueve años, pero pronto también tocaba flauta y tenor. Después de servir en el Ejército, estuvo con Mat Mathews 'Quintet (1953-1954) y luego comenzó a trabajar y grabar como líder. Durante 1954-1958, Mann se dedicó principalmente a jugar bop, a veces colaborando con jugadores como Phil Woods, Buddy Collette, Sam Most, Bobby Jaspar y Charlie Rouse. Se dobló con un tenor de tono frío y fue uno de los pocos músicos de jazz en los años 50 que grabaron en el clarinete bajo; también grabó un álbum completo en 1957 (para Savoy) de flauta no acompañada.

Después de pasar el tiempo tocando y escribiendo música para la televisión, Mann formó su Sexteto Afro-Jazz, en 1959, un grupo que utiliza varios percusionistas, vibraciones (ya sea Johnny Rae, Hagood Hardy o Dave Pike) y la flauta del líder. Realizó una gira por África (1960) y Brasil (1961), tuvo un éxito con "Comin 'Home Baby" y grabó con Bill Evans. El flautista de jazz más popular durante la era, Mann exploró la bossa nova (incluso grabando en Brasil en 1962), incorporó música de muchas culturas (más las melodías pop actuales) en su repertorio, y tuvo entre sus dirigentes a músicos jóvenes tan importantes como Willie Bobo. Chick Corea (1965), Attila Zoller y Roy Ayers; en el Festival de Newport de 1972, su sexteto incluía a David Newman y Sonny Sharrock. Para entonces, Mann había sido productor en Embroyo (una subsidiaria de Atlantic) durante tres años y frecuentemente estaba extendiendo su música fuera del jazz. A medida que avanzaban los años 70, Mann se involucró mucho más en el rock, el pop, el reggae e incluso la discoteca. Después de dejar Atlantic a finales de los años 70, Mann tuvo su propio sello por un tiempo y gradualmente volvió al jazz. Grabó para Chesky, grabó un disco con Dave Valentin, y en los años 90 fundó el sello Kokopelli, en el cual, antes de separarse en 1996, tenía libertad para dedicarse a su amplia gama de intereses musicales. A través de los años, grabó como líder para Belén, Prestige, Epic, Riverside, Savoy, Mode, New Jazz, Chesky, Kokopelli y, lo más importante, Atlantic. Falleció el 1 de julio de 2003, luego de una prolongada batalla contra el cáncer de próstata. Su último disco fue 2004, lanzado póstumamente Beyond Brooklyn para Telarc.

Herbie Mann & Tamiko Jones • A Mann and a Woman

Dave Valentin & Herbie Mann • Two Amigos

Bobbi Humphrey • Flute-In

Artist Biography by Stephen Thomas Erlewine
Bobbi Humphrey is a jazz flautist whose musical tastes lean toward fusion and smooth jazz-pop. From the outset of her career, Humphrey was quite popular, winning a large crossover audience with her pop-oriented jazz-fusion. Throughout her career, her popularity exceeded her critical acclaim, but she received high marks for her technique and showmanship. Audiences stayed with Humphrey for decades, buying her records and attending her concerts from the Montreux Festival to Carnegie Hall.
Although Bobbi Humphrey was born in Marlin, TX, she was raised in Dallas. She began playing flute in high school and continued her studies at Texas Southern University and Southern Methodist University. Dizzy Gillespie saw Humphrey play at a talent contest at Southern Methodist and, impressed with what he had heard, he urged her to pursue a musical career in New York City. She followed through on his advice, getting her first big break performing at the Apollo Theater on amateur night. Shortly afterward, she began playing regularly throughout the city, including a gig with Duke Ellington.
Humphrey signed with Blue Note in 1971. Her smooth blend of jazz, funk, pop, and R&B fit in well with the new sound of Blue Note, and her six albums for the label -- Flute In, Dig This, Blacks and Blues, Satin Doll, Live at Montreux, and Fancy Dancer -- were all successes. In particular, 1973's Blacks and Blues was a rousing success, earning her a crossover pop and R&B audience. That same year, she played the Montreux Festival in Switzerland. In 1976, she was named Best Female Instrumentalist by Billboard. The following year, she switched record labels, signing with Epic and releasing Tailor Made that same year. She also played on Stevie Wonder's platinum album Songs in the Key of Life in 1977.
Tailor Made was the first of three albums for Epic Records; Freestyle followed in 1978 and The Good Life appeared about a year afterward. During the '80s, Humphrey continued to perform regularly, even if she didn't record often. She returned to recording in 1989, releasing City Beat on Malaco Records. Five years later, Passion Flute appeared on her own Paradise Sounds label, where she is President and C.E.O.

 

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Biografía del artista por Stephen Thomas Erlewine
Bobbi Humphrey es una flautista de jazz cuyos gustos musicales se inclinan hacia la fusión y el jazz-pop suave. Desde el principio de su carrera, Humphrey fue bastante popular, ganando un gran público con su jazz-fusión orientado al pop. A lo largo de su carrera, su popularidad superó el reconocimiento de la crítica, pero recibió altas calificaciones por su técnica y espectáculo. El público siguió a Humphrey durante décadas, comprando sus discos y asistiendo a sus conciertos desde el Festival de Montreux hasta el Carnegie Hall.
Aunque Bobbi Humphrey nació en Marlin, Texas, se crió en Dallas. Empezó a tocar la flauta en el instituto y continuó sus estudios en la Texas Southern University y la Southern Methodist University. Dizzy Gillespie vio a Humphrey tocar en un concurso de talentos en la Southern Methodist e, impresionado por lo que había oído, la instó a seguir una carrera musical en Nueva York. Ella siguió su consejo y consiguió su primera gran oportunidad actuando en el Teatro Apollo en una noche de aficionados. Poco después, empezó a tocar con regularidad por toda la ciudad, incluida una actuación con Duke Ellington.

Humphrey firmó con Blue Note en 1971. Su suave mezcla de jazz, funk, pop y R&B encajaba bien con el nuevo sonido de Blue Note, y sus seis álbumes para el sello -Flute In, Dig This, Blacks and Blues, Satin Doll, Live at Montreux y Fancy Dancer- fueron todos un éxito. En particular, Blacks and Blues, de 1973, fue un éxito rotundo, que le valió una audiencia de pop y R&B transversal. Ese mismo año actuó en el Festival de Montreux, en Suiza. En 1976, fue nombrada mejor instrumentista femenina por Billboard. Al año siguiente, cambió de sello discográfico, firmando con Epic y publicando Tailor Made ese mismo año. También tocó en el álbum de platino de Stevie Wonder Songs in the Key of Life en 1977.

Tailor Made fue el primero de tres álbumes para Epic Records; Freestyle le siguió en 1978 y The Good Life apareció aproximadamente un año después. Durante los años 80, Humphrey siguió actuando con regularidad, aunque no grabara a menudo. Volvió a grabar en 1989, publicando City Beat en Malaco Records. Cinco años más tarde, Passion Flute apareció en su propio sello Paradise Sounds, del que es presidenta y consejera delegada.

 

Herbie Mann • Do The Bossa Nova & Latin Fever

Elena Duran, Stéphane Grappelli & Laurie Holloway • Bach to the Beatles