Podcasts about zawinul

Sven Hammond; Michelle David – Music Makes Me Move This Way – 3:46 JH!MP – Ode to Zawinul – 7:52 Myroslav Levytsky; Magic Moreno – The House by the River – 6:55 Soren Reiff; Gianni Vancini; Michito Sanchez; Wes Stephenson; Kim S. Hansen; Jonathan Lundberg – Isolated – 5:45 Derek Sherinian; Simon Phillips – Seven […]

El guitarrista Toninho Horta, autor de la sintonía de nuestro programa, se presenta el 1 de noviembre en La Laguna (Tenerife), el 2 en Las Palmas, el 5 en Madrid y el día 6 en Valencia. Le escuchamos en 'Durango kid', 'Céu de Brasilia', 'Magical trumpets', 'Pilar', 'Waiting for Angela', 'Aqui oh!', 'Falso inglês', 'Bons amigos', 'Ballad for Zawinul' -con Wayne Shorter-, 'Prato feito' -con Pat Metheny- y 'Manoel, o audaz' -con Lô Borges y Pat Metheny-.Escuchar audio

Playlist   Track Time Start Time Opening and Introduction (Thom Holmes) 11:57 00:00 1.    Herbie Hancock, Herbie Hancock Demonstrates The Rhodes Piano (1973 Rhodes). A terrific flexi-disc produced by Rhodes and narrated by Hancock who tells an interesting story about his first encounter with the instrument on a Miles Davis session and then he walks the keyboard through a series of effects. He speaks with the authority of a proud electronics tinkerer who understands the nuances that make this instrument so beloved by jazz musicians. This flexi-disc was originally delivered in the November 8, 1973 issue of Down Beat magazine. I provide both sides of the disc, in entirety. Tunes included during the demonstration include parts of Watermelon Man, Maiden Voyage, and The Spook. Soloist, Rhodes Electric Piano, Voice, Herbie Hancock. I thought it would be wisest to lead off this podcast with an overview of the Rhodes even though it is out of chronological sequence, being from 1973. We then go back a few years to hear tracks in proper time order. 12:48 11:57 2.    The Don Ellis Orchestra, “Open Beauty” from Electric Bath (1967 Columbia). Alto Saxophone, Flute, Soprano Saxophone, Joe Roccisano, Ruben Leon; Baritone Saxophone, Flute, Bass Clarinet, John Magruder; Bass, Dave Parlato, Frank De La Rosa; Bass, Sitar, Ray Neapolitan; Congas, Bongos, Chino Valdes; Drums, Steve Bohannon; Leader, Trumpet, Don Ellis; Percussion, Alan Estes; Piano, Clavinet, Fender Electric Piano Fender, Mike Lang; Tenor Saxophone, Flute, Clarinet, Ron Starr; Tenor Saxophone, Flute, Piccolo Flute, Clarinet, Ira Schulman; Timbales, Vibraphone, Percussion , Mark Stevens; Trombone, Dave Sanchez, Ron Myers, Terry Woodson; Trumpet, Alan Weight, Bob Harmon, Ed Warren, Glenn Stuart. 5:33 24:44 3.    Miles Davis, “Stuff” from Miles In The Sky (1968 Columbia). I think this was Miles' first album recorded using the Fender Rhodes, played by Herbie Hancock. See the opening tracks from this podcast for a story about this session from Hancock. Bass, Ron Carter; Drums, Tony Williams; Piano, Fender Electric Piano, Herbie Hancock; Tenor Saxophone, Wayne Shorter; Trumpet, Miles Davis. 16:59 30:14 4.    Joe Zawinul, “The Soul Of A Village (Part II)” from The Rise & Fall Of The Third Stream (1968 Vortex). Zawinul, along with Hancock, was an early adopter of the Fender Rhodes. Cello, Kermit Moore; Double Bass, Richard Davis; Drums, Freddie Waits, Roy McCurdy; Percussion, Warren Smith; Piano, Fender Electric Piano, Joe Zawinul; Tenor Saxophone, Arranged by, William Fischer; Trumpet, Jimmy Owens; Viola, Alfred Brown, Selwart Clarke, Theodore Israel. 4:16 47:10 5.    Oliver Nelson and Steve Allen, “Go Fly a Kite” from Soulful Brass (1968 Impulse). Another Steve Allen record, whom we heard from in part 1 playing the Wurlitzer Electric Piano. Here is a selection from an album on which he plays the Rock-Si-Chord and occasional piano. Arranged by Oliver Nelson; Rock-Si-Chord, piano, Steve Allen; Drums, Jimmy Gordon; session musicians, Barney Kessel, Bobby Bryant, Larry Bunker, Roger Kellaway, Tom Scott; Produced by Bob Thiele. 2:30 51:24 6.    J & K “Mojave” from Betwixt & Between (1969 A&M, CTI). “J” is J.J. Johnson (trombonist) and “K” is Kai Winding (trombonist). Their ensemble included Roger Kellaway playing the electric clavinette. An example of using the clavinet in jazz. This was most likely a Hohner Clavinet Model C which had just been introduced in 1968. Recorded at Van Gelder Studios during late 1968. 2:31 53:54 7.    Albert Ayler, “New Generation” from New Grass (1969 Impulse). An electric harpsichord played by Call Cobbs adds some subtle comping to this buoyant tune written by Ayler, Mary Parks, Rose Marie McCoy. Baritone Saxophone, Buddy Lucas; Design Cover And Liner, Byron Goto, Henry Epstein; Drums, Pretty Purdie; Electric Bass, Bill Folwell; Piano, Electric Harpsichord, Organ, Call Cobbs; Producer, Bob Thiele; Tenor Saxophone, Flute, Seldon Powell; Tenor Saxophone, Vocals, Albert Ayler; Trombone, Garnett Brown; Trumpet, Burt Collins, Joe Newman; Vocals, The Soul Singers. 5:06 56:22 8.    Bill Evans, “I'm All Smiles” from From Left To Right (1970 MGM). Piano, Rhodes Electric Piano, Bill Evans; Bass, John Beal; Conducted, arranged by Michael Leonard; Double Bass, Eddie Gomez; Drums,Marty Morell; Guitar, Sam Brown; Liner Notes, Harold Rhodes, Helen Keane, Michael Leonard; Produced by Helen Keane. For his 24th solo album, the long-established jazz pianist Evans took his turn playing both the Fender Rhodes and Steinway acoustic piano on this album, as two-handed duets no less. Liner notes were written by Harold Rhodes, inventor of the Rhodes Electric Piano. 5:42 1:01:24 9.    Sun Ra And His Intergalactic Research Arkestra, “Black Forest Myth” from It's After The End Of The World - Live At The Donaueschingen And Berlin Festivals (1971 MPS Records). You can hear Sun Ra enticing other-worldly sounds from a Farfisa organ beginning at about 1:35. Recorded in 1970. Of the many electronic keyboards heard elsewhere on this album (and occasionally on this track), here the Farfisa is heard the most. Farfisa organ, Hohner Electra, Hohner Clavinet, Piano, Performer, Rock-Si-Chord, Spacemaster, Minimoog, Voice, composed by, arranged by, Sun Ra; ; Alto Saxophone, Clarinet, Flute, Abshlom Ben Shlomo; Alto Saxophone, Flute, Clarinet, Danny Davis; Alto Saxophone, Flute, Oboe, Piccolo Flute, Drums, Marshall Allen; Baritone Saxophone, Alto Saxophone, Flute, Danny Thompson; Baritone Saxophone, Tenor Saxophone, Alto Saxophone, Clarinet, Bass Clarinet, Flute, Drums, Pat Patrick; Bass, Alejandro Blake Fearon; Bass Clarinet, Robert Cummings; Drums, Lex Humphries; Drums, Oboe, Flute, James Jackson; English Horn, Augustus Browning; Mellophone, Trumpet, Ahk Tal Ebah; Oboe, Bassoon, Bass Clarinet, Leroy Taylor; Percussion African, Other Fireeater, Dancer , Hazoume; Percussion Hand Drums, Nimrod Hunt; Percussion, Other Dancer, Ife Tayo, Math Samba; Photography By, Hans Harzheim; Producer, Liner Notes, Joachim E. Berendt; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Kwame Hadi; Violin, Viola, Cello, Bass, Alan Silva; Voice, June Tyson. 9:07 1:07:05 10.Joe Scott And His Orchestra, “Raindrops Keep Fallin' On My Head” from Motion Pictures - The NOW Generation (1970 Mainstream). Listen for the Rock-Si-Chord in electric harpsichord mode. Bass, Charles Rainey; Cello, Charles McCracken, Gene Orloff, George Ricci, Maurice Bialkin;  Drums, Alvin Rogers, Joe Cass; Flute, Alto Flute, Bassoon, Tenor Flute, George Dessinger, Joe Soldo, Joseph Palmer, Philip Bodner; Flute, Flute Tenor, Alto Flute, Bassoon, Walt Levinsky; French Horn, Donald Corrado; Guitar, Jay Berliner, Stuart Scharf; Keyboards Rock-Si-Chord, Frank Owens; Mastered By Mastering, Dave Crawford (2); Percussion, Joseph Venuto; Piano, Frank Owens; Producer, Bob Shad; Trombone, Buddy Morrow, Tony Studd, Warren Covington, Wayne Andre; Trumpet, Bernie Glow, James Sedlar, John Bello, Mel Davis; Viola, Emanuel Vardi, Harold Coletta, John DiJanni, Theodore Israel; Violin, Aaron Rosand, Arnold Eidus, Emanuel Green, Frederick Buldrini, Harold Kohon, Harry Lookofsky, Joseph Malignaggi, Jules Brand, Leo Kahn, Lewis Eley, Mac Ceppos, Max Pollikoff, Paul Gershman, Peter Buonoconsiglio, Raymond Gniewek, Rocco Pesile, Winston Collymore. 2:28 1:16:12 11.The Phoenix Authority, “One” from Blood, Sweat & Brass (1970 Mainstream). Note the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 2:43 1:18:38 12.The Phoenix Authority, “Sugar, Sugar” from Blood, Sweat & Brass (1970 Mainstream). Listen for the Rock-Si-Chord. Arranged by Ernie Wilkins; Bass, Charles Rainey; Drums, Grady Tate, Herbie Lovelle; Flute, Alto Saxophone, Baritone Saxophone, Tenor Saxophone, Chris Woods, Hubert Laws; Guitar, David Spinosa, Kenneth Burrell; Organ, Piano, Rock-Si-Chord, Frank Anderson, Frank Owen; Producer, Bob Shad; Trombone, Benny Powell, George Jeffers; Trumpet, Joseph Newman, Lloyd Michaels, Ray Copeland, Woody Shaw. 3:34 1:21:20 Sun Ra's flare for electronic sound in performance is demonstrated in the following three tracks that make excellent use of the several keyboards, the Farfisa organ, Minimoog, and Rock-Si-Chord. 13.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Discipline No. 11” from Nidhamu (Live In Egypt Vol. II) (1974 El Saturn Records). Recorded at Ballon Theater, Cairo, Egypt December 17, 1971. Sun Ra playing several electronic keyboards in turn, the organ, Minimoog, and Rock-si-Chord. What I hear is some organ (Farfisa?) in the opening, then Sun Ra turns to a wild exchange between the Minimoog (monophonic) and Rock-Si-chord (polyphonic) during the second half of the track. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged By, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 9:31 1:24:52 14.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Cosmo-Darkness” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). Beginning around 0:26, you get an example of Sun Ra's rhythmic, trace-like playing of the Rock-Si-Chord. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:05 1:34:25 15.Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “Solar Ship Voyage” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic). This track features Sun Ra and the Minimoog in an extended solo. Alto Saxophone, Congas, Larry Northington; Alto Saxophone, Flute, Danny Davis, Hakim Rahim; Alto Saxophone, Flute, Oboe, Marshall Allen; Baritone Saxophone, Pat Patrick; Baritone Saxophone, Flute, Danny Thompson; Bass Clarinet, Elo Omoe; Composed By, Arranged by, Piano, Organ, Minimoog, Rock-Si-Chord, Sun Ra; Engineer Recording Engineer, Tam Fiofori; Percussion, Lex Humphries, Tommy Hunter; Photography By, Sam Bankhead; Photography Liner Photo, Mike Evans; Producer, Infinity Inc. And The East; Tenor Saxophone, Percussion, John Gilmore; Trumpet, Congas, Kwame Hadi; Vocals, June Tyson. 2:40 1:36:30 Herbie Hancock mastered an array of keyboards, including the Fender Rhodes and several ARP models in the next three tracks tracing only two years in his musical journey. 16.Herbie Hancock, “Rain Dance” from Sextant (1973 Columbia). Patrick Gleason provides beats and beeps using the ARP 2600 and ARP Soloist. Bass Trombone, Tenor Trombone, Trombone Alto Trombone, Cowbell, Pepo (Julian Priester); Congas, Bongos, Buck Clarke; Drums, Jabali (Billy Hart); Effects Random Resonator, Fundi Electric Bass Fender Electric Bass With Wah-Wah And Fuzz, Double Bass, Mchezaji (Buster Williams); Electric Piano Fender Rhodes, Clavinet Hohner D-6 With Fender Fuzz-Wah And Echoplex, Percussion Dakka-Di-Bello, Mellotron, Piano Steinway, Handclaps, Songs by Mwandishi (Herbie Hancock); Synthesizer, Mellotron, John Vieira; Soprano Saxophone, Bass Clarinet, Piccolo Flute, Afoxé Afuche, Kazoo Hum-A-Zoo, Mwile (Benny Maupin); ARP 2600, ARP Soloist, Dr. Patrick Gleeson; Trumpet, Flugelhorn, Mganga (Dr. Eddie Henderson). 9:19 1:39:08 17.  Herbie Hancock, “Palm Grease” from Thrust (1974 Columbia). Hancock himself plays all the keyboards and synthesizers on this album. Drums, Mike Clark; Electric Bass, Paul Jackson; Electric Piano Fender Rhodes, Clavinet Hohner D-6, Synthesizer Arp Odyssey, Arp Soloist, Arp 2600, Arp String, written by Herbie Hancock; Percussion, Bill Summers; Producers, David Rubinson, Herbie Hancock; Soprano Saxophone, Tenor Saxophone, Bass Clarinet, Alto Flute, Bennie Maupin. 10:36 1:48:18 18.Herbie Hancock, “Nobu” = ノブ from Dedication = デディケーショ(1974 CBS/Sony). Fascinating recording because it is Hancock solo with an assortment of keyboards, including the Fender Rhodes and multiple ARP models. Piano, Fender Rhodes, Arp Pro Soloist, Arp Odyssey, Arp 3604, Arp 2600, Arp PE-IV String Ensemble, composed by Herbie Hancock; Engineer, Tomoo Suzuki; Producer, David Rubinson. 7:33 1:58:46 The analog synthesizer became a regular companion of the Fender Rhodes in jazz, leading up to the end of the 1970s. 19.Bobbi Humphrey, “My Little Girl” from Satin Doll (1974 Blue Note). The great jazz funk flutist Bobbi Humphrey released a series of albums around this time that often-featured fantastic synthesizer players. Here you can pick out the Minimoog by Don Preston and the ARP (Odyssey?) by Larry Mizell. The synths included here are in contrast to the more experimental sounds that Herbie Hancock was issuing at the same time. Flute, Vocals, Bobbi Humphrey; ARP Synthesizer, Larry Mizell; Minimoog, Don Preston; Bass, Chuck Rainey; Congas, King Errison; Drums, Harvey Mason; Electric Piano Fender Rhodes, Fonce Mizell, Larry Mizell; Guitar, John Rowin, Melvin "Wah Wah" Ragin; Percussion, Roger Sainte, Stephany Spruill; Piano, Jerry Peters; Produced by Chuck Davis, Larry Mizell; Trumpet, Fonce Mizell. 6:39 2:06:19 20.Ramsey Lewis, “Jungle Strut” from Sun Goddess (1974 Columbia). Another mainstream jazz artist who found many interesting sounds to accompany his electric piano. ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Congas, Drums, Derf Rehlew Raheem, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Synthesizer Freeman String, Ramsey Lewis; Tambura, Percussion, Maurice Jennings; Vocals, Derf Rehlew Raheem; Written by, R. Lewis. 4:40 2:12:54 21.  Ramsey Lewis, “Tambura” from Sun Goddess (1974 Columbia). ARP, ARP Ensemble, Piano, Fender Rhodes, Wurlitzer electric piano, Ramsey Lewis; Drums, Tambura, Congas, Percussion, Maurice Jennings; Electric Upright Bass Fender, Cleveland Eaton; Guitar, Byron Gregory; Written by R. Lewis. 2:52 2:17:32 22.Clark Ferguson, “Jazz Flute” from RMI Harmonic Synthesizer And Keyboard Computer (1974 Rocky Mount Instruments, Inc.). Not an instrument often used in jazz, so I turn to the company's demonstration album for a sample of this more advanced in the RMI keyboard family. RMI Harmonic Synthesizer, Clark Ferguson. 2:43 2:20:24 23.  Fernando Gelbard, “Sombrero De Flores” from Didi (1974 Discos Redonde). A straight-up jazz track from Argentine musicial Gelbard that features both the Fender Rhodes and the Minimoog. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 7:25 2:23:04 24.  Fernando Gelbard, “Mojo Uno” from Didi (1974 Discos Redonde). This track features an outrageously unique Minimoog part that is akin to something you would hear from Sun Ra. Fender Rhodes, Minimoog, Fernando Gelbard; Bass, Ricardo Salas; Congas, Vocals, Ruben Rada; Drums, Norberto Minichillo; Fender Rhodes, Minimoog, Fernando Gelbard; Percussion, Effects, Miguel "Chino" Rossi; Producer, Alberto M. Tsalpakian, Juan Carlos Maquieira; Tenor Saxophone, Horacio "Chivo" Borraro. 2:00 2:30:28 25.Jan Hammer “Darkness / Earth In Search Of A Sun” from The First Seven Days (1975 Atlantic). On this track you get to hear (I think) three different synthesizers all fit for Hammer's purpose, the solo Moog, Oberheim fills, and Freeman strings. Producer, Engineer, Piano, Electric Piano, Moog, Oberheim, and the Freeman string synthesizer; digital sequencer, Drums, Percussion, Composed by, Jan Hammer. 4:29 2:32:26 26.Larry Young's Fuel, “Moonwalk” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 5:32 2:36:52 27.Larry Young's Fuel, “Startripper” from Spaceball (1976 Arista). CDX-0652 Portable Moog Organ, Minimoog , FRM-S810 Freeman String Symphonizer, Organ Hammond B-3, Fender Rhodes, Piano, Larry Young Jr.; Bass Rickenbacker, Dave Eubanks; Hohner Clavinet , Piano, Minimoog, Julius Brockington; Drums Ludwig Drums, Zildgian Cymbals, Percussion, Jim Allington; Guest Special Guest Star, Larry Coryell; Guitar, Danny Toan, Ray Gomez; Percussion, Abdoul Hakim, Barrett Young, Clifford Brown, Farouk; Producer, Terry Philips; Tenor Saxophone Selmer, Soprano Saxophone Selmer, Flute Armstrong, Vocals, Al Lockett; Vocals, Paula West. 4:44 2:42:22 28.Wolfgang Dauner, “Stück Für Piano Und Synthesizer Op. 1” from Changes (1978 Mood Records). Dauner is one of the only jazz players to utilize the massive EMS Synthi 100. Written, produced, recorded, Steinway C-Flügel piano, EMS Synthi 100, Oberheim 4 Voice Polyphonic Synthesizer, Wolfgang Dauner. 9:51 2:47:04 29.Wolfgang Dauner, “War Was, Carl?” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). More analog synthesizer jazz from Germany. C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:12 2:56:54 30.Wolfgang Dauner, “Intellektuelles Skalpell” from Grandison - Musik Für Einen Film (1979 Zweitausendeins). C-flute, Alt-flute, Baß-flute, Manfred Hoffbauer; Oboe, English Horn, Hanspeter Weber; Percussion, Drums,  Jörg Gebhard; Piano, Synthesizer, Percussion, Conductor, Wolfgang Dauner. 1:26 2:58:06   Opening background music: 1) Sun Ra And His Astro-Intergalactic-Infinity-Arkestra,' “The Light Thereof” from Live In Egypt Vol. I (Nature's God) (Dark Myth Equation Visitation) (1972 Thoth Intergalactic) (5:14). Farfisa organ playing from Sun Ra. 2) Oliver Nelson and Steve Allen, “Green Tambourine” from Soulful Brass (1968 Impulse) (2:28). Steve Allen plays the Rock-Si-Chord. 3) Oliver Nelson and Steve Allen, “Torino” from Soulful Brass (1968 Impulse) (2:02). Steve Allen plays the Rock-Si-Chord. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For a transcript, please see my blog, Noise and Notations. I created an illustrated chart of all of the instruments included in this podcast, paying special attention to the expressive features that could be easily adopted by jazz musicians. You can view it on my blog, Noise and Notations.  

Después de un episodio triple sobre Wayne Shorter, Litto Nebbia dedicó la primera parte de un nuevo especial -esta vez doble- al tecladista y compositor austríaco Joe Zawinul. No es casual: ambos lideraron el grupo de jazz-fusión Weather Report. En su faceta solista, Zawinul lanzó varios discos, uno de ellos titulado "Historias del Danubio", que Litto compartió en esta emisión.

Hoy os vamos a ofrecer el tercer trabajo de un músico extraordinario, el guitarrista, vocalista, compositor y arreglista brasileño Toninho Horta. El trabajo se llamó Diamonds Land y contiene algunas de las composiciones mas inspiradas de la carrera de este músico que comenzó su trayectoria a finales de los 60s y que actualmente sigue plenamente activo. Diamonds Land fue grabado con una extraordinaria banda de músicos que incluye a gente del nivel de Mauro Senise, Jacques Morelembaum, Robertinho Silva, Arthur Maia, Jamil Joanes, Iuri Popoff, Hugo Fattoruso o Nivaldo Ornelas además de colaboraciones especiales como la del saxofonista Wayne Shorter que participa en Ballad for Zawinul, un tema de Iuri Popoff, bajista de la sesión, dedicado a Joe Zawinul , la del teclista Flavio Venturini en Sunflower o la de la cantante, guitarrista y compositora Joyce, amiga personal de Horta, que participa en dos cortes, Raul y la deliciosa Beijo Partido, aquí llamada Broken Kiss, donde además de poner su preciosa voz se hizo cargo de la versión inglesa de la letra. Esperamos que lo disfrutéis. TRACKS A1 - Mountain Flight (Toninho Horta) A2 - Ballad For Zawinul (Iuri Popoff) A3 - Raul (Toninho Horta) A4 - Sunflower (Lo Borges, Marcio Borges) A5 - Luisa (Toninho Horta) B1 - From The Lonely Afternoons (Fernando Brant, Milton Nascimento) B2 - Pilar (Toninho Horta) B3 - Waiting For Angela (Toninho Horta) B4 - Diamond Land ( Juarez Moreira) B5 - Broken Kiss (Toninho Horta, Joyce) CREDITS Acoustic Guitar, Electric Guitar, Arranged By, Vocals, Producer – Toninho Horta Alto Saxophone – Mauro Senise Backing Vocals – Andréa Daltro, Eveline Hecker, Maria de Fatima Fattoruso, Paula Morelenbaum, Silvana Malta Bongos, Pandeiro, Claves, Afoxé, Triangle, Surdo, Ganzá, Tamborim – Armando Marçal Cello – Jaques Morelenbaum, Marcio Mallard Drums – Kenwood Dennard, Nenem, Teo Lima Drums, Percussion – Robertinho Silva Electric Bass – Arthur Maia, Jamil Joanes Electric Bass, Acoustic Bass – Nico Assumpção Electric Bass, Arranged By – Iuri Popoff Flugelhorn – Marcio Montarroyos Flute – Lena Horta, Paulo Guimarães Keyboards – Helvius Vilela, Jim Beard Keyboards, Arranged By – Hugo Fattoruso Percussion, Agogô, Effects – Ronaldo Silva Percussion, Effects, Afoxé – Wanderley Silva Tenor Saxophone – Carlos Watkins Tenor Saxophone, Flute – Nivaldo Ornelas Trombone – Vittor Santos Viola – Arlindo Penteado, Frederick Stephany Violin – Alfredo Vidal, Carlos Eduardo Hack, Michel Bessler, Walter Hack

Als Kind im Zweiten Weltkrieg hat er Schreckliches erlebt, als Musiker dann hatte er aber eine Karriere aus dem Bilderbuch: Joe Zawinul. Kaum in Boston am Berklee College, wird Joe Zawinul schon eingeladen u.a. von der Sängerin Dinah Washington, wird jahrelang zum Pianisten erster Wahl von Cannonball Adderley, spielt historische Jazz-Rock-Alben ein mit Miles Davis und wird mit seiner eigenen Band "Weather Report" endgültig zum Jazz-Weltstar. Nervös war er offenbar nie, in einen Starkult abgehoben ist aber ebenso wenig, erzählt der österreichische Pianist David Helbock. Er hat Joe Zawinul verschiedentlich gesehen und auch kennengelernt, als er in einer Vorband vor Zawinul aufgetreten ist und backstage seine Band kennengelernt hat - und er ist zu Gast in der Jazz Collection bei Jodok Hess.

Das Leben mit dem Dinosaurier wird immer anstrengender. Zawinul ist ganz durcheinander. Ob das etwa alles an seinem eigenen ungewöhnlichen Namen liegt?! Aus der OHRENBÄR-Hörgeschichte: Dinosaurier gibt es nicht (Folge 7 von 7) von Hanna Johansen. Es liest: Gabriele Buch.

Zawinul hat mit seinem Dinosaurierküken alle Hände voll zu tun. Es will nonstop beschäftigt werden und alles genau wissen. Wo es auftaucht, steht es im Mittelpunkt. Aus der OHRENBÄR-Hörgeschichte: Dinosaurier gibt es nicht (Folge 6 von 7) von Hanna Johansen. Es liest: Gabriele Buch.

Noch ist der Dinosaurier ein Küken. Eindrucksvoll fängt und verspeist er eine Fliege. Zawinul stöbert in Büchern: Geschlüpft ist ein Compsognathus, ein Zwergdinosaurier. Aus der OHRENBÄR-Hörgeschichte: Dinosaurier gibt es nicht (Folge 3 von 7) von Hanna Johansen. Es liest: Gabriele Buch.

Unmöglich, oder?! Ist aus dem Osterei wirklich ein Dinosaurier geschlüpft? Sind die nicht längst ausgestorben? Zawinul sorgt sich, dass dieser nicht lange so klein bleibt. Aus der OHRENBÄR-Hörgeschichte: Dinosaurier gibt es nicht (Folge 2 von 7) von Hanna Johansen. Es liest: Gabriele Buch.

Zawinul hat nicht nur einen ungewöhnlichen Namen – er erlebt auch Unmögliches! Denn was schlüpft da aus dem Osterei und sagt Omps? Ein Vogel? Eine Eidechse? Aus der OHRENBÄR-Hörgeschichte: Dinosaurier gibt es nicht (Folge 1 von 7) von Hanna Johansen. Es liest: Gabriele Buch.

Wer heißt schon Zawinul?! Am Anfang hat es Zawinul noch Spaß gemacht. Denn seit er so heißt, gibt es keine Langeweile mehr. Unmögliches wird plötzlich möglich! Da taucht aus einem Osterei ein kleines Tier auf, nackt, mit langem Hals, kein Huhn – es kann eigentlich nur ein Dinosaurier sein. Aber Dinosaurier sind doch ausgestorben?! Alle 7 Folgen der OHRENBÄR-Hörgeschichte: Dinosaurier gibt es nicht von Hanna Johansen. Es liest: Gabriele Buch.

De los cientos de discos de jazz rock de los 70, cuales perduran? Muy pocos. Weather Report (1971-1986) es otro de los supergrupos de jazz de fusion, que tuvo multiples integrantes alrededor de Joe Zawinul (tecladista austriaco) y Wayne Shorter (saxofonista americano de fama con Miles y Blakey). En los 3 primeros álbumes, junto a Miroslav Vitous (bajista checo) y Alphonse Mouzon (bat) hicieron primero una música sin guitarras, donde predomina el saxo soprano y los sintetizadores, pero experimental.  En las anécdotas repasamos las peleas...y el origen del Moog así como su uso por Walter/Wendy Carlos. Zawinul satura luego con los sintetizadores y el MIDI y su onda comercial. Vitous abandona. Mas adelante, se destaca el bajista prodigio blanco Jaco Pastorius. Wayne Shorter por fin sigue una carrera importante volviendo al tenor y lo acústico.

En este episodio escucharemos al grupo fundado por Zawinul y Shorter en los años 70, grabaron 15 LP de estudio y fueron los primeros en ser valorados en los EEUU por sus ritmos latinos. Escucharemos el LP Heavy Weather de 1977. Los temas son: 1. Birdland 2. A remark you made 3. Teen Town 4. Harlequin 5. Rumba Mama 6. Palladium 7. The Juggler 8. Havona Que los disfruten amigos. Visita nuestra página WEB www.viajealmundodeljazz.com donde encontrarás más música y novedades. Contactanos en : viajealmundodeljazz@gmail.com WEB: viajealmundodeljazz.com

Qué trajeron los 70? Hasta ahora pudimos simplificar y adjudicar un estilo principal a cada década. En los 70 tal esquema ya no es viable. Coexisten 7 vertientes: 1. Fusión/jazz rock, que nos ocupará estas semanas, 2. Se graban muchos discos con grandes músicos en solo o dúo, muy europeos en feeling, 3. Segunda generación del free nucleada en Chicago, 4. Retorno del swing, 5. Jazz europeo florece, Grappelli y sus seguidores y muchos otros 6. Vuelta de los exiliados en Europa (e.g. Dexter Gordon) y revitalización del bop y hardbop 7. Surge el concepto de world music.  In a silent way en 1969, es un album de Miles Davis que es precursor del jazz rock. En diferentes formaciones cuenta Dave Holland (b), Wayne Shorter (tenor), Chick Corea,  Joe Zawinul y Herbie Hancock en teclados, Tony Williams, Jack de Johnette y Lenny White (bat) y John McLaughlin. Se graban Bitches Brew (1970), Live-Evil (1971) y On the Corner (1972). Se experimenta con largas improvisaciones editadas en 2 temas de 20 minutos por Teo Macero. Instrumentación, efectos y producción de rock, sobre musica modal de Miles y Zawinul, que no pasa a ser free. Wayne Shorter, Chick Corea,  Joe Zawinul, Herbie Hancock  y John McLaughlin seran los lideres de los grupos de jazz rock.  

Bill Kwan - Flower of the UniverseMila Ogliastro - Message in a BottleDexter Gordon - TangerineRenato Sellani - In un Palco della ScalaEuropean All Stars ‘61 - Gone With the WindCannonball Adderley - Country Preacher / Hummin'Erroll Garner - MistyCharles Mingus - Nostalgia in Times SquareLiberation Music Orchestra - Sandino

This week's episode is built around the fifteenth of February. All audio pulled from the shelf will have something to do with that specific date. Email: audioofftheshelf@gmail.com. Instagram: @audioofftheshelf Twitter: @AOTS204 Facebook: https://www.facebook.com/audioofftheshelf Strayhorn, Billy. “Take the ‘A” Train.” Recorded June 30, 1965. Lush Life, Red Baron. 1992. CD LP. Billy Bragg. “Valentine's Day Is Over.” Workers Playtime, Go! Disks, 1988. CD LP. Swallowing Shit. “Riel.” Let My Struggling Spirit In Itself Be Free, Spiral Objective Records. 1999. Vinyl 7”. Mr. Bungle. “Secret Song.” Disco Volante, Warner Bros. Records. 1995. CD LP. Jesus & Mary Chain. “Here Comes Alice.” Automatic Blanco Y Negro Records, 1989. CD LP. Davis, Miles & Zawinul, Joseph. “Great Expectations.” The Complete Bitches Brew Sessions, Columbia/Legacy/Sony Music, 1998. 4CD LP. Copyright Disclaimer under Section 107 of the copyright act 1976, allowance is made for fair use for purposes such as criticism, comment, news reporting, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favour of fair use.

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Welcome to another episode of Something came from Baltimore and I am your host, Tom Gouker. There have been a lot of complains that the Smooth Jazz sound has been kind of played out, maybe even has run its course. In our search for great music, SOMETHING came from Baltimore had to travel all the way to Finland to check out Njet Njet 9. Njet Njet 9 is a mini big band that elevates Smooth Jazz with their nostalgia for the 70/80 pop and soul records. They groove with a retro vibe, and it sounds comfortable and familiar but with imagination. They got horns ya and it sounds great. The band leader Ville Kyttälä puts it "Njet Njet 9's music sounds like Zappa and Zawinul are playing tennis with Massive Attack at a Swedish summer cottage". This is Njet Njet 9's 3rd recording and it is titled, "3" and it can be found on the Eclipse Music label. It is possible that the American Radio Stations will not pick up on this record, and that does not mean it is not good, it just means that it is your job to find it and give it a spin. Remember to subscribe to SOMETHING came from Baltimore! Listen and share with your friends. Please Subscribe to SOMETHING came from Baltimore Youtube: https://www.youtube.com/channel/UCj7HKmMrFB4vAQm3SKzvftA Facebook: https://www.facebook.com/tomfunproductions Itunes: https://podcasts.apple.com/us/podcast/something-came-from-baltimore/id1400504427 Anchor: https://anchor.fm/somethingcame-from-baltim --- Send in a voice message: https://anchor.fm/somethingcame-from-baltim/message Support this podcast: https://anchor.fm/somethingcame-from-baltim/support

..Miles in the Sky è allo stesso tempo il primo album di Davis in cui fanno la loro comparsa strumenti elettrici, e l'ultimo realizzato dal quintetto con Shorter, Hancok, Carter, Williams; in questa fase comincia anche a perdere peso nella musica di Davis Wayne Shorter come compositore: in Miles in the Sky c'è un solo brano di Shorter, Paraphernalia. Né in Filles de Kilimanjaro né in In a Silent Way ci sono brani di Shorter: per trovarne di nuovo uno bisogna aspettare Bitches brew, a cui Shorter contribuisce con Sanctuary. Shorter suona per l'ultima volta nel gruppo di Davis nel marzo del '70. Joe Zawinul, che Shorter conosce dalla fine degli anni cinquanta, quando entrambi erano nell'orchestra di Maynard ferguson, e che poi Shorter alla fine degli anni sessanta si è ritrovato collaboratore di Davis, nel gennaio del '71 lascia dopo dieci anni il gruppo di cannonball Adderley. Intanto Miroslav Vitous viene richiesto da Miles: non può, ma si fa poi vivo con Shorter e Zawinul con l'idea di formare un nuovo gruppo: è l'inizio dell'avventura dei Weather Report.

Featured is guitarist Steve Khan (Eyewitness & Zawinul).

Alphonso Johnson es un músico de jazz y jazz fusión estadounidense especializado en el uso del bajo eléctrico y del Chapman Stick. Nacido en Filadelfia, Pensilvania el 2 de febrero de 1950. Johnson inició su carrera musical como trombonista, pero a finales de su adolescencia se decantaría definitivamente por el bajo eléctrico, inscribiéndose en la Philadelphia Music Academy para seguir los cursos de John Lamb, por aquel entonces el bajista de la Duke Ellington Orchestra. Como él mismo precisó, su actividad profesional se inició en 1968, pero sus primeras actividades de cierta importancia datan de 1972, cuando con tan sólo 21 años recorrería el mundo con la orquesta de Woody Herman, participando al mismo tiempo en la grabación del álbum “The Raven Speaks” de este último. Para entonces, el músico mostraba una inusitada facilidad técnica en su instrumento y había desarrollado un estilo de ejecución muy personal. Su presencia en el grupo de Chuck Mangione atrajo la atención del gran saxofonista de jazz Wayne Shorter, quien en 1974 le propondría para la grabación del disco Mysterious Traveler en sustitución de Miroslav Vitous. El músico contribuiría con dos composiciones para el disco Scarlet Woman y Cucumber Slumber, con un corte funky que presentaba el bajo de Johnson situado preeminentemente en la mezcla. El bajista permaneció aún dos años en la banda, durante los que, además de participar en las giras mundiales del grupo, y registrar un segundo disco para Zawinul y Shorter, grabaría su primer disco de debut en solitario, Moonshadows. Sin embargo, en 1976 Johnson fue sustituido por Jaco Pastorius a mediados de la grabación de Black Market, un disco que cuenta, no obstante, con una fuerte presencia de Johnson en temas como Black Market, Gibraltar o su propia composición Herandnu. Tras abandonar Weather Report, Johnson decidió concentrarse en su propia carrera como solista, grabando Yesterday Dreams en 1976, un álbum que vería su continuación un año más tarde con Spellbound. En este último disco, Alphonso Johnson empleaba ya el Chapman Stick, un instrumento que había descubierto en 1976 y que seguiría utilizando en grabaciones y directos de manera intermitente desde entonces. En 1979 Johnson pasa a formar parte del supergrupo CBS All-Stars, una banda compuesta por el saxofonista Tom Scott, el guitarrista Steve Khan y el baterista Billy Cobham y con la que grabaría un solo álbum en directo. Con la entrada de la nueva década, Johnson iniciaría su actividad como productor con la presentación en 1983 de la banda sonora original de “Sound of Sunshine…Sounds of Rain”, un filme infantil que recibiría una nominación a los Oscar de ese mismo año. En 1984 el bajista se une a la banda de Carlos Santana en sustitución de David Margen. Johnson permaneció tres años en la banda, grabando dos discos (Beyond Appareances, de 1985 y Freedom, de 1987) y participando en una gira mundial con el guitarrista mexicano. Tras su paso por Santana, Alphonso Johnson continuó su actividad como músico de sesión acompañando a algunos de los más grandes nombres de la escena del jazz contemporáneo, como Wayne Shorter, Flora Purim, Quincy Jones, Lee Ritenour, The Crusaders, John McLaughlin o Sarah Vaughan. En 1997 Alphonso editó “Abraxas Pool”, con el grupo Abraxas, formado por antiguos miembros de Santana. Durante 1998 y 1999 formó parte del grupo Jazz Is Dead, junto a Billy Cobham. En el año 2000 participó en una gira con antiguos miembros de Grateful Dead en sustitución de Phil Lesh, antes de unirse de nuevo a Jazz is Dead y a la banda de Gregg Rollie, el organista original de Santana. A este impresionante curriculum de colaboraciones hay que añadir la intensa actividad docente que ha ejercido el músico desde la mitad de la década de 1980: Además de haber contribuido a la edición de varios métodos didácticos, Johnson ha impartido clases en algunas de las más prestigiosas academias de música moderna del mundo, incluyendo la Mesar Hause Institute of Music de Tokio, la Bass School of Music de Colonia, el Musicians Institute, o el Los Angeles Music Academy de cuyo departamento de bajo eléctrico es director desde 1997. Entre los numerosos artistas con quien Alphonso Johnson ha colaborado, podemos citar a: Chet Baker, Santana, Weather Report, The Crusaders, Bob Weir, Chuck Mangione, George Duke, En Vogue, Wayne Shorter, Sérgio Mendes, Tony Williams, Joe Williams, Gregory Hines, Neal Schon, Tom Coster, Dee Dee Bridgwater, Eric Gale, Ronnie Foster, Allan Holdsworth, Cannonball Adderley, Stanley Clarke, Woody Herman, Eddie Henderson, Flora Purim, Quincy Jones, Lee Ritenour, Phil Collins, Tom Scott, Steve Khan, The Whispers, John McLaughlin, Jeffrey Osborne, Sarah Vaughan, Dori Caymmi, Pino Daniele, Carl Anderson, Jeff Beck, Jan Hammer o Jimmy Page. Alphonso Johnson es uno de los bajistas más representativos de la escena internacional, y un músico que ha contribuido con su ejemplo al enorme crecimiento de la técnica instrumental del bajo eléctrico. Junto a figuras como Stanley Clarke, Steve Swallow, Francis “Rocco” Prestia, Anthony Jackson o Larry Graham forma parte de la generación de bajistas que posibilitaron -anticipándola- la gran revolución en el bajo eléctrico que trajo consigo la llegada de Jaco Pastorius. La entrada de Johnson en Weather Report sustituyendo al virtuoso contrabajista Miroslav Vitous, supuso un nuevo sonido para la banda, más moderno, afilado y funky. Sin embargo, su posición histórica como antecesor de Jaco en el grupo ha ejercido en Johnson una doble influencia que no siempre ha resultado positiva para el bajista, pues al tiempo que la asociación de ambos nombres ha contribuido a divulgar la obra de Johnson entre críticos y aficionados, ha empañado también sus contribuciones bajo la enorme sombra de Pastorius. Sin embargo, las aportaciones de Johnson van mucho más allá que el simple papel que ha jugado como predecesor de Jaco Pastorius en Weather Report: en su obra, el artista desarrolla una voz absolutamente diversa que merece, por méritos propios, un puesto de honor en la historia del bajo eléctrico.

Klahvpillimängija ja helilooja Joe Zawinul on läinud džässi ajalukku mitmel erineval põhjusel. Üks neist on kindlasti fusion-ansambel Weather Report. Zawinul on pärit Austriast, kuid oma suurimad teod saatnud korda Ameerikas.

Klahvpillimängija ja helilooja Joe Zawinul on läinud džässi ajalukku mitmel erineval põhjusel. Üks neist on kindlasti fusion-ansambel Weather Report. Zawinul on pärit Austriast, kuid oma suurimad teod saatnud korda Ameerikas.

Tonight is our second look at a major band from the early 70s that reflected many of the changes in Jazz Music. Weather Report was a co-operative band in every way and although they derived some of their concepts from Miles Davis, they established very quickly their own direction. They remained together for over 16 years. Saxophonist Wayne Shorter and pianist Joe Zawinul were the spearheaders the group and over the years different bassists and drummers and percussionists played in the band. For tonight we go to Tokyo in the early days of Weather Report with their original bassist Miroslav Vitous and their new drummer, Eric Gravatt and their new percussionist Dom Um Romao. The creativity and high energy is in full force here. Shorter on soprano and tenor saxophones, Zawinul on acoustic piano and a battery of electronic keyboards, Vitous on acoustic and amplified bass and some powerhouse drumming by Gravatt with additions by Don Um Romao. The Japanese audience was stunned and amazed by this band and you will be too!

Robert Thomas Jr. is an American jazz percussionist and hand drummer. He is known as an innovator in Be-bop and has been nominated for two Grammy awards. He is also a visual artist. Born in Miami, he was encouraged by his fifth-grade teacher to play music, and not having an instrument, Thomas learned to play percussion on his desk. He sang in the choir at Oak Grove Missionary Baptist Church, and at age sixteen, began playing percussion with the Broomfield Family, a local group that performed in churches and nightclubs.After graduating from high school, Thomas studied at Miami-Dade Community College. During this time, he discovered jazz, and began to play with an array of artists including Jet Nero, Ira Sullivan, Billy Marcus, Zoot Sims, Thad Jones, Monty Alexander and Mel Lewis. In the late 70s, Thomas played at a benefit with Jaco Pastorius. Soon afterward, Thomas auditioned with Joe Zawinul and Wayne Shorter's jazz fusion group Weather Report at a live performance in New Haven, Connecticut. Thomas said afterward that they were looking for someone to play Be-bop, rather than Latin-style percussion. He settled in France, and continued to play with Weather Report until 1986. After the group disbanded, Thomas resettled in Miami, and shortly afterward released “In the Dreamtime”, a solo CD of his own music. He continued to work with Zawinul until 1994.In addition to Weather Report, Thomas has performed with The Zawinul Syndicate, Jaco Pastorius' Word of Mouth Band, Stan Getz, David Sanborn, Carlos Santana, Eddie Harris, Branford Marsalis, Herbie Mann, Ahmad Jamal, Roberto Perera… and world artists including sitar player Amitava Chatterjee and African artist Vinx. Thomas maintains an extensive discography on which he plays an eclectic mix of instruments including conga drums, wind instruments, guitar and the African bow harp.Thomas is married to Jane Thomas and has a son, Spencer.

Fusion guitarist Scott Henderson is interviewed for the Guitar Trax show by Multi-Emmy award winning guitarist Brian Tarquin. GUITAR TRAX hosted by Brian Tarquin will feature in- depth interviews with today’s hottest guitar legends and airs every Monday night from 10pm-12pm on WFIT 89.5FM on the Florida space coast. Brian Tarquin is a multi Emmy Award winning composer/guitarist, who first graced the Top 20 Billboard Charts back in 1997 with the commercial release "This is Acid Jazz" Vol. 2 on Instinct Records, followed by several solo jazz albums, which charted Top 10 at Contemporary Jazz Radio in the late 90’s. In 2006, Brian opened his own boutique record label called BHP MUSIC, Ltd., specializing in instrumental guitar music. The label released the Guitar Master Series featuring guitar legends: Jeff Beck, BB King, Santana, Jimmy Page, Joe Satriani, Zakk Wylde, Stanley Clarke, Billy Sheehan and many others. In 2014, Brian produced, engineered and composed Guitars For Wounded Warriors, which showcases Brian’s guitar prowess alongside such world-class shredders as, Steve Morse, Billy Sheehan, Gary Hoey, Bumblefoot (Gun n Roses), Reb Beach (Whitesnake), Hal Lindes (Dire Straits), Chris Poland (Megadeth) and Chuck Loeb. The album features exclusively released tracks inspired by those military soldiers who fought for our country. Brian Tarquin is also an award winning author of the 2014 USA Best Book Winner Award in Performing Arts: Music for Guitar Encyclopedia (Allworth Press) and the 2014 USA Best Book Finalist Award in Business: Reference for Insiders Guide To Music Licensing (Allworth Press). He has also written Recording Techniques of the Guitar Masters (Cengage Publishing) featuring interviews with Steve Vai, Joe Satriani, Eric Johnson, Zakk Wylde, Billy Sheehan, Larry Carlton, Stanley Clarke, Steve Morse and Jeff Beck and more.

Kraftwerk, Cestrian, Tangerine Dream, John Holm, Elton John, Naná Vasconcelos, Chilled by Nature, Nico Motte, Reggie Watts, Schaltkreis Wassermann, Mirdza Zivere, Frak, Shoc Corridor, Koto, Dr. C. Stein, D.K., Daniel Wang, Propaganda, Ranko, Patrick Cowley, Roland Rat Superstar, Prins Thomas, Junto Club, Sugababes, Arpadys, Fashion, Zawinul, Johan Agebjörn, Chinawoman, Syracuse, Salem Al Fakir, White Noise, Paul Woznicki, Ratata, Black Sabbath, Pink Floyd and more...

The Campfire, Psychemagik, Belbury Poly, Galaxy Toobin', Uku Kuut, Margaret Singana, Chromatics, Ethereal Beat, Psychic Mirrors, Harold Faltermeyer, Coco Bill, Do Piano, B-52's, Telex, Twice a Man, Woolfy, Alan Parsons Project, Baris Manço, Aït Meslayene, Lex, Riz Ortolani, Sympathy Nervous, Christian Prommer, Alisha, Madonna, Eartha Kitt, Dubious, Padded Cell, Zig Zag, Roni Griffith, Methusalem, Patrick Juvet, Who's Who, Moebius-Plank-Neumeier, Zawinul, Joe Dassin and more...