Go to Street Corner Music on Greenfield and 9 ½ Mile, and get YOURS, Two great songs out of 16 that will have you shaking you head as longas you here them!!!!.....”People Make The World Go Round”...and “Wes” (Is Still In The House)....
Preserving The Past and Presenting The Future of Jazz Music
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Download Dangerous Crosswinds by The Frank Lovejoy Project today available at all digital outlets! iTunes.com, Amazon.com, Spotify, iHeartradio.com
Eumir Deodato de Almeida (Brazilian Portuguese: [ẽʊ̃ˈmiχ djoˈdatu]; born 22 June 1942), also known as Eumir Deodato, is a Brazilian pianist, composer, record producer and arranger, primarily based in the jazz realm but who historically has been known for eclectic melding of big band and combo jazz with varied elements of rock/pop, R&B/funk, Brazilian/Latin, classical and symphonic or orchestral music.
Mainly, his records can be categorized as pop/jazz or crossover jazz. His successes as an original artist (keyboards) occurred mainly in the 1970s. Since then, he has produced or arranged music in more than 500 albums for acts ranging from Kool and the Gang to Björk, Christophe and k.d. lang. His daughter, Kennya Deodato, is married to American actor Stephen Baldwin.
His first album in the US, Prelude, released in January 1973, was of a big band Latin jazz style that immediately attracted a wide audience. The album was produced by Creed Taylor on his CTI (Creed Taylor Inc.) label. The nine-minute funk version of Richard Strauss' Also Sprach Zarathustra, entitled "Also Sprach Zarathustra (2001)", won the 1974 Grammy Award for Best Pop Instrumental Performance. It went to No. 2 in the pop charts in the US, No. 3 in Canada, and No. 7 in the UK and was CTI's biggest single. The album climbed to No. 3 in the Billboard chart, the label's best-selling album and an amazing sales achievement for a jazz-based release. It was subsequently used to great effect in the 1979 film Being There, starring Peter Sellers and Shirley MacLaine. It has also been covered extensively by the rock band Phish in their live performances and included in several of their live releases.
His second album, Deodato 2, despite being of the same style and quality, failed to sell as well, but climbed to number 19 in the Billboard album chart, whilst the single, "Rhapsody in Blue" reached No. 41 on the Hot 100 in 1973. Another track from the album, his interpretation of Ravel's "Pavane pour une infante defunte" ("Pavane for a Dead Princess"), was used for a number of years in the 1970s by the Australian Broadcasting Corporation's television station ABN-2 in Sydney, serving as the background music for a videotaped sequence of scenes of Sydney at night, which marked the end of transmission for the day (in the period before the ABC commenced 24-hour broadcasting).
His early career records used guitarist John Tropea and quintessential jazz fusion flautist Hubert Laws. He was also known for utilizing the signature funky electric piano sound of the Fender Rhodes Eighty-Eight, specifically with his trademark gritty tube drive. His music became very popular on the disco scene of the late 1970s when he worked with Tommy Li Puma arranging and conducting disco music on Warner Brothers Records such as "Whistle Bump" (promoting the use of a whistle in disco music) in 1978 from the LP Love Island and later a huge disco hit also produced and arranged by him called "Night Cruiser" in 1980. In 1982 he released a further track called "Keep on Movin'" from the LP Happy Hour but this track did not gain the huge popularity in the clubs that "Night Cruiser" had. He continued recording until the late 1980s on the Warner Brothers label, but never reached the level of his early successes, although two singles, "S.O.S., Fire In The Sky" and "Are You For Real", were Top 20 Billboard Dance hits in 1985.
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Abraham Laboriel, Sr.
Abraham Laboriel, Sr. (born July 17, 1947) is a Mexican bassist who has played on over 4,000 recordings and soundtracks. Guitar Player Magazine described him as "the most widely used session bassist of our time". Laboriel is the father of drummer Abe Laboriel Jr. and of producer, songwriter, and film composer Mateo Laboriel.
Laboriel was born in Mexico City. Originally a classically trained guitarist, he switched to bass guitar while studying at the Berklee College of Music. Henry Mancini encouraged Laboriel to move to Los Angeles, California and pursue a recording career. His brother was the late Mexican rock & roll singer Johnny Laboriel. Their parents were Honduran immigrants from the Garifuna coast.
Laboriel has worked with artists of many music genres including the following:
Al Jarreau, George Benson, Alan Silvestri, Alvaro Lopez and Res-Q Band, Alvin Slaughter, Don Felder, Andraé Crouch, Andy Pratt, Andy Summers, Barbra Streisand, Billy Cobham, Carlos Skinfill, Chris Isaak, Christopher Cross, Crystal Lewis, Dave Grusin, Djavan, Dolly Parton, Don Moen, Donald Fagen, Elton John, Engelbert Humperdinck, Freddie Hubbard, Hanson, Herb Alpert, Herbie Hancock, Johnny Hallyday, Keith Green, Kelly Willard, Lalo Schifrin, Larry Carlton, Lee Ritenour, Leo Sayer, Lisa Loeb, Madonna, Michael Jackson, Nathan Davis, Paul Jackson Jr., Paul Simon, Quincy Jones, Ray Charles, Ron Kenoly, Russ Taff, Stevie Wonder, and Umberto Tozzi.
When Laboriel recorded his three solo albums ‒ Dear Friends, Guidum, and Justo & Abraham, he recruited a cast of musicians that included Alex Acuña, Al Jarreau, Jim Keltner, Phillip Bailey, Ron Kenoly, and others. His son Abe Laboriel Jr. performed drums.
Laboriel was a founding member of the bands, Friendship and Koinonia. He plays live regularly with Greg Mathieson, drummer Bill Maxwell, and Justo Almario. Laboriel is now in the band Open Hands with Justo Almario, Greg Mathieson, and Bill Maxwell.
In 2005, Abraham was awarded an Honorary Doctorate of Music by the Berklee College of Music.
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Carlos Santana audio (help·info) (born July 20, 1947) is a Mexican and American musician who first became famous in the late 1960s and early 1970s with his band, Santana, which pioneered a fusion of rock and Latin American music. The band's sound featured his melodic, blues-based guitar lines set against Latin and African rhythms featuring percussion instruments such as timbales and congas not generally heard in rock music. Santana continued to work in these forms over the following decades. He experienced a resurgence of popularity and critical acclaim in the late 1990s. In 2003 Rolling Stone magazine listed Santana at number 20 on their list of the 100 Greatest Guitarists of All Time. He has won 10 Grammy Awards and three Latin Grammy Awards.
Santana was born in Autlán de Navarro, Jalisco, Mexico. He learned to play the violin at age five and the guitar at age eight under the tutelage of his father, a mariachi musician. His younger brother, Jorge Santana, would also become a professional guitarist. Young Carlos was heavily influenced by Ritchie Valens at a time when there were very few Latinos in American rock and pop music. The family moved from Autlán de Navarro to Tijuana, the city on Mexico's border with California, and then San Francisco. Carlos stayed in Tijuana but later joined his family in San Francisco, graduating from James Lick Middle School, and in 1965 from Mission High School. Carlos was accepted at California State University, Northridge, and Humboldt State University, but chose not to attend college.
Santana was influenced by popular artists of the 1950s such as B.B. King, T-Bone Walker, and John Lee Hooker. Soon after he began playing guitar, he joined local bands along the "Tijuana Strip" where he was able to begin adding his own unique touch to '50s Rock 'n' Roll. He was also introduced to a variety of new musical influences, including jazz and folk music, and witnessed the growing hippie movement centered in San Francisco in the 1960s. After several years spent working as a dishwasher in a diner and busking for spare change, Santana decided to become a full-time musician. In 1966 he gained prominence due to a series of accidental events, all happening on the same day. Santana was a frequent spectator at Bill Graham's Fillmore West. During a Sunday matinee show, Paul Butterfield was slated to perform there but was unable to do so as a result of being intoxicated. Graham assembled an impromptu band of musicians he knew primarily through his connections with Butterfield's band and with the Grateful Dead and Jefferson Airplane, but he had not yet chosen all the guitarists. Santana's manager, Stan Marcum, immediately suggested to Graham that Santana join the impromptu band and Graham agreed. During the jam session, Santana's guitar playing and solo gained the notice of both the audience and Graham. During the same year, Santana formed the Santana Blues Band, with fellow street musicians David Brown (bass guitar), Marcus Malone (percussion) and Gregg Rolie (lead vocals, Hammond Organ B3).
With their highly original blend of Latin-infused rock, jazz, blues, salsa and African rhythms, the band (which quickly adopted their frontman's name, Santana) gained an immediate following on the San Francisco club circuit. The band's early success, capped off by a memorable performance at Woodstock in 1969, led to him signing a recording contract with Columbia Records, then run by Clive Davis
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Grover Washington Jr.
Grover Washington, Jr. (December 12, 1943 – December 17, 1999) was an American jazz-funk / soul-jazz saxophonist. Along with George Benson, John Klemmer, David Sanborn, Bob James, Chuck Mangione, Dave Grusin, Herb Alpert, and Spyro Gyra, he is considered by many to be one of the founders of the smooth jazz genre. He wrote some of his material and later became an arranger and producer.
Throughout the 1970s and 1980s, Washington made some of the genre's most memorable hits, including "Mister Magic," "Reed Seed," "Black Frost," "Winelight," "Inner City Blues" and "The Best is Yet to Come". In addition, he performed very frequently with other artists, including Bill Withers on "Just the Two of Us" (still in regular rotation on radio today), Patti LaBelle on "The Best Is Yet to Come" and Phyllis Hyman on "A Sacred Kind of Love". He is also remembered for his take on the Dave Brubeck classic "Take Five", and for his 1996 version of "Soulful Strut".
Washington had a preference for black nickel-plated saxophones made by Julius Keilwerth. These included a SX90R alto and SX90R tenor. He also played Selmer Mark VI alto in the early years. His main soprano was a black nickel plated H.Couf Superba II (also built by Keilwerth for Herbert Couf) and a Keilwerth SX90 in the last years of his life.
While his first three albums established him as a force in jazz and soul music, it was his fourth album in 1974, Mister Magic, that proved a major commercial success. The album climbed to number 10 in Billboard's Top 40 album chart and the title track reached No. 16 on the R&B singles chart (#54, pop). All these albums included guitarist Eric Gale as a near-permanent member in Washington's arsenal. His follow-up on Kudu in 1975, Feels So Good also made No. 10 on the album chart.
A string of acclaimed records brought Washington through the 1970s, culminating in the signature piece for everything he would do from then on. Winelight (1980) was the album that defined everything Washington was then about, having signed for Elektra Records, part of the major Warner Music group. The album was smooth, fused with R&B and easy listening feel. Washington's love of basketball, especially the Philadelphia 76ers, led him to dedicate the second track, "Let It Flow", to Julius Erving (Dr. J). The highlight of the album was his collaboration with soul artist Bill Withers, "Just the Two of Us," a huge hit on radio during the spring and summer of 1981, peaking at No. 2 on the Billboard Hot 100. The album went platinum in 1981, and also won Grammy Awards in 1982 for Best R&B Song ("Just The Two of Us"), and Best Jazz Fusion Performance ("Winelight"). "Winelight" was also nominated for Record of the Year and Song of the Year.
In the post-Winelight era, Washington is credited for giving rise to a new batch of talent that would make its mark in the late 1980s and early 1990s. He is known for bringing Kenny G to the forefront, as well as artists such as Walter Beasley, Steve Cole, Pamela Williams, Najee, and George Howard. His song "Mr. Magic" is noted as being influential on Go-go music starting in the mid-1970s.
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John Francis Anthony Pastorius III (December 1, 1951 – September 21, 1987), known as Jaco Pastorius /ˈdʒɑːkoʊ pæsˈtɔːriəs/, was an influential American jazz musician, composer, big band leader and electric bass player. He is best known for his work with Weather Report from 1976 to 1981, as well as work with artists including Joni Mitchell, Pat Metheny, and his own solo projects.
As a musician, he developed a highly influential approach to bass playing that combined a deep understanding of advanced harmony with ferocious technical prowess. His signature approach infused Latin-influenced 16th-note funk, lyrical soloing on fretless bass, bass chords and innovative use of harmonics. He was inducted into the Down Beat Jazz Hall of Fame in 1988, one of only seven bassists so honored (and the only electric bass guitarist).
Pastorius was born December 1, 1951, in Norristown, Pennsylvania, to Jack Pastorius (big band singer and drummer) and Stephanie Katherine Haapala Pastorius, the first of their three children. Jaco´s grandmother was a Finn, named Kaisa Eriika Isojärvi. Jaco Pastorius was of Finnish, Sami, German, Swedish and Irish ancestry. He was a descendant of Francis Daniel Pastorius.
Shortly after his birth, his family moved to Oakland Park, Florida (near Fort Lauderdale). Pastorius went to elementary and middle school at St. Clement's Catholic School in Wilton Manors, and he was an altar boy at the adjoining church.
Pastorius formed his first band named the Sonics (not the Seattle-based band of the same name), along with John Caputo and Dean Noel. He went to high school at Northeast High in Oakland Park, Florida. He was a talented athlete with skills in football, basketball, and baseball, and he picked up music at an early age. He took the name "Anthony" at his confirmation.
He loved baseball and often watched it with his father. Pastorius' nickname was influenced by his love of sports and also by the umpire Jocko Conlan. He changed the spelling from "Jocko" to "Jaco" after the pianist Alex Darqui sent him a note. Darqui, who was French, assumed "Jaco" was the correct spelling. Pastorius liked the new spelling. Jaco Pastorius had a second nickname, given to him by his younger brother Gregory: "Mowgli", after the wild young boy in Rudyard Kipling's children's classic, The Jungle Book. Gregory gave him the nickname in reference to his seemingly endless energy as a child. Pastorius later established his music publishing company as Mowgli Music.
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wife, who disliked the trumpet's sound. Against the fashion of the time, Buchanan stressed the importance of playing without vibrato; he was reported to have slapped Davis's knuckles every time he started using heavy vibrato. Davis would carry his clear signature tone throughout his career. He once remarked on its importance to him, saying, "I prefer a round sound with no attitude in it, like a round voice with not too much tremolo and not too much bass. Just right in the middle. If I can’t get that sound I can’t play anything." Clark Terry was another important early influence.
By age 16, Davis was a member of the music society and, when not at school, playing professionally first at the local Elks Club. At 17, he spent a year playing in Eddie Randle's band, the Blue Devils. During this time, Sonny Stitt tried to persuade him to join the Tiny Bradshaw band, then passing through town, but Davis's mother insisted that he finish his final year of high school. He graduated from East St. Louis Lincoln High School in 1944.
In 1944, the Billy Eckstine band visited East St. Louis. Dizzy Gillespie and Charlie Parker were members of the band; they invited Davis to play third trumpet for a couple of weeks because their regular member, Buddy Anderson, was ill. Even after this experience, once Eckstine's band left town, Davis's parents were still keen for him to continue formal academic studies.
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Help Us Keep Jazz Music Alive!
Gee Caver In Support of Baker's Keyboard Lounge
The tag line for my company, Key of Gee, is “Have A Very Musical Day”. My life is filled with rhythms and sounds. I am listening, writing reviews, singing and humming all day. A friend asked if I could go 24 hours without turning on music. I told him I could and then began to wonder “what was I thinking?”
I took the dare and learned a great lesson. I kept to my regular routine – up early tied up my walking shoes – headed out for some exercise with no IPod – no music!
Walking my regular route, I noticed a large pothole in the street. Every vehicle that hit that hole had a different sound da-dum da-dum. The business on the corner flies three flags. As the wind blew the flags there was a whip, pop, whip sound and the rope on the flags was banging the pole, clang um clang. I started smiling, is nature making me cheat?
Car horns blowing, loud mufflers, dogs barking, birds chirping -- the leaves on the tree – the sound of my shoes hitting the pavement -- everything has a sound – its own cadence.
For 24 hours, I didn’t turn on any music. I took the time to be present in the moment and enjoy my surrounding and heard some wonderful sounds. And I still had a Very Musical Day.
This year, Baker’s Keyboard Lounge celebrated 76 years of Jazz – maintaining its standing as the world’s oldest Jazz Club.
In an effort to keep the music playing, Roger Tucker and Three Quarter Step will host a Wednesday Night open mic Jazz Jam at Baker’s Keyboard Lounge. Come out and hear Jazz-America’s music performed by Detroit’s premier artists. In the weeks to come there will be fabulous door prizes and special celebrity guest performances. You won’t want to miss a week.
The open mic Jazz Jam starts Wednesday, October 20, 2010, 9:30pm. All Musicians and vocalists are invited to perform.
Baker’s is known for hosting the best in Detroit’s Jazz including: James Carter, Rayse Biggs, Calvin Brooks, Al McKenzie, Penny Wells, Allan Barnes, Vonne', Jazzeray, Gwen Dommond, David Myles and Mylestones, Guymon Ensley, Ange Smith, Ola Hemphill, Rene King-Jackson, Earl Klugh, Straight Ahead, Port of Call, to name a few. Come and experience standing on the stage that also hosted: Dave Brubeck, Donald Byrd, Oscar Peterson, Sunny Stitt, Kenny Burrell, Jon Lucien and Sea Wind. Mix with the spirits of Nat King Cole, Ella Fitzgerald, Liberace, Dr. Teddy Harris, Ken Cox, Donald Walden and the list goes on and on.
Calling All Past Performers -- It’s up to us to keep the music playing!
Baker’s Keyboard Lounge
Detroit, MI 48221
HAVE A VERY MUSICAL DAY!
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Born c. 1969, in St. Petersburg, FL; daughter of Lance (a saxophone player and keyboardist) and Linda Abair. Education: Attended University of Northern Florida; graduated from Berklee College of Music, magna cum laude, 1991.
At a time of sagging sales for contemporary and smooth jazz, pop-inspired saxophonist Mindi Abair has brought the cool factor back onto the jazz scene, boosting not only her own popularity, but that of an entire genre as well. With her heavy emphasis on the sounds of R&B and dance music as well as pop and rock, her jazz tunes defy categorization, and have attracted many new, young listeners to the genre. Although most clearly defined as a jazz musician, she cut her teeth playing the saxophone for pop superstars the Backstreet Boys. That connection showed clearly in her 2003 major label debut, It Just Happens that Way. "Lucy's," a single from the album, debuted at the number one position on the Radio & Records chart for most airplay. Following on the single's heels, the album itself landed in the top ten on the Billboard contemporary jazz chart.
Abair grew up in St. Petersburg, Florida, in a family of musicians. Her father, Lance, was a saxophone player and keyboardist. His band, the Entertainers, frequently played on the road, and Lance took his family along with him, including Abair and her mother, Linda. Abair was the third generation of musicians in the family; her grandmother had been an opera singer. Young Mindi Abair learned to play the piano when she was five years old, while on the road with her father. She soon fell in love with the saxophone, again following her father's example. She had learned to play the sax by the time she was eight years old, and that same year she began writing her own music.
By the time she reached high school, Abair was an accomplished musician, playing in her high school marching band, in which she also played drums. There was never a point at which she decided to make music her life, she recalled later, she simply always was a musician. Her early influences were not only the music of jazz musicians such as Bill Evans, Miles Davis, and others, but top 40 hits as well, and this blend of tastes defined her work in later years.
After graduation from high school, Abair won a full scholarship to the University of Northern Florida to study music. But she soon found that the music department was not receptive to her interest in contemporary jazz. "It was a great experience," she later explained to Kevin Walker in the Tampa Tribune, "but they were very traditional." After a year she transferred to the renowned Berklee College of Music in Boston. There she found herself at home with instructors and fellow students, who appreciated her desire to fuse jazz with rock, dance, and pop sounds. Among her most influential teachers was famous saxophone instructor Joe Viola, who helped her further hone her composition skills. After class she got even more experience playing in jam sessions with classmates in the dorms.
Following her graduation from Berklee, Abair moved to Los Angeles. Unlike many of her peers, she chose not to get a day job to help support herself; she expected her music to support her immediately. To this end, she put together a band to play in clubs at night and, lacking other work, she played on the streets of Santa Monica during the day. The gamble paid off when new age recording artist John Tesh spotted her in one of her club gigs and invited her to join a concert tour he was putting together. She accepted, and her career was off and running. More job offers rolled in, and soon she was playing with such acts as the Gap Band, Adam Sandler, Mandy Moore, Teena Marie, and perhaps most significantly, from 1999 to 2001, the pop group the Backstreet Boys.
Bud Harner, a Verve record label representative, caught one of Abair's acts in concert. He later described the scene to Dave Scheiber in the Chicago Sun-Times: "The whole place was just mesmerized by her, this beautiful, young, blond woman ... just burning on the horn." Abair was already committed to a long-term tour with the Backstreet Boys tour, so she and Harner agreed to talk when she returned.
For Abair, the gig with the Backstreet Boys--two years on the road as the band's featured sax player--marked a major milestone in her career. She played in 50,000-seat venues throughout the United States and Europe, making professional contacts and gaining valuable experience that would serve her well in her later career as a soloist. After her return from the tour in 2001, she sent Harner a demo CD, and Verve gave her a contract. The result was an album called It Just Happens that Way, Abair's major label debut. The title of the album came from a 1962 live album by jazz saxophone great Cannonball Adderley, on which he can be heard saying, as quoted on the Verve Music Group website, "Hipness is not a state of mind. It's a fact of life. You don't decide you're hip. It just happens that way."
The album debuted to brisk sales and to critical acclaim. A single from the album titled "Lucy's" hit the number one spot on the Radio & Records chart for most airplay, and the album itself climbed to the top ten on the Billboard contemporary jazz chart. The record label began receiving fan letters from teens, an accomplishment normally reserved for pop stars. Abair has said of her debut that it was the culmination of a lifetime of work, that all of her playing and practicing and performing had been leading up to this achievement. She couldn't have been happier, too, with the success of the album at music stores and among critics, who praised it for its fresh approach to jazz. Abair was proud, not only of landing her own recording contract and playing her own compositions, but for having achieved success in a field largely dominated by men.
Abair has continued to live in Los Angeles. As for the future, she has said she plans to produce many more albums, and to one day start a family. "I grew up on the road," she explained on the Verve website, "so I think I can pull it off.... But I have to meet someone first."
by Michael Belfiore
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(born 4 January 1942, Doncaster, South Yorkshire, England), also known as Mahavishnu John McLaughlin, is an English guitarist, bandleader and composer. His music includes many genres of jazz, and rock, which he coupled with an interest in Indian classical music to become one of the pioneering figures in fusion.
In 2010 guitarist Jeff Beck called him "the best guitarist alive". The Indian tabla maestro Zakir Hussain has called him "one of the greatest and one of the important musicians of our times". In 2003 McLaughlin was ranked 49th in Rolling Stone magazine list of the "100 Greatest Guitarists of All Time".
After contributing to several key British groups of the early sixties and making his first solo record Extrapolation (with Tony Oxley and John Surman) he moved to the USA where he played with Tony Williams's group Lifetime and then with Miles Davis on his landmark electric jazz-fusion albums In A Silent Way, Bitches Brew, A Tribute to Jack Johnson and On The Corner. His 1970s electric band, the Mahavishnu Orchestra, performed a technically virtuosic and complex style of music that fused electric jazz and rock with Indian influences.
From a family of musicians (his mother being a concert violinist), McLaughlin studied violin and piano as a child and took up the guitar at the age of 11, exploring styles from flamenco to the jazz of Django Reinhardt and Stephane Grappelli. He moved to London from Yorkshire in the early 1960s, playing with Alexis Korner and the Marzipan Twisters before moving on to Georgie Fame and the Blue Flames, the Graham Bond Organisation (in 1963) and Brian Auger. During the 1960s he often had to support himself with session work which he often found unsatisfying but which enhanced his playing and sight-reading.
McLaughlin moved to the U.S. in 1969 to join Tony Williams' group Lifetime. A recording from the Record Plant, NYC, dated 25 March 1969, exists of McLaughlin jamming with Jimi Hendrix. McLaughlin recollects "we played one night, just a jam session. And we played from 2 until 8, in the morning. I thought it was a wonderful experience! I was playing an acoustic guitar with a pick-up. Um, flat-top guitar, and Jimi was playing an electric. Yeah, what a lovely time! Had he lived today, you'd find that he would be employing everything he could get his hands on, and I mean acoustic guitar, synthesizers, orchestras, voices, anything he could get his hands on he'd use!"
He played on Miles Davis' albums In A Silent Way, Bitches Brew (which has a track named after him), On The Corner, Big Fun (where he is featured soloist on "Go Ahead John") and A Tribute to Jack Johnson. In the liner notes to Jack Johnson, Davis called McLaughlin's playing "far in." McLaughlin returned to the Davis band for one night of a week-long club date, recorded and released as part of the album Live-Evil and of the Cellar Door boxed set. His reputation as a "first-call" session player grew, resulting in recordings as a sideman with Miroslav Vitous, Larry Coryell, Joe Farrell, Wayne Shorter, Carla Bley, the Rolling Stones, and others.
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New music from JIBARO MUSIC/PHATSAK RECORDS. IF YOU'RE A MUSIC LOVER YOU SHOULD LISTEN! IF YOU LOVE JAZZ, GOSPEL, HIP-HOP, FUNK, LATIN, R&B, YOU SHOULD LISTEN! IF YOU LISTEN YOU'LL LOVE IT. THE FRANK LOVEJOY PROJECT LISTEN TO IT! YOU'LL LOVE IT!!
[MIXTAPE] Persian Squad Rico Don Gioto 24 crxwns
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Its not a gang its not a movement its a lifestle
[MIXTAPE] Kiddy Nite (DONE)The Process
Break out debut mixtape by Independent North Bay Area artist KIDDY NITE (RG Recordings). The Process showcases the capacity KIDDY has as an artist from singing, rapping, songwriting, and his overall…Continue