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
Joe Henderson (April 24, 1937 – June 30, 2001) was an American jazz tenor saxophonist. In a career spanning more than forty years Henderson played with many of the leading American players of his day and recorded for several prominent labels, including Blue Note.
From a very large family with five sisters and nine brothers, Henderson was born in Lima, Ohio, and was encouraged by his parents Dennis and Irene Farley and older brother James T. to study music. He dedicated his first album to them "for being so understanding and tolerant" during his formative years. Early musical interests included drums, piano, saxophone and composition. According to Kenny Dorham, two local piano teachers who went to school with Henderson's brothers and sisters, Richard Patterson and Don Hurless, gave him a knowledge of the piano. He was particularly enamored of his brother's record collection. It seems that a hometown drummer, John Jarette, advised Henderson to listen to musicians like Lester Young, Stan Getz, Dexter Gordon and Charlie Parker. He also liked Flip Phillips, Lee Konitz and the Jazz at the Philharmonic recordings. However, Parker became his greatest inspiration. His first approach to the saxophone was under the tutelage of Herbert Murphy in high school. In this period of time, he wrote several scores for the school band and rock groups.
By eighteen, Henderson was active on the Detroit jazz scene of the mid-1950s, playing in jam sessions with visiting New York stars. While attending classes of flute and bass at Wayne State University, he further developed his saxophone and compositional skills under the guidance of renowned teacher Larry Teal at the Teal School of Music. In late 1959, he formed his first group. By the time he arrived at Wayne State University, he had transcribed and memorized so many Lester Young solos that his professors believed he had perfect pitch. Classmates Yusef Lateef, Barry Harris and Donald Byrd undoubtedly provided additional inspiration. He also studied music at Kentucky State College.
Shortly prior to his army induction in 1960, Henderson was commissioned by UNAC to write some arrangements for the suite "Swings and Strings", which was later performed by a ten-member orchestra and the local dance band of Jimmy Wilkins.
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Nathan Harrell East (born December 8, 1955, Philadelphia, Pennsylvania) is a jazz, R&B and rock bass player and vocalist. East holds a Bachelor of Arts degree in Music from the University of California, San Diego (1978). He is a member of smooth jazz quartet Fourplay and has recorded, performed and co-written songs with performers such as Eric Clapton, Joe Satriani, Phil Collins, Stevie Wonder, Toto, Daft Punk, and Herbie Hancock.
Born to Thomas and Gwendolyn East, he is one of eight children (five boys and three girls) raised in San Diego, California, where the family moved when he was four. East first studied cello in seventh through ninth grades and played in local Horace Mann junior high school's orchestra. At age fourteen he developed an interest in the bass guitar, playing in church (Christ The King) for folk masses with his brothers Raymond and David. He was active in his (Crawford) high school's music programs along with a local top 40 band called "Power". He has said his early influences included Charles Mingus, Ray Brown and Ron Carter on upright bass; and James Jamerson, Paul McCartney and Chuck Rainey on electric bass. He studied music at UC San Diego. Nathan East is an accomplished amateur magician.
East has recorded, performed and co-written songs with Barry White Anita Baker, The Love Unlimited Orchestra, Babyface, B.B. King, Eric Clapton, George Harrison, Elton John, Michael Jackson, Stevie Wonder, Savage Garden, Sting, Quincy Jones, Al Jarreau, Kenny Loggins, The Manhattan Transfer, Herbie Hancock & Daft Punk That's Nathan's bass line you hear on the 2013 smash hit 'Get Lucky" Grammy winner for Record of the Year and Best Pop Duo/Group Performance (2014). 'Get Lucky' sold over 7.5 million copies. East composed the music for the Number one hit song "Easy Lover" for Phil Collins and Philip Bailey.
He performed on the Grammy Award-winning Unplugged album with Eric Clapton which featured the song "Tears In Heaven" (1992). East, a long-time member of Eric Clapton's studio and touring bands since the early 1980s also played on Clapton's "Change The World" which won the Grammy Award for Song of the Year in 1997. Other DVDs and videos Nathan appears on include Babyface Unplugged (1997), Phil Collins' "Live & Loose in Paris" (1998), Eric Clapton's 24 Nights (1991), One More Car, One More Rider (2001), Crossroads Guitar Festival (2004), Fourplay "Live in Cape Town (2006), Andrea Bocelli's, Vivere Live in Tuscany (2007) and David Foster & Friends (2008).
East was invited to play at We Are One: The Obama Inaugural Celebration at the Lincoln Memorial in Washington, D.C. in 2009, with a cast of luminaries of all genres of music.
East is one of the original members of the contemporary jazz group Fourplay, along with Bob James (keyboards), Lee Ritenour on guitar (later replaced by Larry Carlton and Chuck Loeb) and Harvey Mason (drums). Their Grammy Award-nominated albums have earned platinum status, and have topped Billboard's contemporary jazz charts.
In early 2010, East was invited to join American Grammy Award-winning rock band Toto on their reunion tour to benefit member Mike Porcaro, who had been diagnosed with amyotrophic lateral sclerosis (ALS). Another tour took place in the summer of 2011 with East once again playing. He was with the band during their summer tour in 2012. He is listed as a member on the official site of Toto as of 2013. East rejoined Eric Clapton's band for a series of concerts in Japan, Singapore, Thailand and Dubai in February and March 2014.
In June, 2012 he launched the Online Electric Bass School with Nathan East as a part of the ArtistWorks Bass Campus.
Nathan East released his first ever debut self-titled solo album on March 25, 2014 on Yamaha Entertainment Group label with guest appearances by Michael McDonald, Sara Bareilles, Stevie Wonder, Eric Clapton, Kazumasa Oda, Bob James, Chuck Loeb, Ray Parker, Jr., David Paich and his 13 year old son Noah East.
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Miles Dewey Davis III was born on May 26, 1926 in Alton, Illinois. Miles’ mother was a blues pianist though she kept this hidden from him and his father a dentist. Davis began studying trumpet at the age of thirteen with local musician Elwood Buchanan and Buchanan would always stress to Miles to play without using vibrato which is one of the influences in his unique sound. Miles also cites Clark Terry as an early influence. By the age of sixteen Davis was playing professionally in the area with Eddie Randle’s band, the Blue Devils, and in 1944 Miles played with Billy Eckstein’s band in town for a week along side Charlie Parker and Dizzy Gillespie. While Davis could have left high school to begin his career it was very important to his parents he finished high school and continued his education at Julliard School of Music in New York City. Miles left Julliard after one year complaining their focus was far too centered around European Classical music or ‘white’ music though acknowledging the music theory he learned there was useful to him. Davis began performing with Coleman Hawkins and Eddie ‘Lockjaw’ Davis in several clubs on 52nd St. and recorded for the first time in 1945 with Herbie Fields.
In 1945 Dizzy Gillespie left his band with Charlie Parker and Miles became his replacement along with Max Roach, Al Haig and Curley Russell. Davis can be heard on Parker’s famous album ‘Now’s the Time’ already finding his unique voice in Jazz and foreshadowing what would come next in Jazz. On a West Coast tour with Parker, Miles did some work with Charles Mingus and they also shared an apartment for some time and Davis also toured with Billy Eckstein’s band which eventually brought him back to New York. In 1948 Davis began working with arranger and composer Gil Evans as well as Gerry Mulligan, John Lewis and Max Roach in effort to create beautiful music that wasn’t solely focused on instrumentalism as Bebop can be. Their work can be heard on the 1956 album ‘Birth of the Cool’ and heavily influenced what we know now as the Cool movement in Jazz. In 1955 Miles formed the first great quintet with John Coltrane, Red Garland, Paul Chambers and Philly Joe Jones. This band provided a perfect balance musically and some of their albums from this period include ‘Relaxin with the Miles Davis Quintet’, ‘Steamin with the Miles Davis Quintet’, ‘Workin with the Miles Davis Quintet’ and ‘Cookin with the Miles Davis Quintet’. In 1958 Davis added Cannonball Adderley to mix and the now famous sextet recorded the album ‘Milestones’ and shortly changed some of the members of the band with the addition of Bill Evans and Jimmy Cobb and recorded the album ‘1958 Miles’.
Also during this time period Miles worked again with Gil Evans on a series of albums including ‘Miles Ahead’ in ’57, ‘Porgy and Bess’ in ’58 and ‘Sketches of Spain’ in ’59. In 1959 Davis brought his sextet back into the studio and recorded ‘Kind of Blue’ which is regarded as a masterpiece and has sold over four million copies to date. In 1960 Coltrane left Miles to put together his own quartet and other members of the rhythm section went on their own paths by 1963. Davis quickly formed a new band though with George Coleman, Ron Carter, Tony Williams and Herbie Hancock and together they recorded the albums ‘Seven Steps to Heaven’ and ‘In Europe’ in 1963 and ‘My Funny Valentine’ and ‘Four and More’ in 1964. This group would play the same material as Davis’ first quartet but the music was much more intense and aggressive reflecting the turmoil in the 1960s. Coleman left in 1964 and Miles was able to pursued Wayne Shorter to leave Art Blakey and join him. With Shorter on tenor saxophone the second great quintet was formed. Some of the albums made by this group include ‘E.S.P.’ and ‘The Complete Live at the Plugged Nickel 1965’ in 1965, ‘Miles Smiles’ in 1966, ‘Sorcerer’ and ‘Nefertiti’ in 1967 and ‘Miles in the Sky’ and ‘Filles de Killimanjaro’ in 1968. Davis began using electric instruments on the albums in 1968, foreshadowing what would be next and by the time those records were done being recorded the band had changed with the additions of Chick Corea and Dave Holland.
Miles recorded ‘In a Silent Way’ in 1969 marking the new change in music and the beginning of the technological revolution with a band that included Hancock, Corea, Joe Zawinul, Shorter, Holland, John McLaughlin and Tony Williams. Shortly after Jack DeJohnette replaced Tony on drums and with the additions of Airto Moreira and Bennie Maupin ‘Bitches Brew’ was recorded and went gold by 1976. Davis recorded several live albums in the early ‘70s followed by ‘A Tribute to Jack Johnson’ in 1971 and ‘On the Corner’ in 1972. Miles would switch up band members often in the 1970s always searching for the right balance and chemistry and some other albums recorded in the 1970s include ‘Big Fun’ and ‘Get Up With It’ in 1974 and ‘Dark Magnus’, ‘Agharta’ and ‘Pangaea’ in ’74 and 1975. In late 1970s Davis took time off from music to recharge and enjoy certain aspects of life without constantly being on the road before making his return in 1979. Miles recorded ‘The Man with the Horn’ from ’79-’81 followed by the album ‘We Want Miles’. Some of the new members of Davis’ band from this time period include saxophonist Bill Evans, Marcus Miller, John Scofield, Al Foster, Mino Cinelu and Robert Irving III. Miles continued exploring new ideas in music until the end and some of his final albums include ‘Tutu’ in 1986, ‘Amandla’, ‘Doo-Bop’ and finally ‘Miles & Quincy Live at Montreux’ in 1991. Miles Davis passed away in September, 1991.
Davis leaves a legacy and influence so large in Jazz, American culture and music internationally it is even hard to describe. Miles is a cultural icon and even today his music and image still provokes a certain idea of individualism and greatness that one can only of dream of aspiring to. Just a few of the awards won by Miles include over ten Grammy Awards, star on the Hollywood Walk of Fame, Knighted into the Legion of Honor, Sonning Award for Lifetime Achievement in Music and inducted into the Rock and Roll Hall of Fame. Miles Davis’ music has touched the lives of millions of people in several generations and leaves a legacy unmatched by any musical performer of modern times. Miles Davis Lives!
“Do not fear mistakes. There are none.”
“I'm always thinking about creating. My future starts when I wake up every morning... Every day I find something creative to do with my life.”
“Sometimes you have to play a long time to be able to play like yourself.”
“I'll play it first and tell you what it is later.” – Miles Davis
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Brainstorm was an American funk and R&B band, based in Detroit, Michigan in the late 1970s. Their debut album, Stormin' , was their best selling album, and was released in 1977 on Tabu Records, executive-produced by Clarence Avant and produced by Jerry Peters. It contained the disco hit single "Lovin' is Really My Game", which was featured in 54 (film) starring Mike Myers, and won the 1978 Billboard Magazine Light Radio/Heavy Disco Record of the Year. The album also contained the radio hit "This Must Be Heaven", which is considered a soul classic, by virtue of its continued air play 34 years later. Other single releases from subsequent albums included 1978's "On Our Way Home", and "Hot For You", featuring Belita Woods on lead vocals.
The members of the band (on the Stormin' album) were Belita Woods, bandleader and saxophonist Chuck Overton, Lamont Johnson on fretless bass and vocals ("This Must Be Heaven"), Renell Gonsalves on drums, Treaty Womack on vocals, percussion and flute, Bob Ross (a.k.a. Professor RJ Ross) on keyboards, Gerald (Jerry) Kent on guitar, Jeryl Bright on trombone, and "Leaping" Larry Sims on trumpet. Future Wham!/George Michael bassist, Deon Estus, was also a member of the band for a time. A teenage Regina Carter, who later became internationally known and respected as a jazz violinist, joined the band around 1978 and performed for a time with them. The Brothers Ali, Jerome and Jimmy (bass and guitar), joined about the same time in 1978, these days performing in Las Vegas and other venues.
Members of Brainstorm continued their musical careers with other bands or in production. Woods later went on to perform as part of the Parliament-Funkadelic collective in touring sets around the world. Sims became the trumpeter for the Sounds of Blackness, which won two Grammy Awards during the 1990s. Bright went on to play trombone with the funk band Cameo for over twenty five years, and later released an album with other former Cameo members Aaron Mills, and Thomas TC Campbell, known as MCB (which was also the title of their album). Trenita (Treaty) Womack performs regularly with the Funk Brothers as well as a wide variety of other artists, and appeared in Standing in the Shadows of Motown (film), an award-winning documentary, as percussionist. Gerald (Jerry) Kent has produced a BMI-affiliated self-published CD in 2006, under the name Kent's Way Overdue entitled Tone Paintings, an original jazz-fusion guitar-based collection of instrumental cuts. He also plays guitar and bass with the IDMR Detroit Choir, which choir was used in the closing scenes of Standing in the Shadows of Motown (film), singing background harmony behind Chaka Khan in a Grammy 2003 winning performance of What's Going On. William Wooten, who joined the band after the first album playing keyboards, now tours with The Dramatics and The Spinners. E. L.(Lamont) Johnson has released new material and has a website as well (see external links), and teaches bass. Renell Gonsalves performs with a wide variety of artists, as a skillful Latin-jazz percussionist (His father was renowned jazz saxophonist Paul Gonsalves, late of the Duke Ellington band). Professor RJ Ross has written and co-produced a number of music projects with well-known artists in California including a 2008 CD "Face to Face".
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Quincy Delight Jones, Jr. (born March 14, 1933) is an American record producer, conductor, arranger, composer, musician, television producer, film producer, instrumentalist, magazine founder, entertainment company executive, and humanitarian. His career spans six decades in the entertainment industry and a record 79 Grammy Award nominations, 27 Grammys, including a Grammy Legend Award in 1991. He is a descendant of the Tikar people in Cameroon. Jones and fellow artist Alison Krauss have won the second most Grammys in history.
In 1968, Jones and his songwriting partner Bob Russell became the first African Americans to be nominated for an Academy Award for Best Original Song, their "The Eyes of Love" for the Universal Pictures film Banning. That same year, Jones was the first African American to be nominated twice within the same year for an Academy Award for Best Original Score, as he was also nominated for his work on the film In Cold Blood (1967). In 1971, Jones was the first African American to be named as the musical director and conductor of the Academy Awards ceremony. In 1995 he was the first African American to receive the Academy's Jean Hersholt Humanitarian Award. He is tied with sound designer Willie D. Burton as the African American who has been nominated for the most Oscars; each has received seven nominations.
Jones was the producer, with Michael Jackson, of Jackson's albums Off the Wall (1979), Thriller (1982), and Bad (1987), as well as being the producer and conductor of the 1985 charity song "We Are the World".
In 2013 Jones was inducted into the Rock & Roll Hall of Fame as the winner, alongside Lou Adler, of the Ahmet Ertegun Award. Among his awards, Jones was named by Time Magazine as one of the most influential jazz musicians of the 20th century.
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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. The new single is available now at iTunes and all digital outlets. Check it out and download your copy now!
Full CD Dangerous Crosswinds coming soon!
Hello Sir/MadamWe know that you are very busy,but our organisation needs your support for our efforts to combat alcoholism and drug addiction amongst our people in Africa through our education…Continue
[MIXTAPE] Mysterious Entertainment Southern Riot III
Hosted By: DJ Big Redd of Swisha House
Third release in the Southern Riot mixtape series hosted by DJ Big Redd of Swisha House.
[MIXTAPE] Various Spaced Out Magazine Vol. 7
Hosted By: J Metro
Spaced Out Magazine is back at it again bringing back a new edition to its previous Volume series showcasing major and indie acts in today's music industry.…Continue
[MIXTAPE] Various Spaced Out Magazine Vol. 7
Hosted By: J Metro
Spaced Out Magazine is back at it again bringing back a new edition to its previous Volume series showcasing major and indie acts in today's music industry.…Continue