Nicola James Capaldi was an English drummer and songwriter. His musical career spanned more than four decades, he co-founded the psychedelic rock band Traffic in 1967 with Steve Winwood with whom he co-wrote the majority of the band's output. He was inducted into the Roll Hall of Fame as a part of Traffic's original line-up. Capaldi performed with Jimi Hendrix, Eric Clapton, George Harrison, Alvin Lee, Cat Stevens, Mylon LeFevre, wrote lyrics for other artists, such as "Love Will Keep Us Alive" and "This is Reggae Music"; as a solo artist he scored more than a half dozen chart hits in various countries, the most well-known being "That's Love" as well as his cover of "Love Hurts". Capaldi was born Nicola James Capaldi in Evesham, Worcestershire, to English parents Marie and Nicholas Capaldi, his father was born Nicola Capaldi in 1913 in Evesham to Italian parents. As a child Capaldi studied the piano and singing with his father, a music teacher, by his teens he was playing drums with his friends.
At age 14 he founded the band the Sapphires and served as their lead vocalist. At 16 he took an apprenticeship at a factory in Worcester. In 1963 he formed the Hellions, with Mason on guitar and Gordon Jackson on rhythm guitar, while Capaldi himself switched to drums. In August 1964, Tanya Day took the Hellions to the Star-Club in Hamburg, Germany, as her backing group; the Spencer Davis Group were staying at the same hotel as the Hellions and it was there that Steve Winwood befriended Capaldi and Mason. Back in Worcester, the Hellions provided backing to visiting performers including Adam Faith and Dave Berry. By the end of 1964, they had a London residency at the Whisky a Go Go Club. In 1964 -- 65 the band released three singles; that year John "Poli" Palmer joined the band on drums and Capaldi became the lead vocalist. The Hellions moved back to Worcester in 1966 where they changed their name to the Revolution, releasing a fourth single that failed to chart. Disillusioned, Dave Mason left the band.
Capaldi renamed the band Deep Feeling. Capaldi and Palmer wrote original songs for the band that were heavier than the Hellions repertoire, they played gigs in the surrounding Black Country area. They recorded several studio tracks from 1966 to 1968 which remained unreleased until 2009, when the album Pretty Colours was released by Sunbeam Records. Capaldi and the band played in London and Jimi Hendrix played guitar with them at the Knuckles Club as an unknown musician. Back in Birmingham Capaldi would join his friends Mason and Chris Wood for after-hours impromptu performances at The Elbow Room club on Aston High Street. Early in 1967 they formalised this arrangement by forming Traffic, Deep Feeling disbanded. In 1968, Capaldi and Mason contributed backing music to a solo album by Gordon Jackson; the new band was signed by Island Records and rented a quiet cottage in Aston Tirrold, Berkshire to write and rehearse new material. The cottage did not remain quiet and had frequent visitors including Eric Burdon, Eric Clapton, Pete Townshend as well as Trevor Burton amongst many others.
Capaldi wrote the lyrics for Traffic's first single "Paper Sun", which appeared in the UK singles chart at number 5 in summer 1967. This was the beginning of a songwriting partnership between him and Winwood which would produce the overwhelming majority of Traffic's songs: With the exception of "No Face, No Name, No Number", Capaldi would pen a lyric first, hand it over to Winwood to write the music. Despite his key role in writing the band's material, Capaldi did lead vocals with Traffic, his lyrics were nearly always keyed towards Winwood's soulful voice rather than his own more hard-edged vocal style. Two more Traffic singles were released in 1967, in December the band released the album Mr. Fantasy. After one further album, the group disbanded. Capaldi formed another band with Mason and Mick Weaver but the creative tensions that had caused Mason to leave Traffic remained and the resulting quartet only lasted until March 1969. In January 1970 Capaldi and Wood joined Winwood in the studio to record Winwood's solo album.
These sessions were so successful that the three of them reformed Traffic to release the album John Barleycorn Must Die. They toured the UK and the US with an expanded line-up, which would go on to produce the hit albums Welcome to the Canteen and The Low Spark of High Heeled Boys; the title track of the latter, a cynical treatise on the music industry, would prove to be one of Capaldi's most famous lyrics. In addition, "Rock and Roll Stew", a rare instance of a Traffic song with Capaldi on lead vocal, was a minor hit in the USA. With Traffic on hiatus due to Steve Winwood's struggles with peritonitis, Capaldi recorded a solo album Oh How We Danced in 1972; this set contained a broad variety of musical styles and featured contributions from Free guitarist Paul Kossoff, the Muscle Shoals Rhythm Section, several members of Traffic. It was well received by critics and proved to be a modest success in the USA, encouraging Capaldi to pursue a solo career alongside his work with Traffic. After two more albums with Traffic, the group took a short break, allowing Capaldi to record Whale Meat Again, less successful than his debut both in terms of reviews and sales.
The title track was a hard rocking and unapologetic environmentalist tirade. He began work on his third solo album, Short Cut Draw Blo
William James Dixon was an American blues musician, songwriter and record producer. He was proficient in playing both the upright bass and the guitar, sang with a distinctive voice, but he is best known as one of the most prolific songwriters of his time. Next to Muddy Waters, Dixon is recognized as the most influential person in shaping the post–World War II sound of the Chicago blues. Dixon's songs have been recorded by countless musicians in many genres as well as by various ensembles in which he participated. A short list of his most famous compositions includes "Hoochie Coochie Man", "I Just Want to Make Love to You", "Little Red Rooster", "My Babe", "Spoonful", "You Can't Judge a Book by the Cover"; these songs were written during the peak years of Chess Records, from 1950 to 1965, were performed by Muddy Waters, Howlin' Wolf, Little Walter, Bo Diddley. Dixon was an important link between the blues and rock and roll, working with Chuck Berry and Bo Diddley in the late 1950s, his songs have been covered by some of the most successful musicians of the past sixty years including Bob Dylan and Jimi Hendrix.
Jeff Beck, The Doors, Led Zeppelin, The Rolling Stones and Steppenwolf all featured at least one of his songs on their debut albums, a measure of his influence on rock music. He received a Grammy Award and was inducted into the Blues Hall of Fame, the Rock and Roll Hall of Fame, the Songwriters Hall of Fame. Dixon was born in Vicksburg, Mississippi, on July 1, 1915, he was one of fourteen children. His mother, Daisy rhymed things she said, a habit her son imitated. At the age of seven, young Dixon became an admirer of a band that featured pianist Little Brother Montgomery, he sang his first song at Springfield Baptist Church at the age of four Dixon was first introduced to blues when he served time on prison farms in Mississippi as a young teenager. In his teens, he learned how to sing harmony from a local carpenter, Theo Phelps, who led a gospel quintet, the Union Jubilee Singers, in which Dixon sang bass, he began adapting his poems into songs and sold some to local music groups. Dixon left Mississippi for Chicago in 1936.
A man of considerable stature, standing 6 and a half feet tall and weighing over 250 pounds, he took up boxing, at which he was successful, winning the Illinois State Golden Gloves Heavyweight Championship in 1937. He became a professional boxer and worked as Joe Louis's sparring partner, but after four fights he left boxing in a dispute with his manager over money. Dixon met Leonard Caston at a boxing gym. Dixon performed in several vocal groups in Chicago, but it was Caston that persuaded him to pursue music seriously. Caston built him his first bass, made of one string. Dixon's experience singing bass made the instrument familiar, he learned to play the guitar. In 1939, Dixon was a founding member of the Five Breezes, with Caston, Joe Bell, Gene Gilmore and Willie Hawthorne; the group blended blues and vocal harmonies, in the mode of the Ink Spots. Dixon's progress on the upright bass came to an abrupt halt with the advent of World War II, when he refused induction into military service as a conscientious objector and was imprisoned for ten months.
He refused to go to war because he would not fight for a nation in which institutionalized racism and racist laws were prevalent. After the war, he formed, he reunited with Caston, forming the Big Three Trio, which went on to record for Columbia Records. Dixon signed with Chess Records as a recording artist, but he began performing less, being more involved with administrative tasks for the label. By 1951, he was a full-time employee at Chess, where he acted as producer, talent scout, session musician and staff songwriter, he was a producer for the Chess subsidiary Checker Records. His relationship with Chess was sometimes strained, but he stayed with the label from 1948 to the early 1960s. During this time Dixon's output and influence were prodigious. From late 1956 to early 1959, he worked in a similar capacity for Cobra Records, for which he produced early singles for Otis Rush, Magic Sam, Buddy Guy, he recorded for Bluesville Records. From the late 1960s until the mid-1970s, Dixon ran his own record label, Yambo Records, two subsidiary labels and Spoonful.
He released his 1971 album, Peace?, on Yambo and singles by McKinley Mitchell, Lucky Peterson and others. Dixon is considered one of the key figures in the creation of Chicago blues, he worked with Chuck Berry, Muddy Waters, Howlin' Wolf, Otis Rush, Bo Diddley, Joe Louis Walker, Little Walter, Sonny Boy Williamson, Koko Taylor, Little Milton, Eddie Boyd, Jimmy Witherspoon, Lowell Fulson, Willie Mabon, Memphis Slim, Washboard Sam, Jimmy Rogers, Sam Lay and others. In December 1964, the Rolling Stones reached number one on the UK Singles Chart with their cover of Dixon's "Little Red Rooster". In the same year, the group covered "I Just Want To Make Love To You" on their debut album, The Rolling Stones. In his years, Dixon became a tireless ambassador for the blues and a vocal advocate for its practitioners, founding the Blues Heaven Foundation, which works to preserve the legacy of the blues and to secure copyrights and royalties for blues musicians who were exploited in the past. Speaking with the simple eloquence, a hallmark of his songs, Dixon claimed, "The blues are the roots and the other musics are the fruits.
It's better keeping the roots alive. The blues are the roots of all American music; as long as Americ
The flugelhorn is a brass instrument, pitched in B♭ but found in C. It resembles a trumpet, the tube has the same length but a wider, conical bore. A type of valved bugle, the flugelhorn was developed in Germany from a traditional English valveless bugle, with the first version sold by Heinrich Stölzel in Berlin in 1828; the valved bugle provided Adolphe Sax with the inspiration for his B♭ soprano saxhorns, on which the modern-day flugelhorn is modeled. The German word Flügel translates into English as flank. In early 18th century Germany, a ducal hunt leader known as a Flügelmeister blew the Flügelhorn, a large semicircular brass or silver valveless forerunner of the modern-day flugelhorn to direct the wings of the hunt; the flugelhorn is built in the same B ♭ pitch as many cornets. It has three piston valves and employs the same fingering system as other brass instruments, but four-piston valve and rotary valve variants exist, it can thus be played without too much trouble by trumpet and cornet players, though some adaptation to their playing style may be needed.
It is played with a more conical mouthpiece than either trumpets or cornets. The shank of the flugelhorn mouthpiece is similar in size to a cornet mouthpiece shank, standard tapered flugelhorns are interchangeable with cornets; some modern flugelhorns feature a fourth valve. This adds a useful low range that, coupled with the flugelhorn's dark sound, extends the instrument's abilities. More however, players use the fourth valve in place of the first and third valve combination, somewhat sharp. A pair of bass flugelhorns in C, called fiscorns, are played in the Catalan cobla bands which provide music for sardana dancers; the tone is fatter and regarded as more mellow and dark than the trumpet or cornet. The sound of the flugelhorn has been described as halfway between a trumpet and a French horn, whereas the cornet's sound is halfway between a trumpet and a flugelhorn; the flugelhorn is as agile as the cornet but more difficult to control in the high register, where in general it slots or locks onto notes less easily.
It is not used for aggressive or bright displays as trumpets and cornets are, but tends more towards a softer and more reflective role. The flugelhorn is a standard member of the British-style brass band, it is used in jazz, it appears in orchestral and concert band music. Famous orchestral works with flugelhorn include Igor Stravinsky's Threni, Ralph Vaughan Williams's Ninth Symphony, Danzon no. 2 by Arturo Márquez, Michael Tippett's third symphony. The flugelhorn is sometimes substituted for the post horn in Mahler's Third Symphony, for the soprano Roman buccine in Ottorino Respighi's Pines of Rome. In HK Gruber's trumpet concerto Busking the soloist is directed to play a flugelhorn in the slow middle movement; the flugelhorn figured prominently in many of Burt Bacharach's 1960s pop song arrangements. It is featured in a solo role in Bert Kaempfert's 1962 recording of "That Happy Feeling". Flugelhorns have been used as the alto or low soprano voice in a drum and bugle corps. Another use of the flugelhorn is found in the Dutch and Belgian "Fanfareorkesten" or fanfare orchestras.
In these orchestras the flugelhorns between 10 and 20 in number, have a significant role, forming the base of the orchestra. They are pitched with sporadically an E ♭ soloist. Due to poor intonation these E♭ flugelhorns are replaced by the E♭ trumpet or cornet. Joe Bishop, as a member of the Woody Herman band in 1936, was one of the earliest jazz musicians to use the flugelhorn. Shorty Rogers and Kenny Baker began playing it in the early fifties, Clark Terry used it in Duke Ellington's orchestra in the mid-1950s. Chet Baker recorded several albums on the instrument in the 1960s. Miles Davis further popularized the instrument in jazz on the albums Miles Ahead and Sketches of Spain, though he did not use it much on projects. Other prominent flugelhorn players include Freddy Buzon, Freddie Hubbard, Tom Browne, Lee Morgan, Bill Dixon, Wilbur Harden, Art Farmer, Roy Hargrove, Hugh Masekela, Feya Faku, Tony Guerrero, Gary Lord, Jimmy Owens, Maynard Ferguson, Terumasa Hino, Woody Shaw, Guido Basso, Kenny Wheeler, Tom Harrell, Bill Coleman, Thad Jones, Arturo Sandoval, Lee Loughnane of the rock band Chicago, Mike Metheny, Harry Beckett, Ack van Rooyen.
Most jazz flugelhorn players use the instrument as an auxiliary to the trumpet, but in the 1970s Chuck Mangione gave up playing the trumpet and concentrated on the flugelhorn alone, notably on his jazz-pop hit song "Feels So Good". Mangione, in an interview on ABC during the 1980 Winter Olympics, for which he wrote the theme "Give It All You Got", referred to the flugelhorn as "the right baseball glove". Pop flugelhorn players include Probyn Gregory, Ronnie Wilson of the Gap Band, Rick Braun, Mic Gillette, Jeff Oster, Zach Condon of the band Beirut, Scott Spillane of the band Neutral Milk Hotel. Marvin Stamm played the flugelhorn solo on "Uncle Albert/Admiral Ha
1001 Albums You Must Hear Before You Die
1001 Albums You Must Hear Before You Die is a musical reference book first published in 2005 by Universe Publishing. Part of the 1001 Before You Die series, it compiles writings and information on albums chosen by a panel of music critics to be the most important and best in popular music between the 1950s and the 2010s; the book was edited by Robert Dimery, an English writer and editor who had worked for magazines such as Time Out and Vogue. Each entry in the book's list of albums is accompanied by a short essay written by a music critic, along with pictures and additional information. Only albums consisting of original material by a particular artist were included, which meant that compilations by various artists, including most film soundtracks, were excluded; the most recent edition consists of a list of albums released between 1955 and 2017, part of a series from Quintessence Editions Ltd. The book is arranged chronologically, starting with Frank Sinatra's In the Wee Small Hours and the most recent edition concluding with I See You by The xx.
In the book's introduction, general editor Robert Dimery notes that the selections were intended to bring attention to gifted songwriters. Joni Mitchell, Elvis Costello and Nick Cave are named as examples; the release dates are chosen from the date the album first released in the artist's home country, the version is the first one released, which would affect The Beatles' album tally. In most cases, bonus tracks added for versions are ignored; the editors attempted to ensure that each album profiled was still available for purchase. Soundtracks that were not original material from a particular artist were excluded. In February 2006, Publishers Weekly called the book a "bookshelf-busting testament to music geeks' mania for lists" and said it was "about as comprehensive a'best-of' as any sane person could want"; the reviewer added: "For music lovers, it doesn't get much better." As of March 11, 2019, the 2006 edition had an average rating of 3.96 stars out of 5 with 1,583 ratings on Amazon.com's social cataloging website Goodreads and 4 stars out of 5 on Amazon.com.
Most of the book's recommendations are rock and pop albums from the Western world. 1001 Albums features selections from world music and blues, folk, hip hop, electronic music, jazz. The rock and pop albums include such subgenres as punk rock, heavy metal, alternative rock, progressive rock, easy listening, thrash metal and rockabilly. Classical and modern art music are excluded; these artists have the most albums in the 2017 edition. 9 albums: David Bowie. 7 albums: the Beatles, Bob Dylan, Neil Young. 6 albums: Morrissey, Elvis Costello, the Rolling Stones and Garfunkel/Paul Simon. 5 albums: the Byrds, Brian Eno, Leonard Cohen, Peter Gabriel, Iggy Pop, Led Zeppelin, Lou Reed, Sonic Youth, Bruce Springsteen, Tom Waits, the Who. 4 albums: Nick Cave and the Bad Seeds, Miles Davis, P. J. Harvey, the Kinks, Joni Mitchell, Pink Floyd, Radiohead, R. E. M. Steely Dan, Talking Heads, U2, Stevie Wonder. 3 albums: Aerosmith, the Beach Boys, Beastie Boys, Björk, Black Sabbath, Tim Buckley, Kate Bush, Johnny Cash, Ray Charles, Creedence Clearwater Revival, the Cure, Deep Purple, Dexys Midnight Runners, the Doors, Nick Drake, Echo & the Bunnymen, the Fall, Marvin Gaye, the Jimi Hendrix Experience, Michael Jackson, Bob Marley and the Wailers, Van Morrison, My Bloody Valentine, Parliament/Funkadelic, Pet Shop Boys, Elvis Presley, Public Enemy, Roxy Music, Frank Sinatra, Kanye West, Yes, Frank Zappa.
Rolling Stone's 500 Greatest Albums of All Time 1,000 Recordings to Hear Before You Die 1001 Movies You Must See Before You Die 1001 Books You Must Read Before You Die 1001 Video Games You Must Play Before You Die Official website
Ampex is an American electronics company founded in 1944 by Alexander M. Poniatoff as a spin-off of Dalmo-Victor; the name AMPEX is a portmanteau, created by its founder, which stands for Alexander M. Poniatoff Excellence. Today, Ampex operates as Ampex Data Systems Corporation, a subsidiary of Delta Information Systems, consists of two business units; the Silicon Valley unit, known internally as Ampex Data Systems, manufactures ruggedized, high-capacity, high-performance digital data storage systems capable of functioning in harsh environments on land, in the air, at sea, in space. The Colorado Springs, Colorado unit, referred to as Ampex Intelligent Systems, serves as a laboratory and hub for the company’s line of industrial control system cyber security products and services and its artificial intelligence/machine learning technology, available across all of the company’s products. Ampex's first great success was a line of reel-to-reel tape recorders developed from the German wartime Magnetophon system at the behest of Bing Crosby.
Ampex became a leader in audio tape technology, developing many of the analog recording formats for both music and movies that remained in use into the 1990s. Starting in the 1950s, the company began developing video tape recorders, introduced the helical scan concept that make home video players possible, they introduced multi-track recording, slow-motion and instant playback television, a host of other advances. Ampex's tape business was rendered obsolete during the 1990s, the company turned to digital storage products. Ampex moved into digital storage for DoD Flight Test Instrumentation with the introduction of the first, true all digital flight test recorder. Ampex supports numerous major DoD programs with the US Air Force, US Army, US Marines, US Navy and other government entities. Ampex works with all major DoD primes and integrators including Boeing, General Atomics, Northrop and many others; the new Ampex is attempting to do more with the data stored on its network attached storage devices.
This includes adding advanced encryption for more secure data storage. Russian-American inventor Alexander Matthew Poniatoff established the company in San Carlos, California, in 1944 as the Ampex Electric and Manufacturing Company; the company name came from his initials plus "ex" to avoid using the name AMP in use. During World War II, Ampex was a subcontractor to Dalmo-Victor, manufacturing high quality electric motors and generators for radars that used alnico 5 magnets from General Electric. Ampex was setup in abandoned loft-space above the Dalmo-Victor plant. Near the end of the war, while serving in the U. S. Army Signal Corps, Major Jack Mullin was assigned to investigate German radio and electronics experiments, he discovered the Magnetophons with AC biasing on a trip to Radio Frankfurt. The device produced much better fidelity than shellac records; the technological processes in tape recording and equipment developed by German companies before and during the 1939-45 War had copyrights which were voided after Germany's 1945 surrender and defeat.
Mullin acquired two Magnetophon recorders and 50 reels of BASF Type L tape, brought them to America, where he produced modified versions. He demonstrated them to the Institute of Radio Engineers in San Francisco on May 16, 1946. Bing Crosby, a big star on radio at the time, was receptive to the idea of pre-recording his radio programs, he disliked the regimentation of live broadcasts, much preferred the relaxed atmosphere of the recording studio. He had asked the NBC network to let him pre-record his 1944-45 series on transcription discs, but the network refused, so Crosby had withdrawn from live radio for a year and returned for the 1946-47 season only reluctantly. Another possible motivation wasn't so much that Crosby wanted the more relaxed atmosphere of taping vs live but that live network radio required performing two identical shows a night, one for the east coast and one for the west coast; this may have been what Crosby was hoping to avoid, as, the argument Crosby used with the radio network when he asked to use transcription disc recordings of his show.
Those recordings were made directly from the live east coast show, as were the taped versions. In June 1947, pitching the technology to the major Hollywood movie studios, got the chance to demonstrate his modified tape recorders to Crosby; when Crosby heard a demonstration of Mullin's tape recorders, he saw the potential of the new technology and commissioned Mullin to prepare a test recording of his radio show. Ampex was finishing its prototype of the Model 200 tape recorder and Mullin used the first two models as soon as they were built. After a successful test broadcast, ABC agreed to allow Crosby to pre-record his shows on tape. Crosby appointed Mullin as his chief engineer and placed an order for $50,000 worth of the new recorders so that Ampex could develop a commercial production model from the prototypes. Crosby Enterprises was Ampex's West Coast representative until 1957; the company's first tape recorder, the Ampex Model 200, was first shipped in April 1948. The first two units, serial numbers 1 and 2, were used to record the Bing Crosby Show.
The American Broadcasting Company used these recorders alon
Columbia Records is an American record label owned by Sony Music Entertainment, a subsidiary of Sony Corporation of America, the North American division of Japanese conglomerate Sony. It was founded in 1887, evolving from the American Graphophone Company, the successor to the Volta Graphophone Company. Columbia is the oldest surviving brand name in the recorded sound business, the second major company to produce records. From 1961 to 1990, Columbia recordings were released outside North America under the name CBS Records to avoid confusion with EMI's Columbia Graphophone Company. Columbia is one of Sony Music's four flagship record labels, alongside former longtime rival RCA Records, as well as Arista Records and Epic Records. Artists who have recorded for Columbia include Harry Styles, AC/DC, Louis Armstrong, Tony Bennett, Beyoncé, Dave Brubeck, The Byrds, Johnny Cash, Mariah Carey, The Chainsmokers, The Clash, Miles Davis, Rosemary Clooney, Neil Diamond, Celine Dion, Bob Dylan, Wind & Fire, Duke Ellington, 50 Cent, Erroll Garner, Benny Goodman, Adelaide Hall, Billy Joel, Janis Joplin, John Mayer, George Michael, Billy Murray, Pink Floyd, Lil Nas X, Frank Sinatra and Garfunkel, Bessie Smith, Bruce Springsteen, Barbra Streisand, Andy Williams, Pharrell Williams, Bill Withers, Paul Whiteman, Joe Zawinul The Columbia Phonograph Company was founded in 1887 by stenographer and New Jersey native Edward D. Easton and a group of investors.
It derived its name from the District of Columbia. At first it had a local monopoly on sales and service of Edison phonographs and phonograph cylinders in Washington, D. C. Maryland, Delaware; as was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, its catalogue of musical records in 1891 was 10 pages. Columbia's ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Company's breakup. Thereafter it sold only phonographs of its own manufacture. In 1902, Columbia introduced a molded brown wax record, to use up old stock. Columbia introduced black wax records in 1903. According to one source, they continued to mold brown waxes until 1904 with the highest number being 32601, "Heinie", a duet by Arthur Collins and Byron G. Harlan; the molded brown waxes may have been sold to Sears for distribution. Columbia began selling disc records and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records.
For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound. In order to add prestige to its early catalog of artists, Columbia contracted a number of New York Metropolitan Opera stars to make recordings; these stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings was not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, England's His Master's Voice or Italy's Fonotipia Records. After an abortive attempt in 1904 to manufacture discs with the recording grooves stamped into both sides of each disc—not just one—in 1908 Columbia commenced successful mass production of what they called their "Double-Faced" discs, the 10-inch variety selling for 65 cents apiece; the firm introduced the internal-horn "Grafonola" to compete with the popular "Victrola" sold by the rival Victor Talking Machine Company.
During this era, Columbia used the "Magic Notes" logo—a pair of sixteenth notes in a circle—both in the United States and overseas. Columbia stopped recording and manufacturing wax cylinder records in 1908, after arranging to issue celluloid cylinder records made by the Indestructible Record Company of Albany, New York, as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate on disc records and stopped manufacturing cylinder phonographs, although they continued selling Indestructible's cylinders under the Columbia name for a year or two more. Columbia was split into one to make records and one to make players. Columbia Phonograph was moved to Connecticut, Ed Easton went with it, it was renamed the Dictaphone Corporation. In late 1922, Columbia went into receivership; the company was bought by its English subsidiary, the Columbia Graphophone Company in 1925 and the label, record numbering system, recording process changed. On February 25, 1925, Columbia began recording with the electric recording process licensed from Western Electric.
"Viva-tonal" records set a benchmark in tone and clarity unequaled on commercial discs during the 78-rpm era. The first electrical recordings were made by Art Gillham, the "Whispering Pianist". In a secret agreement with Victor, electrical technology was kept secret to avoid hurting sales of acoustic records. In 1926, Columbia acquired Okeh Records and its growing stable of jazz and blues artists, including Louis Armstrong and Clarence Williams. Columbia had built a catalog of blues and jazz artists, including Bessie Smith in their 14000-D Race series. Columbia had a successful "Hillbilly" series. In 1928, Paul Whiteman, the nation's most popular orchestra leader, left Victor to record for Columbia. During the same year, Columbia executiv
Randal Edward Brecker is an American trumpeter and composer. His versatility has made him a popular studio musician who has recorded with acts in jazz, R&B. Brecker was born on November 1945 in the Philadelphia suburb of Cheltenham to a musical family, his father Bob was a lawyer who played his mother Sylvia was a portrait artist. Randy trumpet fanatic. In school when I was eight, they only offered clarinet. I chose trumpet from hearing Diz, Miles and Chet Baker at home. My brother didn't want to play the same instrument as I did, so three years he chose the clarinet!" Randy's father, was a songwriter and singer who loved to listen to recordings of the great jazz trumpet players such as Miles Davis, Dizzy Gillespie and Clifford Brown. He took Randy and his younger brother Michael Brecker to see Davis, Thelonious Monk, Duke Ellington, many other jazz icons. Brecker attended Cheltenham High School from 1959 to 1963 and Indiana University from 1963 to 1966 studying with Bill Adam, David Baker and Jerry Coker and moved to New York and performed with Clark Terry's Big Bad Band, the Duke Pearson and the Thad Jones/Mel Lewis Orchestra.
In 1967, Brecker ventured into jazz-rock with the band Blood, Sweat & Tears, on their first album Child Is Father to the Man, but left to join the Horace Silver Quintet. Brecker recorded Score, in 1968, featuring his brother Michael Brecker. After Horace Silver, Randy Brecker joined Art Blakey's Jazz Messengers before teaming up with brother Michael, Barry Rogers, Billy Cobham, John Abercrombie to form the fusion group Dreams; the group recorded two albums: Dreams and Imagine My Surprise for Columbia Records before they disbanded in 1971. In the early 1970s, Brecker performed live with many artists including The Eleventh House, Stevie Wonder and Billy Cobham, he recorded several albums with his brother under pianist/composer Hal Galper. By 1975, Randy and Michael formed the Brecker Brothers band, they released six albums on Arista and garnered seven Grammy nominations between 1975 and 1981. Their first record, The Brecker Bros. featured Randy's composition "Some Skunk Funk", he composed several pieces on this and subsequent albums.
After the Brecker Brothers disbanded in 1982, Randy recorded and toured as a member of Jaco Pastorius' Word of Mouth big band. It was soon thereafter that he met and married Brazilian jazz pianist Eliane Elias. Eliane and Randy formed their own band, touring the world several times and recording one album named after their daughter together, Amanda on Passport Records. In 1992 Randy and Michael reunited for a world tour and the triple-Grammy nominated GRP recording The Return of the Brecker Brothers; the follow-up, 1994's Out of the Loop, was a double-Grammy winner. In 1995 he was featured on an album by Polish composer Włodek Pawlik. In 1997, Into the Sun, a recording featuring Brecker's impressions of Brazil, garnered Brecker his first Grammy as a solo artist. In 2001, Brecker released Hangin' in the City, a solo project that introduced his alter-ego Randroid with lyrics and vocals by Randroid himself; this CD was released in Europe. Brecker's next CD for ESC Records, 34th N Lex, won him his third Grammy for Best Contemporary Jazz Album in 2003.
That summer he went back to Europe with the Bill Evans Soulbop Band. In the summer of 2003 the Brecker Brothers appeared in Japan at the Mount Fuji Jazz Festival.2004 saw Brecker touring Europe as co-leader of the band Soulbop. The WDR Big Band invited Brecker to perform at the; the date was of significance to Randy as it was the last time he played with his brother, who took ill shortly thereafter with a rare form of leukemia known as MDS. In 2005, Brecker's wife Ada sat in for the first time. Brecker's schedule continued with the Randy Brecker Band performing throughout Eastern Europe. In 2007, Brecker was awarded his fourth Grammy for Randy Brecker Live with the WDR Big Band, the live recording of his performance with Michael at the Leverkusen Jazz Fest in 2004. Michael died that same year on January 13.2007 saw the release of a two-CD set of live recordings of the band Soulbop featuring Dave Kikoski, Victor Bailey, Steve Smith, Rodney Holmes and Hiram Bullock. Brecker returned to Brazilian music in 2008 for the album Randy in Brazil, recorded in São Paulo with Brazilian musicians and released on Summit Records.
Chosen as one of the top 10 CDs of 2008 by All About Jazz, the CD won the Grammy for "Best Contemporary Jazz Album", bringing his Grammy total to five. A Tribute to the Brecker Brothers featuring Randy and recorded live at the Hamamatsu Jazz Festival in Japan with Yoichi Murata's Solid Brass & Big Band was released by JVC Victor in Japan in late 2008. In 2009, Brecker released Jazz Suite Tykocin, a project initiated and conceived by Włodek Pawlik, featuring Randy as a soloist with members of the Bialystok Philharmonic. Tykocin is the area in Poland where Brecker's ancestors hail from, a fact that Pawlik discovered.2011 saw the release of The Jazz Ballad Song Book: Randy Brecker with the Danish Radio Big Band and The Danish National Chamber Orchestra, which garnered four Grammy nominations and critical acclaim. In 2012, Legacy Recordings released the boxed set The Brecker Brothers – The Complete Arista Albums Collection. In November of that year the album Night in Calisia, a collaboration between Brecker, the Wlodek Pawlik Trio, the Kalisz Philharmonic Orchestra and Adam Klocek was released in Poland.
The album came