Time Remembered: John McLaughlin Plays Bill Evans
Time Remembered: John McLaughlin Plays Bill Evans is an album by the John McLaughlin Trio. It was recorded in March 1993 and released on the Verve label in 1993; the album reached number 10 in the Billboard Top Jazz Albums chart. Allmusic awarded the album with 2 stars and the review by Scott Yanow states: "...more mood and tempo variations would have kept this from being such a sleepy and overly respectful session." Whereas Walter Kolosky in his All About Jazz review is far more positive stating: "Time Remembered is a beautiful and realized tribute. The sound is full and rich, the playing is strong and forthright all around. McLaughlin’s soloing is fluid too dense, but never misdirected." All tracks composed by Bill Evans.
Industrial Zen is a studio album recorded by English jazz musician John McLaughlin in 2006. It was released on 22 May 2006 by Verve Records as a compact disc. Following the release of Thieves and Poets, he began creating an album, more ambitious and one that he could consider unique to him, he collaborated with various musicians for the project, such as vocalist Shankar Mahadevan, saxophonist Bill Evans, tabla player Zakir Hussain. A jazz fusion and electric jazz album, Industrial Zen features the use of several instruments, including drums, the electric bass, the tabla. Additionally, McLaughlin wrote and produced all eight songs that appear on the record; the album was well received by music critics for being musically diverse. One critic pointed out that it resembled some of McLaughlin's work that he released in the 1970s. Commercially, the album fared well on two jazz music Billboard charts, peaking at numbers 9 and 14 on the Top Jazz Albums and Jazz Albums charts, respectively. After completing Thieves and Poets in 2003, McLaughlin began work on Industrial Zen, considered a much "more aggressive and sonically ambitious" album than the former.
He wanted to make a record that would be considered "ground breaking" in terms of how many musical genres it involved. While speaking during the creation of Industrial Zen with music critic Bill Milkowski, he stated: "I think the critics will crucify me, what I’m looking forward to. I’m going to destroy everything. I want to do something underground, unconventional. I’d like to get Eric Johnson involved in this project. They’re guys that I’ve known for years, great guitar players, but I’d like to put them in another environment, in a situation that they’ve never been in before, and I’d like to get some sax players—jazz players and other kinds. And I’ll use Shankar Mahadevan, the amazing vocalist who appears on Remember Shakti’s Saturday Night in Bombay. I’ve been thinking about this underground thing for three years but I just haven’t had time to do it. I’m dying to get it out. It’s like giving birth." McLaughlin traveled to various destinations in order to record Industrial Zen. He had sessions at Metropolis Studios in London, Mediastarz Studio in Monaco, Saucer Sound Studio in Austin Texas, Otmatic Sound and At Beatnik Studio in California.
It was released on 22 May 2006 by Verve Records as a compact disc. Musically, Industrial Zen is a jazz fusion and electric jazz album, similar to McLaughlin's released material. A few of the songs included serve as tributes to different musicians, he opens the album with "For Jaco", an upbeat track that combines the use of drums and saxophones. Track two, "New Blues Old Bruise", features "sampled chorus effects" on its vocals created and a "moody" production, compared to the works of English rock band Pink Floyd. "Wayne's Way" follows and serves as a tribute to performer Wayne Shorter. On the fourth track, "Just So Only More So", McLaughlin and the saxophonist Bill Evans play together; as the song begins to wrap up, they perform a "touching, conversational dialogue on their instruments"."To Bop or Not to Be" is a track dedicated to jazz musician Michael Brecker. Featuring a tabla, drums and keyboards, the track features an Indian-influenced melody surrounded by "hypnotic synthesizer". "Dear Dalai Lama" references the Dalai Lama and features guest vocals from Mahadevan amidst a "spiritual ambience".
A passionate song with "shifting moods", tabla player Zakir Hussain appears alongside Ada Rovatti who plays the saxophone. "Senor C. S." is track seven and another tribute song, this time to Carlos Santana. An "energetic" track, it features contributions from bassist Hadrien Feraud; the album closes with "Mother Nature", a song with Mahadevan's "keening vocals" and an "electronic revolving ostinato". Industrial Zen has received favorable reviews from music critics. John Kelman from All About Jazz called the album a "perfect confluence of divergent interests", he thought that the album was proof that despite the criticism for McLaughlin's "occasionally unsuccessful aspirations", he is able to "show that his eyes and ears remain open". Stuart Nicholson from Jazzwise was favorable of Industrial Zen. A writer from Billboard noted that McLaughlin was "vibrant reinventing" his career with Industrial Zen. In a more mixed opinion, AllMusic's Richard S. Ginell awarded the album three out of five stars, he praised "Mother Nature" as a standout on the album but found it to be "the only track that sticks in the memory".
David R. Adler, writing for JazzTimes, found McLaughlin to be "in good form" on Industrial Zen. Commercially, the album entered two jazz music Billboard charts in 2006. On the Jazz Albums chart, it peaked at number 14, becoming McLaughlin's highest-charting album as an artist, it appeared on the Top Jazz Albums char
The Guitar Trio
The Guitar Trio is a reunion album by Al Di Meola, Paco de Lucía and John McLaughlin, released in 1996 after 13 years without playing together. This 1996 effort has three originals apiece from McLaughlin and Di Meola, two by de Lucía and a McLaughlin-Di Meola duet on "Manhã de Carnaval". "La Estiba" – 5:51 "Beyond the Mirage" – 6:10 "Midsummer Night" – 4:36 "Manhã de Carnaval" – 6:11 "Letter from India" – 3:54 "Espiritu" – 5:30 "Le Monastère dans les Montagnes" – 6:15 "Azzura" – 7:58 "Cardeosa" – 6:36 Paco de Lucía – guitar - plays a Hermanos Conde guitar Al Di Meola – guitar, percussion - plays both Ovation and a Hermanos Conde guitar-percution/hands, shaker John McLaughlin – guitar - uses a Wechter guitar, D'Addario strings and a Lawrence Fishman microphone
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i
Kenny Garrett is a Grammy Award-winning American post-bop jazz saxophonist and flautist who gained recognition in his youth as a member of the Duke Ellington Orchestra and of Miles Davis's band. Since he has pursued a solo career. Kenny Garrett was born in Detroit, Michigan, on October 9, 1960, his father was a carpenter. Garrett's own career as a saxophonist took off when he joined the Duke Ellington Orchestra in 1978 led by Duke's son, Mercer Ellington. A few years he performed in the Mel Lewis Orchestra, playing the music of Thad Jones, the Dannie Richmond Quartet, focusing on Charles Mingus's music. In 1984, he recorded his first album as a bandleader, Introducing Kenny Garrett, on the CrissCross label, he recorded two albums with Atlantic Records: Prisoner of Love and African Exchange Student. Since 1990 the majority of Garrett albums are co-produced by pianist/composer Donald Brown. Garrett signed to the Warner Bros. Records label, beginning with Black Hope, in 1992, he has continued to record with them.
Among his recordings on Warner Bros. are Pursuance: The Music of John Coltrane, recorded in 1996, Songbook, his first album made up of his own compositions, recorded in 1997 and nominated for a Grammy Award. During his career, Garrett has performed and recorded with many jazz greats such as Miles Davis, Art Blakey, Joe Henderson, Brad Mehldau, Freddie Hubbard, Woody Shaw, McCoy Tyner, Pharoah Sanders, Brian Blade, Marcus Miller, Chick Corea, John McLaughlin, Herbie Hancock, Bobby Hutcherson, Ron Carter, Elvin Jones, Mulgrew Miller. Throughout his solo career, Garrett's music has varied stylistically from jazz and post-bop to soul, R&B and smooth jazz. Garrett's music sometimes exhibits Asian influences, an aspect, prevalent in his 2006 Grammy-nominated recording, Beyond the Wall. Garrett is best known in many circles for the five years he spent playing with Miles Davis during Davis's electric period, has stated that he has become accustomed to this association: I was in Miles' band for about five years.
I think. That is five years of my life. That's the only musical situation, it was a good five years. I have gotten used to that; some people became aware of me through Miles and they would come to my concerts. I think, part of my history and I am proud of that. I am still trying to carve out my own name and my own music. I just look at it as a part of history and it is going to be there; every time they mention Kenny Garrett, there will be some association with Miles Davis, but at the same time, when they mention Herbie Hancock, they always mention Miles Davis, or Wayne Shorter. You get used to it after a while. Garrett's live album Sketches of MD: Live at the Iridium, featuring Pharoah Sanders, was released on September 23, 2008. On his website, KennyGarrett.com, he stated that his band at the time consisted of electric bass and organ. Garrett performed in a world tour in 2008–2009 with Corea, McLaughlin, Christian McBride and Blade/Vinnie Colaiuta as the "Five Peace Band"; the CD Five Peace Band – Live won a Grammy Award in 2010.
In 2011, Garrett was presented with an Honorary Doctorate in Music from Berklee College of Music, Massachusetts. Garrett was the Commencement Speaker for graduates. In 2012, Garrett received a Soul Train Award nomination for his 2012 studio album Seeds from the Underground in the Best Traditional Jazz Artist/Group category. In 2012, Grammy nominations for Seeds from the Underground followed in the Best Jazz Instrumental Album and Best Improvised Jazz Solo categories, Seeds From The Underground received a NAACP Image Award nomination in the Outstanding Jazz Album category. In 2013, Garrett won an Echo Award in the Saxophonist of the Year category. On September 17, 2013, Garrett released his second studio album for Mack Avenue Records, Pushing the World Away; the album received a Grammy nomination in the Best Jazz Instrumental Album category that year. Garrett won the 2013 Down Beat Readers Poll for the second consecutive year, which brought his total number of wins in the alto saxophone category to 8.
On July 8, 2016, Garrett released his third studio album for Mack Avenue Records, Do Your Dance! Garrett has been a resident of New Jersey. Garrett was described as "The most important alto saxophonist of his generation" by the Washington City Paper and "One of the most admired alto saxophonists in jazz after Charlie Parker" by The New York Times. Introducing Kenny Garrett, 1984 5 Paddle Wheel, 1988 Prisoner of Love, 1989 African Exchange Student, 1990 Black Hope, 1992 Triology, 1995 Stars & Stripes Live, 1995 Pursuance: The Music of John Coltrane, 1996 Songbook, 1997 Simply Said, 1999 Old Folks, 2001 Birds of a Feather: A Tribute to Charlie Parker, 2001 Happy People, 2002 Standard of Language, 2003 Beyond the Wall, 2006 Sketches of MD – Live at the Iridium, 2008 Seeds from the Underground, 2012 Pushing the World Away, 2013 Do Your Dance!, 2016 With Geri Allen The Nurturer With Cindy Blackman Arcane With Art Blakey Feeling Good With Donald Byrd Harlem Blues Getting Down to Business With Chick Corea Remembering Bud Powell With Miles Davis Amandla Miles & Quincy Live at Montreux Live Around the World Wi
The Promise (John McLaughlin album)
The Promise is a jazz album released in 1995 by John McLaughlin on Verve Records. The album peaked number 4 in the Billboard Top Jazz Albums chart 1996. All tracks composed by John McLaughlin. Walter Koslosky in his AllAboutJazz review classifies The Promise "a potpourri of musical styles and performers. Yet, despite its disparate compositions and styles, the record manages to be a cohesive work of art.... Bravo!"