Motéma Music is an independent American record label focused on jazz and world music, as well as other creative projects by virtuosic musicians and composers. It was founded by Jana Herzen in San Francisco in 2003, is now based in Harlem, New York City. Among the artists on the label are Gregory Porter, Ginger Baker, Monty Alexander, Kellylee Evans, Randy Weston, Charnett Moffett, Geri Allen, Lynne Arriale, Rufus Reid, Marc Cary, Jean-Michel Pilc, Lakecia Benjamin, René Marie; the name means "heart" in the African language of Lingala. Motéma has been described as "what Blue Note was to the jazz labels of the 60s...for the 21st century" and "a welcoming beacon, documenting brilliant improvisers who are expanding the art form." Motéma Music was begun in the San Francisco Bay Area. A production company since 1997, it became a label after signing Babatunde Lea for his album, Soul Pools. Jana Herzen, a singer-songwriter who composed and performed on "'Round the World" on Soul Pools, was trying to get out some records and created the label to do so, never intending to be a CEO.
Herzen chose the name because of its similarity to the sound of "Motown". Herzen moved the label to New York in 2005 to be closer to the action. At one time, the label was based in the third floor of the Langston Hughes House; the label remains in Harlem. The Motéma logo was designed by Winston Smith; the label is artist-centric and focuses on each artist's individual development. It is because of this reputation that such respected artists such as Geri Allen and Rufus Reid came to the label. Herzen attributes this to her being an artist herself. Roni Ben-Hur and Jana Herzen founded the Jazz Therapy series as a benefit for the Dizzy Gillespie Memorial Fund of the Englewood Hospital and Medical Center Foundation in Englewood, New Jersey, which underwrites medical care for uninsured jazz musicians who are unable to pay for medical care; the series so far has included CDs by Juarez Moreira. Ben-Hur met Nilson Matta in the performance lounge of Englewood Hospital, which led to their collaboration on the third release in the series.
Babatunde Lea - Soul Pools with Ku-umba Frank Lacy, Hilton Ruiz, John Benîtez, Mario Rivera, Kevin Jones, Jana Herzen, Raul Midon, Ernie Watts, Geoff Brennan 7-09363-7136-2 Babatunde Lea - Level of Intent with Jon Faddis, Charnette Moffett, Hilton Ruiz, Frank Colón, John Purcell, Frank Lacy, Tommy James, Santi Debriano, Kenny Barron, Marvin Horn 8-20320-0047-2 Lynne Arriale Trio - Arise MTM71372 Babatunde Lea - Suite Unseen: Summoner of the Ghost with Steve Rurre, Richard Howell, Glen Pearson, Geoff Brennan, Ron Belcher, Bujo Kevin Jones MTM 00002 Jana Herzen - Soup's on Fire MOTEMA 6681-2 Discomind - The Fresh Turnout unnumbered DJ Jackie Christie - Made 4 U RAD 90079-2 Lynn Arriale Trio - Come Together MTM 00001 Marc Cary - Focus with David Ewell, Sameer Gupta MTM-00005 Bujo Kevin Jones with Kelvin Sholar, George Makinto, Brian Horton, Kevin Louis, Damon Warmack, Jamieo Brown - Tenth World MTM 0000-3 Kit McClure Band - Just the Thing: The Sweethearts Project Revisited RH 9005 Lynne Arrialle Trio - Live MTM-00007 Marc Cary & Shon'Chance' Miller - XR Project: AbStraKt|BlaK MTM-00004 Pete Levin - Deacon Blues featuring Joe Beck, Mike DeMicco, Danny Gottlieb, Tony Levin, Ken Lovelett, Carlos Valdez MTM-0008 Roni Ben-Hur - Keepin' It Open with Jeremy Pelt, Ronnie Mathews, Santi Debriano, Lewis Nash, Steve Kroon 232537 Rufus Reid Quintet - Live at the Kennedy Center MTM-00009 Ryan Cohan - One Sky with Bob Sheppard, Geof Bradfield, Tito Carillo, James Cammack, Lorin Cohen, Kobie Watkins, Ruben Alvarez, Jean-Christophe Leroy MTM-00012 Amy London - When I Look in Your Eyes featuring John Hicks, Lee Musiker, Roni Ben-Hur, Rufus Reid, Leroy Williams, Chris Byars MTM-00011 KJ Denhert - Lucky 7 MTM-00014 Antonio Ciacca Quintet - Rush Life 232536 Bujo Kevin Jones - Bujo Kevin Jones & Tenth World Live! with Kelvin Sholar, Brian Horton, Kevin Louis, Joshua David, Jaimeo Brown MTM-00020 KJ Denhert - Dal Vivo a Umbria Jazz with Bennett Paster, Ray Lavier, Mamadou Ba, John Caban, featuring Aaron Heick MTM - 00017 The New Jazz Composers Octet - The Turning Gate MTM-00019 Roni Ben-Hur, Gene Bertoncini - Smile: Jazz Therapy, Volume 1 MTM - 00018 Lynne Arriale - Nuance: The Bennett Studio Sessions featuring Randy Brecker, George Mraz, Anthony Pinciotti MTM-00022 Charnett Moffett - The Art of Improvisation with Will Calhoun, Yunchen Lhamo, Pat Jones MTM-21 Sertab Erener, Demir Demirkan - Painted on Water MTM23 Oran Etkin - Kelenia MTM - 24 Tessa Souter - Obsession MTM-27 Babatunde Lea's Umbo Weti: A Tribute to Leon Thomas with Dwight Trible, Ernie Watts, Patrice Rushen, Gary Brown MTM-25 Alexis Cole - The Greatest Gift MTM-26 N.
E. D. - No Evidence of Disease MTM-29 Ithamara Koorax, Juarez Moreira - Bim Bom - The Complete João Gilberto Songbook MTM-30 Roni Ben-Hur - Fortuna with Ronnie Mathews, Rufus Reid, Lewis Nash, Steve Kroon MTM-28 2009 Motéma Summer Sampler Antonio Ciacca Quintet - Lagos Blues MTM-32 2009 Motéma Winter Sampler Rufus Reid featuring Steve Allee & Duduka da Fonseca - Out Front MTM-36 Tomoko Sugawara - Along the Silk Road with Robert Dick and Ozan Aksöy MTM-31 Geri Allen - Flying Toward the Sound MTM-37 Lynne Arriale - Solo MTM-38 Sertab Erener, Demir Demirkan - Love MTM-44 Marc Cary - Focus Trio Live 2009 MTM-33 Patrick Stanfield
Herbert Jeffrey Hancock is an American pianist, bandleader and actor. Hancock started his career with Donald Byrd, he shortly thereafter joined the Miles Davis Quintet where he helped to redefine the role of a jazz rhythm section and was one of the primary architects of the post-bop sound. In the 1970s, Hancock experimented with jazz fusion and electro styles. Hancock's best-known compositions include "Cantaloupe Island", "Watermelon Man", "Maiden Voyage", "Chameleon", the singles "I Thought It Was You" and "Rockit", his 2007 tribute album River: The Joni Letters won the 2008 Grammy Award for Album of the Year, only the second jazz album to win the award, after Getz/Gilberto in 1965. Hancock was born in Chicago, the son of Winnie Belle, a secretary, Wayman Edward Hancock, a government meat inspector, his parents named him after actor Herb Jeffries. He attended the Hyde Park Academy. Like many jazz pianists, Hancock started with a classical music education, he studied from age seven, his talent was recognized early.
Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra at the age of 11. Through his teens, Hancock never developed his ear and sense of harmony, he was influenced by records of the vocal group the Hi-Lo's. He reported that:"...by the time I heard the Hi-Lo's, I started picking that stuff out. I could hear stuff and that's when I learned some much farther-out voicings – like the harmonies I used on Speak Like a Child – just being able to do that. I got that from Clare Fischer's arrangements for the Hi-Lo's. Clare Fischer was a major influence on my harmonic concept...he and Bill Evans, Ravel and Gil Evans, finally. You know, that's where it came from." In 1960, he heard Chris Anderson play just once, begged him to accept him as a student. Hancock mentions Anderson as his harmonic guru. Hancock left Grinnell College, moved to Chicago and began working with Donald Byrd and Coleman Hawkins, during which period he took courses at Roosevelt University.
Byrd was attending the Manhattan School of Music in New York at the time and suggested that Hancock study composition with Vittorio Giannini, which he did for a short time in 1960. The pianist earned a reputation, played subsequent sessions with Oliver Nelson and Phil Woods, he recorded his first solo album Takin' Off for Blue Note Records in 1962. "Watermelon Man" was to provide Mongo Santamaría with a hit single, but more for Hancock, Takin' Off caught the attention of Miles Davis, at that time assembling a new band. Hancock was introduced to Davis by a member of the new band. Hancock received considerable attention. Davis sought out Hancock, whom he saw as one of the most promising talents in jazz; the rhythm section Davis organized was young but effective, comprising bassist Ron Carter, 17-year-old drummer Williams, Hancock on piano. After George Coleman and Sam Rivers each took a turn at the saxophone spot, the quintet gelled with Wayne Shorter on tenor saxophone; this quintet is regarded as one of the finest jazz ensembles yet.
While in Davis's band, Hancock found time to record dozens of sessions for the Blue Note label, both under his own name and as a sideman with other musicians such as Shorter, Grant Green, Bobby Hutcherson, Byrd, Kenny Dorham, Hank Mobley, Lee Morgan and Freddie Hubbard. Hancock recorded several less-well-known but still critically acclaimed albums with larger ensembles – My Point of View, Speak Like a Child and The Prisoner featured flugelhorn, alto flute and bass trombone. 1963's Inventions and Dimensions was an album of entirely improvised music, teaming Hancock with bassist Paul Chambers and two Latin percussionists, Willie Bobo and Osvaldo "Chihuahua" Martinez. During this period, Hancock composed the score to Michelangelo Antonioni's film Blowup, the first of many film soundtracks he recorded in his career; as well as feature film soundtracks, Hancock recorded a number of musical themes used on American television commercials for such well known products as Pillsbury's Space Food Sticks, Standard Oil, Tab diet cola and Virginia Slims cigarettes.
Hancock wrote and conducted a spy type theme for a series of F. William Free commercials for Silva Thins cigarettes. Hancock liked it so much he wished to record it as a song but the ad agency would not let him, he rewrote the harmony and tone and recorded the piece as the track "He Who Lives in Fear" from his The Prisoner album of 1969. Davis had begun incorporating elements of rock and popular music into his recordings by the end of Hancock's tenure with the band. Despite some initial reluctance, Hancock began doubling on electric keyboards including the Fender Rhodes electric piano at Davis's insistence. Hancock adapted to the new instruments, which proved to be important in his future artistic endeavors. Under the pretext that he had returned late from a honeymoon in Brazil, Hancock was dismissed from Davis's band. In the summer of 1968 Hancock formed his own sextet. However, although Davis soon disbanded his quintet to search for a new sound, despite his departur
Wayne Shorter is an American jazz saxophonist and composer. Shorter came to wide prominence in the late 1950s as a member of, primary composer for, Art Blakey's Jazz Messengers. In the 1960s, he went on to join Miles Davis's Second Great Quintet, from there he co-founded the jazz fusion band Weather Report, he has recorded over 20 albums as a bandleader. Many of Shorter's compositions have become jazz standards, his output has earned worldwide recognition, critical praise and various commendations. Shorter has won 11 Grammy Awards, he has received acclaim for his mastery of the soprano saxophone, beginning an extended reign in 1970 as Down Beat's annual poll-winner on that instrument, winning the critics' poll for 10 consecutive years and the readers' for 18. The New York Times described Shorter in 2008 as "probably jazz's greatest living small-group composer and a contender for greatest living improviser." In 2017, he was awarded the Polar Music Prize. Wayne Shorter was born in Newark, New Jersey, attended Newark Arts High School, from which he graduated in 1952.
He loved music. While in high school Wayne performed with the Nat Phipps Band in Newark, NJ. After graduating from New York University with a degree in music education in 1956, Shorter spent two years in the U. S. Army, during which time he played with Horace Silver. After his discharge, he played with Maynard Ferguson. In his youth Shorter had acquired the nickname "Mr. Gone", which became an album title for Weather Report, his early influences include John Coltrane and Coleman Hawkins. In 1959, Shorter joined Art Blakey's Jazz Messengers where he stayed for four years, became the band's musical director. Together they toured the US, Japan and Europe, recorded several recognized albums and he composed pieces for the band. During this time Shorter "established himself as one of the most gifted of the young saxophonists" and received international acknowledgment. Hancock said of Shorter's tenure in Davis's Second Great Quintet: "The master writer to me, in that group, was Wayne Shorter, he still is a master.
Wayne was one of the few people who brought music to Miles that didn't get changed." Davis said, "Wayne is a real composer. He writes scores, write the parts for everybody just as he wants them to sound.... Wayne brought in a kind of curiosity about working with musical rules. If they didn't work he broke them, but with musical sense. "Blakey's hard-driving, straight-ahead rhythms had brought out the muscularity in Shorter's tenor playing, but the greater freedom of the Davis rhythm-section allowed him to explore new emotional and technical dimensions."Shorter remained in Davis's band after the breakup of the quintet in 1968, playing on early jazz fusion recordings including In a Silent Way and Bitches Brew. His last live dates and studio recordings with Davis were in 1970; until 1968, he played tenor saxophone exclusively. The final album on which he played tenor in the regular sequence of Davis albums was Filles de Kilimanjaro. In 1969, he played the soprano saxophone on the Davis album In a Silent Way and on his own Super Nova.
When performing live with Davis, on recordings from summer 1969 to early spring 1970, he played both soprano and tenor saxophones. Simultaneous with his time in the Davis quintet, Shorter recorded several albums for Blue Note Records, featuring exclusively his own compositions, with a variety of line-ups and larger groups, including Blue Note favourites such as Freddie Hubbard, his first Blue Note album was Night Dreamer, recorded at Rudy Van Gelder's studio in 1964 with Lee Morgan, McCoy Tyner, Reggie Workman and Elvin Jones. The album The All Seeing Eye was a workout with a larger group, while Adam's Apple of 1966 was back to constructed melodies by Shorter leading a quartet. A sextet again in the following year for Schizophrenia with Hancock and Carter plus trombonist Curtis Fuller, alto saxophonist/flautist James Spaulding and strong rhythms by drummer Joe Chambers. Shorter recorded as a sideman with Donald Byrd, Grachan Moncur III, Hubbard and bandmates Hancock and Williams. Following the release of Odyssey of Iska in 1970, Shorter formed the fusion group Weather Report with Davis veteran keyboardist Joe Zawinul and bassist Miroslav Vitous.
The other original members were percussionist Airto Moreira, drummer Alphonse Mouzon. After Vitous' departure in 1973, Shorter and Zawinul co-led the group until the band's break-up in late 1985. A variety of musicians would make up Weather Report over the years helping the band produce many high quality recordings in diverse styles, with funk, Latin jazz, ethnic music, futurism being the most prevalent denominators. Shorter recorded critically acclaimed albums as a bandleader, notably 1974's Native Dancer, which featured Hancock and Brazilian composer and vocalist Milton Nascimento. In the late 1970s and the early 1980s, he toured in the V. S. O. P. Quintet; this group was a revival of the 1960s Davis quintet, except tha
Another World (John Patitucci album)
Another World is the fifth album by American jazz bassist John Patitucci. It was released in 1993. All tracks written by John Patitucci except. John Patitucci – double bass, backing vocals Jeff Beal – trumpet, programming Michael Brecker – tenor saxophone Steve Tavaglione – tenor saxophone, EWI Armand Sabal-Lecco – bass, piccolo bass, tenor bass, backing vocals John Beasley – keyboards, programming, backing vocals Andy Narell – steel pan Alex Acuña – African drums, backing vocals, William Kennedy – drums, backing vocals Dave Weckl – drums, percussion Luis Conte – percussion, backing vocalsProduction Dave Grusin – producer Larry Rosen – producer Bernie Kirsh – engineer, mixing Darren Mora – assistant engineer Robert Read – assistant engineer Larry Mah – assistant engineer Bernie Grundman – mastering Joseph Doughney – mastering Michael Landy – mastering Adam Zelinka – mastering
Jazz fusion is a musical genre that developed in the late 1960s when musicians combined jazz harmony and improvisation with rock music and rhythm and blues. Electric guitars and keyboards that were popular in rock and roll started to be used by jazz musicians those who had grown up listening to rock and roll. Jazz fusion arrangements vary in complexity; some employ groove-based vamps fixed to a single key or a single chord with a simple, repeated melody. Others use elaborate chord progressions, unconventional time signatures, or melodies with counter-melodies; these arrangements, whether simple or complex include improvised sections that can vary in length, much like in other form of jazz. As with jazz, jazz fusion employs brass and woodwind instruments such as trumpet and saxophone, but other instruments substitute for these. A jazz fusion band is less to use piano, double bass, drums, more to use electric guitar, bass guitar, drums; the term "jazz rock" is sometimes used as a synonym for "jazz fusion" and for music performed by late 1960s and 1970s-era rock bands that added jazz elements to their music.
After a decade of popularity during the 1970s, fusion expanded its improvisatory and experimental approaches through the 1980s in parallel with the development of a radio-friendly style called smooth jazz. Experimentation continued in the 2000s. Fusion albums those that are made by the same group or artist, may include a variety of musical styles. Rather than being a codified musical style, fusion can be viewed as approach. In 1967 John Coltrane died, because rock was the most popular genre of music in America, DownBeat magazine declared in a headline that "Jazz as We Know It Is Dead". Guitarist Larry Coryell, sometimes called the godfather of fusion, referred to a generation of musicians who had grown up on rock and roll when he said, "We loved Miles but we loved the Rolling Stones." In 1966 he started the band the Free Spirits with Bob Moses on drums and recorded the band's first album. Out of Sight and Sound was released in 1967, the same year DownBeat began to report on rock music. After the Free Spirits, Coryell was part of a quartet led by vibraphonist Gary Burton, releasing the album Duster with its rock guitar influence.
Burton produced the album Tomorrow Never Knows for Count's Rock Band, which included Coryell, Mike Nock, Steve Marcus, all of them former students at Berklee College in Boston. The pioneers of fusion emphasized exploration, electricity, intensity and volume. Charles Lloyd played a combination of rock and jazz at the Monterey Jazz Festival in 1966 with a quartet that included Keith Jarrett and Jack DeJohnette. Lloyd adopted the trappings of the California psychedelic rock scene by playing at the rock venue the Fillmore, wearing colorful clothes, giving his albums titles like Dream Weaver and Forest Flower, which were bestselling jazz albums in 1967. Flautist Jeremy Steig experimented with jazz in his band Jeremy & the Satyrs with vibraphonist Mike Mainieri; the jazz label Verve released the first album by rock guitarist Frank Zappa in 1966. Rahsaan Roland Kirk performed with Jimi Hendrix at Ronnie Scott's Jazz Club in London. AllMusic states that "until around 1967, the worlds of jazz and rock were nearly separate".
As members of Miles Davis's band, Chick Corea and Herbie Hancock played electric piano on Filles de Kilimanjaro. Davis wrote in his autobiography that in 1968 he had been listening to Jimi Hendrix, James Brown, Sly and the Family Stone; when Davis recorded Bitches Brew in 1969, he abandoned the swing beat in favor of a rock and roll backbeat and bass guitar grooves. The album "mixed free jazz blowing by a large ensemble with electronic keyboards and guitar, plus a dense mix of percussion." Davis played his trumpet like an electric guitar -- pedals. By the end of the first year, Bitches Brew sold 400,000 copies, four times the average for a Miles Davis album. Over the next two years the aloof Davis recorded more worked with many sideman, appeared on television, performed at rock venues. Just as Davis tested the loyalty of rock fans by continuing to experiment, his producer, Teo Macero, inserted recorded material into the Jack Johnson soundtrack, Live-Evil, On the Corner. Although Bitches Brew gave him a gold record, the use of electric instruments and rock beats created consternation among some jazz critics, who accused Davis of betraying the essence of jazz.
Music critic Kevin Fellezs commented that some members of the jazz community regarded rock music as less sophisticated and more commercial than jazz. Davis's 1969 album In a Silent Way is considered his first fusion album. Composed of two side-long improvised suites edited by Teo Macero, the album was made by pioneers of jazz fusion: Corea, Wayne Shorter, Joe Zawinul, John McLaughlin. A Tribute to Jack Johnson has been cited as "the purest electric jazz record made" and "one of the most remarkable jazz rock discs of the era". According to music journalist Zaid Mudhaffer, the term "jazz fusion" was coined in a review of Song of Innocence by David Axelrod when it was released in 1968. Axelrod said. Miles Davis dropped out of music in 1975 because of problems with drugs and alcohol, but his sidemen took advantage of the creative and financial vistas, opened. Herbie Hancock brought elements of funk and electronic music into commercially successful albums such as Head Hunters and Feets, Don't Fail Me Now.
Several years after recording Miles in the Sky with Davis, guitarist George Benson becam
Enrico Nicola Mancini known professionally as Henry Mancini was an American composer and arranger, best remembered for his film and television scores. Cited as one of the greatest composers in the history of film, he won four Academy Awards, a Golden Globe, twenty Grammy Awards, plus a posthumous Grammy Lifetime Achievement Award in 1995, his best known works include the theme and soundtrack for the Peter Gunn television series as well as the music for The Pink Panther film series and "Moon River" from Breakfast at Tiffany's. The Music from Peter Gunn won the first Grammy Award for Album of the Year. Mancini enjoyed a long collaboration composing film scores for the film director Blake Edwards. Mancini is noted for scoring a #1 hit single during the rock era on the Billboard charts, his arrangement and recording of The Love Theme from Romeo and Juliet spent two weeks at the top, beginning on June 29, 1969. Mancini was born in the Little Italy neighborhood of Cleveland, was raised near Pittsburgh, in the steel town of West Aliquippa, Pennsylvania.
His parents immigrated from the Abruzzo region of Italy. Mancini's father, Quinto was a steelworker; when Mancini was 12 years old, he began piano lessons. Quinto and Henry played flute together in the Aliquippa Italian immigrant band, "Sons of Italy". After graduating from Aliquippa High School in 1942, Mancini attended the renowned Juilliard School of Music in New York. In 1943, after one year at Juilliard, his studies were interrupted when he was drafted into the United States Army, he served in the infantry transferring to an Army band. In 1945, he participated in the liberation of the Mauthausen-Gusen concentration camp in Austria. Newly discharged, Mancini entered the music industry. Entering 1946, he became a pianist and arranger for the newly re-formed Glenn Miller Orchestra, led by'Everyman' Tex Beneke. After World War II, Mancini broadened his skills in composition, counterpoint and orchestration during studies opening with the composers Ernst Krenek and Mario Castelnuovo-Tedesco. In 1952, Mancini joined the Universal Pictures music department.
During the next six years, he contributed music to over 100 movies, most notably Creature from the Black Lagoon, The Creature Walks Among Us, It Came from Outer Space, This Island Earth, The Glenn Miller Story, The Benny Goodman Story and Orson Welles' Touch of Evil. During this time, he wrote some popular songs, his first hit was a single by Guy Lombardo and His Royal Canadians titled I Won't Let You Out of My Heart. Mancini left Universal-International to work as an independent composer/arranger in 1958. Soon afterward, he scored the television series Peter Gunn for writer/producer Blake Edwards; this was the genesis of a relationship in which Edwards and Mancini collaborated on 30 films over 35 years. Along with Alex North, Elmer Bernstein, Leith Stevens and Johnny Mandel, Henry Mancini was a pioneer of the inclusion of jazz elements in the late romantic orchestral film and TV scoring prevalent at the time. Mancini's scores for Blake Edwards included Breakfast at Tiffany's and Days of Wine and Roses, as well as Experiment in Terror, The Pink Panther, The Great Race, The Party, 10 and Victor Victoria.
Another director with whom Mancini had a longstanding partnership was Stanley Donen. Mancini composed for Howard Hawks, Martin Ritt, Vittorio de Sica, Norman Jewison, Paul Newman, Stanley Kramer, George Roy Hill, Arthur Hiller, Ted Kotcheff, others. Mancini's score for the Alfred Hitchcock film Frenzy in Bachian organ andante, for organ and an orchestra of strings was rejected and replaced by Ron Goodwin's work. Mancini scored many TV movies, including The Thorn Birds and The Shadow Box, he wrote many television themes, including Mr. Lucky, NBC Mystery Movie, What's Happening!!, Tic Tac Dough and Once Is Not Enough. In the 1984–85 television season, four series featured original Mancini themes: Newhart, Remington Steele, Ripley's Believe It or Not. Mancini composed the "Viewer Mail" theme for Late Night with David Letterman. Mancini composed the theme for NBC Nightly News used beginning in 1975, a different theme by him, titled Salute to the President was used by NBC News for its election coverage from 1976 to 1992.
Salute to the President was only published in a school-band arrangement, although Mancini performed it with symphony orchestras on his concert tours. Songs with music by Mancini were staples of the easy listening genre from the 1960s to the 1980s; some of the artists who have recorded Mancini songs include Andy Williams, Paul Anka, Pat Boone, Anita Bryant, Jack Jones, Frank Sinatra, Perry Como, Connie Francis, Eydie Gorme, Steve Lawrence, Trini Lopez, George Maharis, Johnny Mathis, Jerry Vale, Ray Conniff, Quincy Jones, The Lennon Sisters, The Lettermen, Herb Alpert, Eddie Cano, Frank Chacksfield, Warren Covington, Sarah Vaughn, Shelly Manne, James Moody, Percy Faith, Ferrante & Teicher, Horst Jankowski, Andre Kostelanetz, Peter Nero, Mantovani, Tony Bennett, Julie Lo
Many a New Day: Karrin Allyson Sings Rodgers & Hammerstein
Many a New Day: Karrin Allyson Sings Rodgers & Hammerstein is an album by Karrin Allyson recorded in tribute to the songwriting partnership of Richard Rodgers and Oscar Hammerstein II. It earned Allyson a Grammy Award nomination for Best Jazz Vocal Album. Many a New Day peaked at 13 on the Billboard Jazz album charts. Christopher Loudon reviewed Many a New Day for the Jazz Times in October 2015 and wrote, "At last, the Hammerstein portion of the Rodgers canon is getting serious, full-length appreciation... There's no room on this album for virtuosic grandstanding; the focus is squarely on sensitive, intelligent arrangements shaped around Allyson's unique sound—slightly parched and tremulous—expressly built to exalt a spectrum of familiar yet underappreciated gems. An exquisitely thoughtful trio album, it's an important one". C. Michael Bailey reviewed the album for AllAboutJazz and gave it 4.5 stars out of 5. "Oh! What a Beautiful Mornin'" "Many a New Day" "Happy Talk" "I Cain't Say No" "I Have Dreamed" "Out of My Dreams" "Bali Ha'i" "When I Think of Tom"/"Hello Young Lovers" "We Kiss in a Shadow" "You've Got to Be Carefully Taught" "Something Wonderful" "The Surrey with the Fringe on Top" "Something Good" "Edelweiss" Karrin Allyson – vocals Kenny Barron – piano John Patitucci – double bass