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
Jay Berliner is an American guitarist and multi-instrumentalist. Berliner had his first television experience at age seven on NBC’s The Children's Hour, with his sister Eve, he was the guitarist for Harry Belafonte in the early to mid-1960s, appearing on many of Belafonte's recordings and playing in venues around the world. He played at the Metropolitan Opera house, where he was house mandolinist. Recordings under his own name include Bananas Are Not Created Equal, Romantic Guitars, Erotic Guitars, three classical albums for Nippon-Columbia, three classical albums for Spanish Music Center Records, he can be heard on Romantic Sea of Tranquility under the pseudonym "Chris Valentino."Berliner began playing as a studio musician in the early 1960s. Since he has logged more than 13,000 recording sessions for records, films, etc, he has played on albums by Charles Mingus and Ron Carter, George Benson’s White Rabbit, Stephane Grappeli’s Uptown Dance, Deodato’s Also Sprach Zarathustra, Milt Jackson’s Sunflower, many other Creed Taylor recordings.
Berliner has recorded with numerous singers including Frank Sinatra, Perry Como, Jerry Vale, Astrud Gilberto, Sammy Davis, Jr. Sergio Franchi, Rupert Holmes, Frankie Valli, Debby Boone, Andrea Bocelli, Russell Watson, Harry Connick, Jr. Bernadette Peters, Kristin Chenoweth, Blossom Dearie, LaTanya Hall, he played on Van Morrison's 1968 album, Astral Weeks, on November 7 and 8, 2008 joined with Morrison to play Astral Weeks in its entirety at the Hollywood Bowl in Los Angeles, California. A vinyl LP and CD from these concerts entitled Astral Weeks Live at the Hollywood Bowl were released in February 2009. Berliner is an original member of Rob Fisher's Coffee Club Orchestra on Garrison Keillor’s American Radio Company and at City Center’s ENCORES series. Berliner is an original member of the Guys All-Star Shoe Band on Garrison Keillor’s A Prairie Home Companion. Berliner has performed in concert with William Warfield and Earl Wild at the old Lewisohn Stadium, at Town Hall with Andrea Velis, with Charles Bressler, playing the American premier performance of songs for tenor and guitar by William Walton and Benjamin Britten.
In 2009, he played banjo and baritone ukulele onstage in the hit Broadway show Chicago at the Ambassador Theatre. Berliner has won seven NARAS Most Valuable Player awards as well as the NARAS MVP Virtuoso Award in 1986. Bananas Are Not Created Equal Romantic Guitars With Harry Belafonte The Many Moods of Belafonte Streets I Have Walked Belafonte at The Greek Theatre Ballads and Boasters An Evening with Belafonte/Makeba An Evening with Belafonte/Mouskouri Play Me Loving You Is Where I Belong With George Benson White Rabbit With Don Byron Don Byron Plays the Music of Mickey Katz With James Carter Chasin' the Gypsy With Ron Carter Spanish Blue Peg Leg A Song for You New York Slick Empire Jazz With Blossom Dearie Songs of Chelsea With Eumir Deodato Prelude With Paul Desmond Summertime With Lou Donaldson Sophisticated Lou With Gil Evans Collaboration With Solomon Ilori African High Life With Jackie and Roy Time & Love With Milt Jackson Sunflower With Herbie Mann Glory of Love With Charles Mingus Mingus Mingus Mingus Mingus Mingus The Black Saint and the Sinner Lady With Airto Moreira Free With Van Morrison Astral Weeks Astral Weeks Live at the Hollywood Bowl With Bette Midler Bathhouse Betty With Laura Nyro More Than a New Discovery With Bernard Purdie Soul Is...
Pretty Purdie With Marlena Shaw Marlena With Buddy Terry Lean on Him Van Morrison Royal Albert Hall London The Guardian by Robin Denselow, Monday 20 April 2009 Up on Cypress Avenue again with Van the Man The Observer by Kevin Mitchell, Sunday 26 April 2009 DISTINCTIVE VOICES DISPLAY THE VIGOR OF THE CABARETS The New York Times By John S. Wilson, Published: December 11, 1983, Retrieved on April 28, 2009 Discography Jay Berliner at Allmusic Tim Page, "Van Morrison, Re-Exploring The Mystery of His Astral Vision", The Washington Post, Nov. 10, 2008, p. C01
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
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
Songs from the Trees
Songs From The Trees is singer-songwriter Carly Simon's sixth greatest-hits album. The two-disc set was released on November 20, 2015 as a tie-in to her autobiography, Boys in the Trees: A Memoir, it contains newly remastered versions of songs from Simon's career, ranging from 1964's "Winkin', Blinkin', Nod", through 1987's "Two Hot Girls." The collection includes two unreleased songs, "Showdown" and "I Can’t Thank You Enough", a brand new song written with her son Ben Taylor. All tracks composed except where indicated. All songs have been remastered for this collection. "Boys In The Trees" – 3:14 "Winkin', Blinkin', Nod" - The Simon Sisters – 2:18 "Orpheus" – 3:52 "Older Sister" – 3:09 "It Was So Easy" – 3:09 "Embrace Me, You Child" – 4:10 "Hello Big Man" – 5:29 "Two Hot Girls" – 4:52 "It Happens Everyday" – 2:45 "His Friends Are More Than Fond Of Robin" – 3:03 "I'm All It Takes To Make You Happy" – 3:36 "That's the Way I've Always Heard It Should Be" – 4:18 "I've Got To Have You" – 4:45 "Anticipation" – 3:21 "Legend in Your Own Time" – 3:44 "Three Days" – 3:17 "Julie Through The Glass" – 3:22 "We Have No Secrets" – 3:58 "You're So Vain" – 4:19 "Mind On My Man" – 3:00 "Mockingbird" – 4:13 "After The Storm" – 2:50 "Haunting" – 2:29 "In Times When My Head" – 3:30 "You Belong to Me" – 3:52 "We're So Close" – 5:10 "From The Heart" – 2:51 "Come Upstairs" – 4:18 "The Right Thing to Do" – 3:00 "Showdown" – 3:26 "I Can't Thank You Enough" – 3:23 Ryan Casey - Engineer Larry Ciancia - Mixing Charles Close - Producer Reggie Collins - Project Assistant Ramelro Crawford - Project Assistant Eugene Field - Composer Frank Filipetti - Mixing Inez and Charlie Foxx - Composer Lew Hahn - Engineer Jeri Heiden - Art Direction Erin Kincaid - Project Coordinator Meghan La Roque - Executive Assistant, Project Manager Mike Mainieri - Producer Arif Mardin - Producer Michael McDonald - Composer Jimmy Parr - Engineer Richard Perry - Producer David Ponak - Licensing Paul Samwell-Smith - Producer Susanne Savage - Project Assistant Miguel Scott - Engineer, Mixing The Simon Sisters - Primary Artist Carly Simon - Compilation Producer, Instrumentation, Liner Notes, Primary Artist, Vocals Lucy Simon - Composer Ben Taylor - Composer, Instrumentation, Vocals James Taylor - Composer, Primary Artist Ted Templeman - Producer Julie Wolf - Instrumentation, Vocals Steve Woolard - Project Assistant Carly Simon's Official Website Official page at Rhino.com
Hello Big Man
Hello Big Man is singer-songwriter Carly Simon's twelfth album, eleventh studio album, released in 1983. The album was Simon's last for Warner Bros. Records, as it was a commercial disappointment upon release, despite a positive reception from critics; the album featured Sly Dunbar and Robbie Shakespeare on a number of tracks, including one Bob Marley cover. The title of the album is an allusion to the reply that Simon's mother, Andrea Simon, gave to her father, Richard Simon, when they first met, he said "hello little woman", she replied "hello big man". The music video for the lead single "You Know What to Do" was directed by Dominic Orlando, from a concept by Simon, it was filmed on location at her home and in the surrounding woods. The video received moderate airplay on MTV in the autumn of 1983. Simon filmed a music video for the title track, "Hello Big Man", which features photos and film footage of her parents. Simon's mother appears at the end of the video; the video includes the American actor Al Corley.
The music video for the song "It Happens Everyday" was played in movie theaters during "coming attractions". All tracks composed except where indicated. Side one "You Know What to Do" - 4:16 "Menemsha" - 4:39 "Damn You Get to Me" - 3:16 "Is This Love?" - 4:13 "Orpheus" - 3:50Side two "It Happens Everyday" - 2:44 "Such a Good Boy" - 4:01 "Hello Big Man" - 5:29 "You Don't Feel the Same" - 2:43 "Floundering" - 3:46 Carly Simon – lead vocals, backing vocals, acoustic guitar, electric guitar Don Grolnick – piano, drums, Hammond organ Mike Mainieri – synthesizer, marimba, bass guitar, additional synthesizer Peter Wood – synthesizer, piano Larry Williams – synthesizer, flute Rob Mounsey – programming, backing vocals Hugh McCracken – acoustic guitar, electric guitar Andy Summers – electric guitar Elliott Randall – electric guitar solo Eric Gale – electric guitar Jimmy Ryan – acoustic guitar Dean Parks – electric guitar Sid McGinnis – electric guitar Tony Levin – bass guitar Robbie Shakespeare – bass guitar, backing vocals Rick Marotta – drums, tom tom Sly Dunbar – drums Jimmy Bralower – electronic drums Errol "Crusher" Bennett – percussion Marty Paich – string arrangements Leon Pendarvis – horn arrangements Michael Brecker – tenor saxophone Ronnie Cuber – baritone saxophone Lou Marini – alto saxophone Jon Faddis – trumpet Alan Rubin – trumpet David Sanborn – alto saxophone Tawatha Agee – backing vocals Marcus Miller – backing vocals, bass Fonzi Thornton – backing vocals Hugh Taylor – backing vocals Kate Taylor – backing vocals Lynn Goldsmith – backing vocals Lucy Simon – backing vocals Julie Levine – backing vocals Ben Taylor – backing vocals Sally Taylor – backing vocals Elizabeth Witham – backing vocals Rachel Zabar – backing vocals Producer – Mike Mainieri Production Coordination – Christine Martin Engineers – Neil Dorfsman and Scott Litt Additional Recording – James Farber, Jeff Hendrickson, Gary Starr and John Wright.
Assistant Recording – Moira Marquis, Bill Miranda and John Wright. Technical Support – Bob Schwall Mixed by Frank Filipetti at Right Track Recording. Art Direction – Paula Greif Cover Photography – Lynn Kohlman Inner Sleeve Photography – Peter Simon Management – Arlyne Rothberg Album - Billboard Singles - Billboard Carly Simon's Official Website