Patrick Bruce Metheny is an American jazz guitarist and composer. He is the leader of the Pat Metheny Group and is involved in duets, solo works, other side projects, his style incorporates elements of progressive and contemporary jazz, Latin jazz, jazz fusion. Metheny has three gold albums and 20 Grammy Awards and is the only person to win Grammys in 10 categories, he is the brother of jazz flugelhornist Mike Metheny. Metheny was born in Missouri, his father Dave played trumpet, his mother Lois sang, his maternal grandfather Delmar was a professional trumpeter. Metheny's first instrument was trumpet, which he was taught by Mike, his brother and grandfather played trios together at home. His parents were fans of swing music, they took Metheny to concerts to hear Clark Terry and Doc Severinsen, but they had little respect for guitar. Metheny's interest in guitar increased around 1964 when he saw the Beatles perform on TV. For his 12th birthday, his parents allowed him to buy a guitar, a Gibson ES-140 3/4.
Metheny's life changed after hearing More by Miles Davis. Soon after, he was captivated by Wes Montgomery's album Smokin' at the Half Note, released in 1965, he cites the Beatles, Miles Davis, Wes Montgomery as having the biggest impact on his music. When he was 15, he won a scholarship from Down Beat magazine to a one-week jazz camp where he was mentored by guitarist Attila Zoller, who invited Metheny to New York City to see guitarist Jim Hall and bassist Ron Carter. While playing at a club in Kansas City, he was approached by Bill Lee, a dean at the University of Miami, offered a scholarship. After less than a week at college, Metheny realized that playing guitar all day during his teens had left him unprepared for classes, he admitted this to Lee, who offered him a job to teach instead, as the school had introduced electric guitar as a course of study. He moved to Boston to teach at the Berklee College of Music with jazz vibraphonist Gary Burton and established a reputation as a prodigy. In 1974 he appeared on an album unofficially titled Jaco with pianist Paul Bley, bassist Jaco Pastorius, drummer Bruce Ditmas for Carol Goss's Improvising Artists label.
But he was unaware. During the next year, he joined Gary Burton's band with guitarist Mick Goodrick. Metheny released his debut album, Bright Size Life with Jaco Pastorius on bass guitar and Bob Moses on drums, his next album, was the first time he recorded with pianist Lyle Mays, who became his most frequent collaborator. The album featured Danny Gottlieb, who became the drummer for the first version of the Pat Metheny Group. With Metheny and Gottlieb, the fourth member was bassist Mark Egan when the album Pat Metheny Group was released; when Pat Metheny Group was released, the Group was a quartet comprising, besides Metheny, Danny Gottlieb on drums, Mark Egan on bass, Lyle Mays on piano and synthesizer. All but Egan had played on Metheny's album Watercolors, recorded a year before the first Group album; the second Group album, American Garage, reached number 1 on the Billboard Jazz chart and crossed over onto the pop charts. From 1982 to 1985, the Pat Metheny Group released Offramp, a live album, First Circle, The Falcon and the Snowman, a soundtrack album for the movie of the same name in which they collaborated on the single "This Is Not America" with David Bowie.
The song reached number 14 in the British Top 40 in 1985 and number 32 in the U. S. Offramp marked the first appearance of bassist Steve Rodby and a Brazilian guest artist, Nana Vasconcelos, on percussion and wordless vocals. On First Circle, Argentinian singer and multi-instrumentalist Pedro Aznar joined the group as drummer Paul Wertico replaced Gottlieb. Both Rodby and Wertico were members of the Simon and Bard Group at the time and had played in Simon-Bard in Chicago before joining Metheny. First Circle was Metheny's last album with ECM. Still Life featured new Group members trumpeter Mark Ledford, vocalist David Blamires, percussionist Armando Marçal. Aznar returned for vocals and guitar on Letter from Home. During this period the Steppenwolf Theater Company of Chicago featured compositions by Metheny and Mays for their production of Lyle Kessler's play Orphans, where it has remained special optional music for all productions of the play around the world since. Metheny again delved into solo and band projects, four years went by before the release of the next Group record, a live album titled The Road to You, which featured tracks from the two Geffen studio albums among new tunes.
The group integrated new instrumentation and technologies into its work, notably Mays' use of synthesizers. Metheny and Mays themselves refer to the next three Pat Metheny Group releases as a triptych: We Live Here and Imaginary Day. Moving away from the Latin style which had dominated the releases of the previous ten years, these albums included experiments with sequenced synthetic drums on one track, free-form improvisation on acoustic instruments, symphonic signatures and sonata schemes. With Speaking of Now, new Group members were added: drummer Antonio Sánchez from Mexico City, trumpeter Cuong Vu from Vietnam, bassist, vocalist and percussionist Richard Bona from Cameroon; the Way Up consists of one 68-minute-lo
Darek Oleszkiewicz known as Darek Oles, is a jazz bassist, composer and educator. Oleszkiewicz was born in Wrocław, Poland, on February 20, 1963, he lived in Kraków in the early 1980s moved to Los Angeles in 1987. He was a protégé of Charlie Haden. In the early 1990s and 2000s he built a reputation on the West Coast of the United States, he co-founded the Los Angeles Jazz Quartet in 1993, with saxophonist Chuck Manning, guitarist Larry Koonse, drummer Kevin Tullius. They recorded for Naxos Records and Not Two Records. Oleszkiewicz's first album as sole leader was Like a Dream, which consisted of his own compositions, it included quartet and trio tracks, duets with pianist Brad Mehldau. He had earlier played on Mehldau's Largo. Oleszkiewicz was featured prominently with Koonse on the 2006 album Storybook. In 2010 Oleszkiewicz was a co-leader with Peter Erskine, Bob Mintzer, Alan Pasqua on the album Standards 2: Movie Music. Oleszkiewicz was co-leader with Adam Czerwniński for the album Raindance. Oleszkiewicz is a faculty member at California Institute of the Arts, the University of Southern California, the University of California, Irvine.
He continues to record, including on trombonist Bob McChesney's Chez Sez in 2015, with other USC faculty members, including on Kait Dunton's Mountain Suite in the same year. On his debut as leader, Oleszkiewicz's style was described as containing "the inevitable lineage to Scott LaFaro and Bill Evans, combines a certain economy of style, reminiscent of Charlie Haden"; the woodiness of his tone was compared with Haden's, with the addition of "a certain Gary Peacock-like edge to it". Blues for Charlie, a solo bass tribute to Charlie Haden Expectation, with Los Angeles Jazz Ensemble Like a Dream featuring Brad Mehldau Pictures, co-led with Adam Czerwniński Raindance, co-led with Adam Czerwniński Storybook, co-led with Larry Koonse Standards 2: Movie Music, co-led with Peter Erskine, Bob Mintzer and Alan Pasqua Conversation Piece, with Los Angeles Jazz Quartet Look to the East, with Los Angeles Jazz Quartet Family Song, with Los Angeles Jazz Quartet Astarte, with Los Angeles Jazz Quartet Traveling Birds Quintet, with Traveling Birds Quintet Return to the Nest, with Traveling Birds Quintet With Kei Akagi Aqua Puzzle With Bill Cunliffe Live at Bernies With Kait Dunton Mountain Suite With Yelena Eckemoff Flying Steps With Peter Erskine The Interlochen Concert With Terry Gibbs Wham With Anna Maria Jopek Upojenie Barefoot Bosa With Larry Koonse Storybook With Charles Lloyd The Water Is Wide With Bennie Maupin Penumbra With Bob McChesney Chez Sez With Brad Mehldau Largo With Josh Nelson Let It Go With Sara Niemietz Fountain & Vine With Jack Nimitz Live at Capozzoli's With Alan Pasqua My New Old Friend Northern Lights With Bobby Shew Play the Music of Reed Kotler With David Sills Big With Kuba Stankiewicz and Peter Erskine Music Of Henryk Wars Music Of Bronislaw Kaper Music Of Victor Young With Gavin Templeton Asterperious Special With Ben Wendel Simple Song With Mike Wofford Time Cafe With Aga Zaryan Remembering Nina And Abbey A Book of Luminous Things Live At Palladium Picking Up The Pieces My Lullaby Main source: Bibliography
A record producer or music producer oversees and manages the sound recording and production of a band or performer's music, which may range from recording one song to recording a lengthy concept album. A producer has varying roles during the recording process, they may gather musical ideas for the project, collaborate with the artists to select cover tunes or original songs by the artist/group, work with artists and help them to improve their songs, lyrics or arrangements. A producer may also: Select session musicians to play rhythm section accompaniment parts or solos Co-write Propose changes to the song arrangements Coach the singers and musicians in the studioThe producer supervises the entire process from preproduction, through to the sound recording and mixing stages, and, in some cases, all the way to the audio mastering stage; the producer may perform these roles themselves, or help select the engineer, provide suggestions to the engineer. The producer may pay session musicians and engineers and ensure that the entire project is completed within the record label's budget.
A record producer or music producer has a broad role in overseeing and managing the recording and production of a band or performer's music. A producer has many roles that may include, but are not limited to, gathering ideas for the project, composing the music for the project, selecting songs or session musicians, proposing changes to the song arrangements, coaching the artist and musicians in the studio, controlling the recording sessions, supervising the entire process through audio mixing and, in some cases, to the audio mastering stage. Producers often take on a wider entrepreneurial role, with responsibility for the budget, schedules and negotiations. Writer Chris Deville explains it, "Sometimes a producer functions like a creative consultant — someone who helps a band achieve a certain aesthetic, or who comes up with the perfect violin part to complement the vocal melody, or who insists that a chorus should be a bridge. Other times a producer will build a complete piece of music from the ground up and present the finished product to a vocalist, like Metro Boomin supplying Future with readymade beats or Jack Antonoff letting Taylor Swift add lyrics and melody to an otherwise-finished “Out Of The Woods.”The artist of an album may not be a record producer or music producer for his/her album.
While both contribute creatively, the official credit of "record producer" may depend on the record contract. Christina Aguilera, for example, did not receive record producer credits until many albums into her career. In the 2010s, the producer role is sometimes divided among up to three different individuals: executive producer, vocal producer and music producer. An executive producer oversees project finances, a vocal producers oversees the vocal production, a music producer oversees the creative process of recording and mixings; the music producer is often a competent arranger, musician or songwriter who can bring fresh ideas to a project. As well as making any songwriting and arrangement adjustments, the producer selects and/or collaborates with the mixing engineer, who takes the raw recorded tracks and edits and modifies them with hardware and software tools to create a stereo or surround sound "mix" of all the individual voices sounds and instruments, in turn given further adjustment by a mastering engineer for the various distribution media.
The producer oversees the recording engineer who concentrates on the technical aspects of recording. Noted producer Phil Ek described his role as "the person who creatively guides or directs the process of making a record", like a director would a movie. Indeed, in Bollywood music, the designation is music director; the music producer's job is to create and mold a piece of music. The scope of responsibility may be one or two songs or an artist's entire album – in which case the producer will develop an overall vision for the album and how the various songs may interrelate. At the beginning of record industry, the producer role was technically limited to record, in one shot, artists performing live; the immediate predecessors to record producers were the artists and repertoire executives of the late 1920s and 1930s who oversaw the "pop" product and led session orchestras. That was the case of Ben Selvin at Columbia Records, Nathaniel Shilkret at Victor Records and Bob Haring at Brunswick Records.
By the end of the 1930s, the first professional recording studios not owned by the major companies were established separating the roles of A&R man and producer, although it wouldn't be until the late 1940s when the term "producer" became used in the industry. The role of producers changed progressively over the 1960s due to technology; the development of multitrack recording caused a major change in the recording process. Before multitracking, all the elements of a song had to be performed simultaneously. All of these singers and musicians had to be assembled in a large studio where the performance was recorded. With multitrack recording, the "bed tracks" (rhythm section accompaniment parts such as the bassline and rhythm guitar could be recorded first, the vocals and solos could be added using as many "takes" as necessary, it was no longer necessary to get all the players in the studio at the same time. A pop band could record their backing tracks one week, a horn section could be brought in a week to add horn shots and punches, a string section could be brought in a week after that.
Multitrack recording had another pro
Stanisław Antoni Grochowiak, pen-name "Kain" was a Polish poet and dramatist. His is classified as a representative of turpism, because of his interest in the physical and brutal, but he exhibits strong tendencies toward formal, rhymed poetry, reaching on many occasions the ornamental grace of a baroque style. Grochowiak was died, aged 42, in Warsaw. Polish literature Translation of "Killing Fish"
Mino Cinélu is a French musician. He plays multiple instruments, he is a composer and producer. Cinelu was born in Hauts-de-Seine, his father is from Martinique and his mother is French. He was involved with music from childhood as his father and two brothers were musicians, started spending time and playing in various concert halls such as the Chapelle des Lombards in the suburbs of Paris, he became interested in various styles of music such as jazz, salsa and in more esoteric varieties like Egyptian chants and Romani music. He would expand his repertoire to include fado, African music, Japanese music, Slavic music; the first instrument that Cinelu took to was the bongo drums, which led him to decide to try and live from his music. He played the bongos in the streets where he first experimented with improvisation. At the end of the 1970s he became more and more interested in the French jazz fusion scene where he made many connections with other musicians and members of the music industry. At varying times he worked with Jef Gilson, Chute Libre, Moravagine.
Shortly thereafter he began playing with artists such as Bernard Lavilliers, Colette Magny and Toto Bissainthe. In 1979 he moved to New York City. After a difficult start he met several musicians living in and around the city such as George Benson, Wayne Shorter, Kenny Barron, Cassandra Wilson, he continued to learn new instruments in different contexts. In the beginning of the 1980s he met Miles Davis while playing in a soul band at the New York club Mikkel's. Miles offered him a job as percussionist in his group, playing alongside the group's drummer Al Foster. After a month of rehearsals, Cinelu went on tour with Miles Davis' band, his stint with Miles Davis led to more recognition. During this period he began composing music, with the help of Weather Report members Wayne Shorter and Joe Zawinul. Cinelu played with Michel Portal after Michel saw him play at the Théâtre du Châtelet with Miles Davis. Starting in the 1990s Cinelu began working on a solo career, his first solo album self-titled Mino Cinelu was released in 2000.
Next came Quest Journey, on which Cinelu collaborated with guitarists Bill Frisell and Gerry Leonard, keyboardist Don Blackman, bassist Leo Traversa, DJs DJ Logic and Nickodemus, singer Toni Smith, rapper Da Lioness. Quest Journey was followed by La californie in 2006. Gazeuse! Imaginary Day We Want Miles Star People Decoy That's What Happened: Live in Germany 1987 Sportin' Life This is This! World Trio With Kevin Eubanks and Dave Holland Mino Cinelu With Moun Madinina Quest Journey California Robin Eubanks - Karma Gil Evans - Live at Sweet Basil, Live at Sweet Basil Vol. 2 Michel Portal - Turbulence, 1987 Sting -... Nothing Like the Sun, 1987 Andy Summers - World Gone Strange, 1991 Roseanna Vitro - Reaching for the Moon.
Leszek Możdżer is a Polish jazz pianist, music producer and film music composer. Official website
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i