Summertime

feuillet.qxp 2009-08-03 17:26

Summertime, and the livin' is easy Fish are jumpin' and the cotton is high Oh! Your Daddy's rich and your Ma is good lookin' So, hush little baby, don't you cry . . .

One of these mornin's you're gonna rise up singin' Then you'll spread your wings, and you'll take to the sky But 'till that mornin' there's a nothin' can harm you, with Daddy and Mammy standin' by . . .

But 'till that mornin' there's a nothin' can harm you, with Daddy and Mammy standin' by . . .

Standing by . . .

Music by George Gershwin Lyrics by Ira Gershwin and Du Bose Heyward,1933

feuillet.qxp 2009-08-03 17:26

Next to the Beatles, the Zombies may

have been the most mature and sophisti-

cated songwriters of the early British

Invasion. Unlike competing acts like the

Kinks and the Yardbirds, the Zombies

actually knew the meaning of the terms

minor key and modulation. This was a big

deal back in late 1964/early 1965, when

the Zombies were briefly thrust upon

the international scene with two smash

singles - "She's Not There" and "Tell Her

No."

Somehow, the single from that LP - "Time

of the Season" - slowly but inexorably

took off and became a major hit, more

than a year after the group had already

broken up.

The Zombies were led by keyboard whiz

Rod Argent, but about half of the songs

(and some quite good ones!) were written

by bassist Chris White. Frontman Colin

Blunstone contributed fantastic white-

soul tenor vocals, and Argent's vocal

harmony arrangements were superb.

In the latter half of the 20th century there

were three pre-eminently influential

folk/country guitar players: Merle Travis,

Chet Atkins, and Arthel "Doc" Watson, a

flat-picking genius from Deep Gap, NC.

When Watson was recorded with his family

and friends in Folkways' Old Time Music at

Clarence Ashley's, people have remained

in awe of this gentle blind man who sings

and picks with a pure and emotional

authenticity.

David Grisman is normally associated with

the bluegrass wing of country music, but

his music owes almost as much to jazz as it

does to traditional American folk influences.

Because he couldn't think of what to call his

unique, highly intricate, harmonically

advanced hybrid of acoustic bluegrass, folk,

and jazz without leaning toward one idiom

or another, he offhandedly decided to call it

"dawg music" a name which, curiously

enough, has stuck.

The Zombies

CD2 - Track 12

From the album “The Zombies”

www.warr.org/zombies.html

Photo: nostalgiacentral.com

Doc WatsonDavid Grisman

30 3

CD1 - Track 1

From the album “Doc and Dawg”

www.docsguitar.com

www.dawgnet.com

Photos: timbullard.com / Jay Blakesberg

feuillet.qxp 2009-08-03 17:26

The only vocalist in history to net Grammy

Awards in three different categories (jazz,

pop, and R&B, respectively), Al Jarreau

was born in Milwaukee, WI, on March 12,

1940. The son of a vicar, he earned his first

performing experience singing in the

church choir. After receiving his master's

degree in psychology, Jarreau pursued a

career as a social worker, but eventually

he decided to relocate to Los Angeles and

try his hand in show business, playing

small clubs throughout the West Coast.

He recorded an LP in the mid-'60s, but

largely remained an unknown, not reenter-

ing the studio for another decade. Upon

signing to Reprise, Jarreau resurfaced in

1975 with We Got By, earning acclaim for

his sophisticated brand of vocalese and

winning positive comparison to the likes of

Billy Eckstine and Johnny Mathis. After

1976's Glow, Jarreau issued the following

year's Look to the Rainbow, a two-disc live

set that reached the Top 50 on the U.S.

album charts.

Tori Amos (born Myra Ellen Amos) was

one of several female singer/songwriters

who combined the stark lyrical attack of

alternative rock with a distinctly '70s

musical approach. Her music falls

between the orchestrated meditations of

Kate Bush and the stripped-down poetics

of Joni Mitchell. In addition to reviving

the singer/songwriter traditions of the

'70s, Amos revived the piano as a rock &

roll instrument. With her 1992 album

Little Earthquakes, Amos built a dedicated

following that continued to expand with

her second album, Under the Pink.

The full-length follow-up to Little

Earthquakes, was a bigger hit, selling

over a million copies and launching the

minor hit singles "God" and "Cornflake

Girl." Two years later, Amos delivered her

third album, Boys for Pele, her most

ambitious and difficult record to date.

The album debuted at number two and

quickly went platinum.

Al Jarreau Tori Amos

4 29

CD1 - Track 2

From the album “Tenderness”

www.aljarreau.com

Photo: starpulse.com

CD2 - Track 11

From the album “Under the covers”

www.toriamos.com


feuillet.qxp 2009-08-03 17:26

Ray Charles was the musician most

responsible for developing soul music.

Singers like Sam Cooke and Jackie Wilson

also did a great deal to pioneer the form,

but Charles did even more to devise a new

form of black pop by merging '50s R&B

with gospel-powered vocals, adding

plenty of flavor from contemporary jazz,

blues, and (in the '60s) country.

Then there was his singing; his style was

among the most emotional and easily

identifiable of any 20th century performer,

up there with the likes of Elvis and Billie

Holiday.

He was also a superb keyboard player,

arranger, and bandleader. The brilliance of

his 1950s and '60s work, however, can't

obscure the fact that he made few classic

tracks after the mid-'60s, though he

recorded often and performed until the

year before his death.

Ella Fitzgerald's voice was satin to Louis

Armstrong's sandpaper, but when you put

them together on a single song, their

chemistry was unimpeachable. Though they

don't harmonize much (Armstrong's voice

wasn't built for harmony), Ella's dignified

swing and flashes of teasing wit play off

Satchmo's gritty, good-humored roar symbi-

otically.

Ella Fitzgerald personified jazz for more

than 60 years and, perhaps more signifi-

cantly, earned the undying affection of a

mass audience comparable to that of any

pop icon.

Louis Armstrong was the greatest of all

Jazz musicians. He defined what it was to

play Jazz. His amazing technical abilities,

the joy and spontaneity, and amazingly

quick, inventive musical mind still dominate

Jazz to this day.

Ray Charles Ella FitzgeraldLouis Armstrong

28 5

CD2 - Track 10

From the album “Porgy and Bess”

www.raycharles.com


CD1 - Track 3

From the album “Porgy and Bess”

www.ellafitzgerald.com

www.satchmo.net

Photos: starpulse.com

feuillet.qxp 2009-08-03 17:26

Born in 1970 in Ankara, Turkey, Fazýl Say

studied piano and composition at the

Ankara State Conservatory. At the age of

seventeen he was awarded a scholarship

that enabled him to study for five years

with David Levine at the Robert Schumann

Institute in Düsseldorf.

From 1992 to 1995 he continued his studies

at the Berlin Conservatory. In 1994, he was

the winner of the Young Concert Artists

International Auditions, which gave a rapid

start to his international career.

In the summer of 2005 the Franco-German

television channel Arte shot a full-length

portrait of Fazil Say in Istanbul, Aspendos,

Munich, and other places, which was

broadcasted in early 2006 and will appear

on Arthaus as DVD. In 2005 a DVD

production of his work for chorus and

orchestra Nazim was filmed in Aspendos,

which has been released in Fall 2006.

Oscar Peterson was one of the greatest

piano players of all time. A pianist with

phenomenal technique on the level of his

idol, Art Tatum, Peterson's speed, dexterity,

and ability to swing at any tempo were

amazing. Very effective in small groups,

jam sessions, and in accompanying

singers, O.P. was at his absolute best when

performing unaccompanied solos. His orig-

inal style did not fall into any specific

idiom. Like Erroll Garner and George

Shearing, Peterson's distinctive playing

formed during the mid to late '40s and fell

somewhere between swing and bop.

Peterson was criticized through the years

because he used so many notes, didn't

evolve much since the 1950s, and recorded

a remarkable number of albums. Certainly

it can be said that Peterson played 100

notes when other pianists might have used

ten, but all 100 usually fit, and there is

nothing wrong with showing off technique

when it serves the music.

Fazil Say Oscar Peterson

6 27

CD1 - Track 4

From the album “Gershwin / Fazil Say, New York”

www.fazilsay.net

Photo: Christian Steiner

CD2 - Track 9

From the album “Oscar Peterson in Russia” (live)

www.collectionscanada.ca/oscarpeterson

Photo: Paul Hoeffler

feuillet.qxp 2009-08-03 17:26

Lou Rawls was a consummate master of

African-American vocal music whose versa-

tility helped him adaptto the changing

musical times over and over again while

always remaining unmistakably himself.

Blessed with a four-octave vocal range,

Rawls' smooth, classy elegance -- sort of a

cross between Sam Cooke and Nat King

Cole -- permeated nearly everything he

sang, yet the fire of his early gospel days

was never too far from the surface. He

made his name as a crooner, first by singing

jazz standards, then moving on to soul in

the mid-'60s, and capped the most commer-

cial phase of his career with a productive

stint at Philadelphia International during

the latter half of the '70s.

Even after his days as a chart presence

were over, Rawls remained a highly visible

figure on the American cultural landscape,

pursuing an acting and voice-over career in

addition to his continued concert appear-

ances, and doing extensive charity work on

behalf of the United Negro College Fund.

One of the many jazzmen who started out

playing hard bop but went electric during

the fusion era, Joe Sample was, in the

late '50s, a founding member of the Jazz

Crusaders along with trombonist Wayne

Henderson, tenor saxman Wilton Felder,

and drummer Stix Hooper. The Crusaders'

debt to Art Blakey's Jazz Messengers

wasn't hard to miss -- except that the

L.A.-based unit had no trumpeter, and

became known for its unique tenor/

trombone front line.

Sample, a hard-swinging player who could

handle chordal and modal/scalar improvi-

sation equally well, stuck to the acoustic

piano during the Crusaders' early years

but would place greater emphasis on

electric keyboards when the band turned

to jazz-funk in the early '70s and dropped

"Jazz" from its name.

Though he'd recorded as a trio pianist on

1969's obscure Fancy Dance, 1978's

Rainbow Seeker was often described as

his first album as a leader.

Lou Rawls Joe Sample

26 7

CD2 - Track 8

From the album “Tobacco Road”

www.lourawls.com

Photo: bobpitch.com/anon/Baudolino

CD1 - Track 5

From the album “Invitation”

www.vervemusicgroup.com/joesample

Photo: Dragan Tasic

feuillet.qxp 2009-08-03 17:26

Billy Stewart was born March 24, 1937,

basically grew up singing in a musical

family. He joined his mother's group, the

Stewart Gospel Singers, as a teenager,

and won a local talent show singing George

Gershwin's song "Summertime."

While appearing in a concert in Washington,

singer Bo Diddley discovered Billy while he

was playing his piano backstage at the

Capital Arena Theater, and asked him to

join his band. While on this venture, Billy

developed his talents by teaching himself

to play the organ, bass, and drums.

He got an opportunity to cut some sides

during his stay with the band and recorded

a song entitled "Billy's Blues" in 1956. He

signed with the label Okeh in 1957 and

recorded "Billy's "Heartache" and "Baby,

You Are My Only Love" with local group

called the Marquees, which featured a

very young Marvin Gaye.

Despite a relatively brief career (he first

came to notice as a sideman at age 29 in

1955, formally launched a solo career at

33 in 1960, and was dead at 40 in 1967),

saxophonist John Coltrane was among

the most important, and most controver-

sial, figures in jazz. It seems amazing that

his period of greatest activity was so

short, not only because he recorded

prolifically, but also because, taking advan-

tage of his fame, the record companies

that recorded him as a sideman in the

1950s frequently reissued those record-

ings under his name and there has been

a wealth of posthumously released

material as well.

Since Coltrane was a protean player who

changed his style radically over the course

of his career, this has made for much

confusion in his discography and in

appreciations of his playing. There remains

a critical divide between the adherents

of his earlier, more conventional (if still

highly imaginative) work and his later,

more experimental work.

Billy Stewart John Coltrane

8 25

CD1 - Track 6

From the album “Unbeleivable”

www.soul-patrol.com/soul/billystewart.html


CD2 - Track 7

From the album “The Very Best of John Coltrane”

www.johncoltrane.com

Photo: Lee Tanner

feuillet.qxp 2009-08-03 17:26

The most groove-oriented act in the mid-

'90s female-fronted electronica crowd,

Morcheeba relies on the sweet, fluid

vocals of Skye Edwards and a laid-back mix

of fusion, funk, and blues produced by

brothers Paul and Ross Godfrey, on

beats/scratches and guitar/keyboards,

respectively.

The trio was formed in 1995 when the

Godfreys decided to go out on their own

after co-producing six tracks for David

Byrne's album Feelings. They submitted

several tapes of their instrumental demos

to labels around London, but received little

interest in return. After hooking up with

vocalist Edwards at a party, however, their

music began to gel and Morcheeba signed

to the China label.

Big Calm followed in 1998 and Fragments

of Freedom was released two years later.

Charango appeared in 2002 and featured

guest appearances from Lambchop's Kurt

Wagner and rapper Slick Rick.

Morcheeba

24 9

A harmonically advanced cool-toned and

subtle guitarist, Jim Hall has been an

inspiration to many guitarists, including

some (such as Bill Frisell) who sound

nothing like him. Hall attended the

Cleveland Institute of Music and studied

classical guitar in Los Angeles with

Vincente Gomez. He was an original

member of the Chico Hamilton Quintet

(1955-1956), and during 1956-1959 was

with the Jimmy Giuffre Three. A self-titled

collaboration with Pat Metheny followed

in 1999.

One of the most original guitarists from

the '80s onward, Pat Metheny is a chance-

taking player who has gained great popu-

larity but also taken some wild left turns.

His records with the Pat Metheny Group

are difficult to describe but managed

to be both accessible and original,

stretching the boundaries of jazz and

making Metheny famous enough so he

could perform whatever type of music

he wants without losing his audience.

Jim HallPath Metheny

CD2 - Track 6

From the album “Jim Hall and Pat Metheny”

www.jimhallmusic.com

www.patmethenygroup.com


CD1 - Track 7

From the album “Red Hot + Rhapsody / The Gershwin Groove”

www.morcheeba.net


feuillet.qxp 2009-08-03 17:26

Formed in Long Beach, CA, in 1988 as a

garage punk band, Sublime grew to fame

in the mid-'90s on the back of the Cali

punk explosion engendered by Green Day

and the Offspring, though Sublime mixed

up their punk rage with reggae and ska

influences. The band released just two

albums during its first seven years, finally

finding a hit with its self-titled third one.

It was Sublime's last, however, as lead

singer Brad Nowell died in May 1996, just

two months before the album's release.

The trio which comprised Sublime vocal-

ist/guitarist Nowell, bassist Eric Wilson,

and drummer Bud Gaugh played their first

gig on the 4th of July 1988 at a small

Long Beach club (a show that sparked the

infamous Peninsula Riot). The group

began aggressively touring around the

area with an increasingly substantial

following, especially among the

surf/skate beach crowd. After four years

of concentrating strictly on live shows,

Sublime's first album (40 Oz. to Freedom)

was recorded in 1992.

One of the most enigmatic and talented Soul

men of all time, Bobby Womack has been a

sort of Soul Forrest Gump, serving as a link

from 50s Gospel to 60s Soul to 70s Rock and

to some of the greatest musicians in each

genre.

The Womack Brothers group was discovered

by Gospel/Soul legend Sam Cooke, who

redubbed them the Valentinos and trans-

formed them into a teenage secular vocal

group. By the early 60s they were touring

with James Brown and scoring on the R&B

charts with their first hit, "Lookin' For A Love."

Cooke's death in 1964 sent the group on a

spiral from which it would never recover.

Also, Womack encountered some public fall-

out when married Cooke's widow less than a

year later (even more ironic was that brother

Cecil ultimately married Cooke's daughter,

Linda, who became his partner in the popular

writing/singing group Womack & Womack).

Sublime Bobby Womackand the Roots

10 23

CD1- Track 8

From the album “Doin' time” (Bradley Version)

www.mtv.com/music/artist/sublime/artist.jhtml


CD2 - Track 5

From the album “Red Hot + Rhapsody / The Gershwin Groove”

www.soultracks.com/bobby_womack.htm

Photo: urbanmarketinglasvegas.com

feuillet.qxp 2009-08-03 17:26

Mongo Santamaria enjoyed a long and

successful career in Latin music. His

recordings and concert performances

ranged from the authentic percussion music

of Afro-Cuban religious rituals through to

Latin-jazz reworkings of American jazz and

pop hits.

His song Afro-Blue became a contemporary

jazz standard, best-known in the

coruscating version by saxophonist John

Coltrane. His own adaptation of Herbie

Hancock’s Watermelon Man provided the

biggest hit of his career in 1963, and is

regarded as a classic artefact on the

Lounge Music scene.

He graduated to the famous Tropicana

Club with bands like Conjunto Matamoros

and Conjunto Azul, then moved to New York

in 1950. He was able to pursue his interest

in American jazz at its epicentre, while

gaining valuable exposure playing with two

of the most important Latin band leaders in

the city, Perez Prado and later Tito Puente.

Herbie Hancock will always be one of the

most revered and controversial figures in

jazz -- just as his employer/mentor Miles

Davis was when he was alive. Unlike Miles,

who pressed ahead relentlessly and never

looked back until near the very end,

Hancock has cut a zigzagging forward path,

shuttling between almost every develop-

ment in electronic and acoustic jazz and

R&B over the last third of the 20th century.

Starting out as a folk-rock poet and vocalist

who flew onto the pop music scene in the

late '60s, Joni Mitchell bloomed into one of

the most adventurous and influential

singer-songwriters of the last 40 years,

with thousands of musicians, from pop

stars like Prince and Shawn Colvin to jazz

luminaries like Herbie Hancock and

Cassandra Wilson, hailing her as a cultural

hero and artistic role model.

Mongo SantamariaHerbie HancockJoni Mitchell

22 11

CD2 - Track 4

From the album “Herbie Hancock / Gershwin's World”

www.herbiehancock.com - www.jonimitchell.com


CD1 - Track 9

From the album “La Bamba”

www.discogs.com/artist/Mongo+Santamaria


feuillet.qxp 2009-08-03 17:26

The Platters were one of the top vocal groups

of the 1950's, selling 53 million records and

being among the first doo-wop groups to be

inducted into the Rock And Roll Hall of Fame

in 1990.

The Platters were a successful vocal group

of the early rock and roll era. Their distinctive

sound was a bridge between the pre-rock Tin

Pan Alley tradition, and the burgeoning new

genre. The act went through many personnel

changes, with the most successful incarnation

comprising lead tenor Tony Williams, David

Lynch, Paul Robi, Herb Reed, and Zola Taylor.

Under Buck Ram's guidance, the Platters

recorded seven singles for Federal in the

R&B/gospel style, scoring a few minor

regional hits on the West Coast. One song

recorded during their Federal tenure, Only

You (And You Alone), originally written byRam

for the Ink Spots was deemed unreleasable

by the label.

The Platters

12 21

No figure in 20th century American classical

music had as prominent or controversial a

career - or did more to sell classical music to

the general public as something genuinely

exciting, and worth getting into a sweat over -

than Leonard Bernstein.

For more than 30 years, from his assumption

of the post of Music Director of the New York

Philharmonic in 1958 until the final concerts

that he conducted in obviously failing health

near the end of his life in 1990, he was the

most prominent and widely recognized

American-born conductor in the world, and

the dominant personality in American classical

music as both a conductor and, to a lesser

degree, a composer.

A flamboyant public figure, he burst three

different times on the musical world - twice

in classical with a rush of success on

Broadway in between - in a blaze of glory, in

the space of 15 years.

Leonard Bernstein

CD1 - Track 10

From the album “Golden Hits”

www.herbreedandtheplatters.com

Photo: Reese Chan

CD2 - Track 3

From the album “George Gershwin”

www.leonardbernstein.com


feuillet.qxp 2009-08-03 17:26

Holiday (born Eleanora Fagan) grew up in

jazz talent-rich Baltimore in the 1920s. As a

young teenager, Holiday served the beginning

part of her so-called "apprenticeship" by

singing along with records by Bessie Smith

or Louis Armstrong in after-hours jazz clubs.

When Holiday's mother, Sadie Fagan, moved

to New York in search of a better job, Billie

eventually went with her. She made her true

singing debut in obscure Harlem nightclubs

and borrowed her professional name Billie

Holiday from screen star Billie Dove.

Although she never underwent any technical

training and never even so much as learned

how to read music, Holiday quickly became

an active participant in what was then one of

the most vibrant jazz scenes in the country.

She would move from one club to another,

working for tips.

She would sometimes sing with the accompa-

niment of a house piano player while other

times she would work as part of a group of

performers.

Billie Holiday

20 13

Punk's premier cover artists, Me First and

the Gimme Gimmes are a conglomerate of

some of the most recognizable faces in

new-school punk. Drawn together by a

mutual love of '60s and '70s music, the

Gimme Gimmes work exclusively as a

cover band. Their repertoire include songs

from such acts as Neil Diamond, Billy Joel

and John Denver.

With an ever-changing cast of characters,

singer Spike Slawson (of the Swingin'

Utters) originally formed the Gimme

Gimmes in 1995, drawing on the talents

of NOFX bassist Fat Mike, Lagwagon

singer/guitarist Joey Cape, No Use for

a Name guitarist Chris Shiflett (aka

Jackson), and Lagwagon drummer Dave

Raun. Never originally aiming to put out

a record, the band made appearances on

punk compilation albums through much of

the year. In 1997, however, they began

releasing singles named after the singer

they had covered.

Me First and theGimme Gimmes

CD2 - Track 2

From the album “Strange Fruit”

www.cmgworldwide.com/music/holiday


CD1 - Track 11

From the album “Me First and the Gimme Gimmes - Are a drag”

www.gimmegimmes.com


feuillet.qxp 2009-08-03 17:26

Miles Davis took an all-inclusive, constantly

restless approach to jazz that had begun to

fall out of favor by the time of his death,

even as it earned him controversy during

his lifetime. It was hard to recognize

the bebop acolyte of Charlie Parker in the

flamboyantly dressed leader with the hair

extensions who seemed to keep one foot

on a wah-wah pedal and one hand on an

electric keyboard in his later years. But he

did much to popularize jazz, reversing the

trend away from commercial appeal that

bebop began. And whatever the fripperies

and explorations, he retained an ability to

play moving solos that endeared him to

audiences and demonstrated his affinity

with tradition.

At a time when jazz is inclining toward

academia and repertory orchestras rather

than moving forward, he is a reminder of

the music's essential quality of boundless

invention, using all available means.

Miles Davis

14 19

Both beautiful and an extremely talented

singer and songwriter, Anita Baker was

nearly a no show for the world of music.

She had been singing in various groups

and choirs in her native Detroit since she

was a teenager, but while she was loved

locally, she had received enough negative

reviews from record label execs that, at

age 22, she was ready to quit music for

good.

In many ways, it is difficult to believe

Anita Baker has only released five

albums, as her effect on Soul radio has

been immense. Along with Luther

Vandross, she virtually created Urban

Adult Contemporary as a viable radio

format in the 80s, and, while her music

was more sophisticated and orchestral

than today's neo-Soul women such as

Jill Scott and India.Arie, they owe a huge

debt to Baker for demonstrating that a

mature soul audience would buy CDs

and for creating a pathway for artists to

reach that audience.

Anita Baker

CD1 - Track 12

From the album “Miles Davis-Porgy and Bess”

www.milesdavis.com


CD2 - Track 1

From the album “Cyrus Chestnut”

www.soultracks.com/anita_baker.htm


feuillet.qxp 2009-08-03 17:26

As the leader of Genesis in the early '70s, Peter

Gabriel helped move progressive rock to new

levels of theatricality. Following his departure

from Genesis in 1976, Peter Gabriel began work

on the first of three consecutive eponymously

titled albums; each record was named Peter

Gabriel, he said, as if they were editions of the

same magazine. With his first eponymous solo

album in 1977, he began exploring darker, more

cerebral territory, incorporating avant-garde,

electronic, and worldbeat influences into his

music.

Larry Adler was an internationally renowned

harmonica virtuoso whose jazz and European

classical interpretations brought unprecedented

attention and acclaim to the humble mouth

organ. His last great project was the all star

tribute album "The Glory of Gershwin". He

passed away in London on August 7, 2001 at

the age of 87.

Peter GabrielLarry Adler

18 15

Afro-funk, reggae, samba, salsa, gospel,

jazz, Zairean rumba, zouk, and makossa are

combined through the music of soulful,

Benin-born, Paris-based vocalist Angélique

Kidjo.

Since the release of her self-produced debut

solo album, Pretty, in 1988, Kidjo has been

embraced by the international press. Kidjo's

albums have been strengthened by contribu-

tions from top-notch guest musicians and

producers.

Parakou, her first internationally distributed

album, featured jazz keyboardist Jasper

van't Hof, the leader of Pili Pili, a Holland-

based Afro-jazz band with whom Kidjo had

performed at the Montreux Jazz Festival in

1987. Logozo, recorded in Miami in 1991

and produced by Joe Galdo of Miami Sound

Machine, featured Branford Marsalis on

saxophone. Marsalis later performed on

Kidjo's album Oremi.

Angélique Kidjo

CD1 - Track 16

From the album “The Glory Of Gershwin”

www.petergabriel.com

Photo Peter Gabriel: Yoan-Loic Faure

Larry Adler: Starpulse.com

CD1 - Track 13

From the album “Amazing Grace”

www.kidjo.com

Photo: Joshua Jordan

feuillet.qxp 2009-08-03 17:26

For years, Joplin's life had been a roller coaster

of drug addiction, alcoholism, and volatile

personal relationships, documented in several

biographies. Musically, however, things were on

the upswing shortly before her death, as she

assembled a better, more versatile backing

outfit, the Full Tilt Boogie Band, for her final

album, Pearl (ably produced by Paul Rothchild).

Joplin was sometimes criticized for screeching

at the expense of subtlety, but Pearl was solid

evidence of her growth as a mature, diverse

stylist who could handle blues, soul, and

folk-rock. "Mercedes Benz," "Get It While You

Can," and Kris Kristofferson's "Me and Bobby

McGee" are some of her very best tracks.

Tragically, she died before the album's release,

overdosing on heroin in a Hollywood hotel in

October 1970. "Me and Bobby McGee" became

a posthumous number one single in 1971,

and thus the song with which she is most

frequently identified.

Kenny G has long been the musician many

jazz listeners love to hate. A phenomenally

successful instrumentalist whose recordings

make the pop charts, Kenny G's sound has

been a staple on adult contemporary and

smooth jazz radio stations since the mid-'80s,

making him a household name. Kenny G is a

fine player with an attractive sound (influ-

enced a bit by Grover Washington, Jr.) who

often caresses melodies, putting a lot of

emotion into his solos.

George Benson is simply one of the greatest

guitarists in jazz history, but he is also an

amazingly versatile musician, and that

frustrates to no end critics who would paint

him into a narrow bop box. He can play in

just about any style -- from swing to bop to

R&B to pop -- with supreme taste, a beautiful

rounded tone, terrific speed, a marvelous

sense of logic in building solos, and, always,

an unquenchable urge to swing.

Janis Joplin Kenny GGeorge Benson

16 17

CD1 - Track 14

From the album “Live at Winterland ‘68 “

www.officialjanis.com


CD1 - Track 15

From the album “Kenny G. / Classics in the key of G”

www.kennyg.com / www.georgebenson.com


feuillet.qxp 2009-08-03 17:26

Summertime

Documents

Transcript of Summertime